Mellissa Lo - Editor
Job title - Editor
Experience - 10+ years
“I hope now that the spotlight has been shone on me for a brief while, that I can now use my platform to show others, especially women and women of colour, that is possible to succeed, that breaking the mould, disproving those stereotypes, speaking up and being your truest self can indeed lead to great things. ”
Describe your job role and the kinds of projects/clients you work with.
I'm a Feature Film and TV Drama Editor, recently stepped up from being an Assembly Editor and 1st Assistant. But, I've actually come from a short-form editor background, where I mainly specialised in film and TV trailers. I've worked with clients such as HBO, Netflix, AppleTV+, BBC, ITV, and Channel 4, mainly on live-action scripted drama.
What does an average day look like in your post-production working world?
I like to start my day by reviewing what I've edited the day before, to refresh my mind and also look back with fresh eyes. I then tend to go back and rewatch some relevant rushes to ensure that I haven't missed anything that could help me with the edit (e.g. better angles, performances, continuity etc.). Ensuring that a project is well organised, with everything clearly labelled and filed is very important, as it makes finding everything easier and faster - when I begin a project, I always start by organising everything into relevant folders and timelines before I sit and watch anything properly, this will ensure the edit process will be much more efficient in the long run. I am all for spending more time on preparation upfront, as it will make everyone's lives easier down the line. This was something I always did as an Assistant Editor, and this has not changed at all since stepping up.
I will usually have a catch up with my director/producer in the afternoon after lunch, this is usually very quick and they are often aware that I tend to work best when I'm left to my own devices to explore. Any changes to the schedules, or updates I get from this catch up I will pass on to the Assistant Editor(s) afterwards and also just check in with them to ensure they are getting on OK; not overwhelmed with too much work, and to offer any help/support I can give if they need it. I truly believe open and honest communication between everyone is the key to a successfully run production.
There are normally several spreadsheets that I've made to help me track progress (i.e. completed scenes, when cuts have been sent for review, any awaiting notes etc.), so I will update these throughout the day and ensure that they are fully caught up before I sign off for the day.
Always back up my project in 2 separate places - just in case! And then ensure I send my Assistant home before logging off myself. That's a typical day I would say!
How did your career in post-production begin?
It was actually at Goldsmiths University, doing a BSc Creative Computing degree that I found a love for editing. I unfortunately did not enjoy computer science and coding at all and realised it was not for me in the long-run. In fear of disappointing my parents by switching courses, I stuck it out but filled my time with independently learning how to edit using Sony Vegas Pro. I had actually started and ran a Dance Club as part of the Student Union there, so I would spend all my spare time filming classes and our instructors, and using the footage to create promotional videos to entice more students to sign up. From there, I grew to love editing so much, so I took it upon myself to learn Premiere Pro and Avid Media Composer independently. When I graduated, I went to work as a Runner at The Farm Group for a few months before heading back to Goldsmiths to complete a MA in Filmmaking, with a specialisation in Editing.
After graduating from my Masters with a Distinction, I worked briefly as a Junior Editor for Blink TV, who specialised in live music events, before moving on to become a Film & TV Trailer Editor with Intermission Film. After 3 years there, I decided to take the plunge and go freelance, to pursue my dreams of becoming a long-form editor.
What has been your career highlight?
Being able to mix and work with wonderful, talented, like-minded creatives. I've met so many people through the years at wonderful events like those run by Editfest, BAFTA Crew, BFE, Blue Collar Post Collective, BECTU, BEAM, and so many more great organisations. The community spirit in post production, Editorial specifically, has been overwhelmingly supportive for the most part. I've really cherished having the opportunity to meet more experienced editors and role models, to learn from them and their journeys, as well as share stories/techniques/tips with my peers, and even mentor and part wisdom onto those that are on their way up. So many editors I've worked with (and even some I haven't) have really put their necks out recommending me and putting me forward for anything and everything, and I've truly been humbled through the years at their continuous generosity and support, it means so much!
I hope now that the spotlight has been shone on me for a brief while, that I can now use my platform to show others, especially women and women of colour, that is possible to succeed, that breaking the mould, disproving those stereotypes, speaking up and being your truest self can indeed lead to great things. Representation really does matter, especially as East Asians in particular are wildly underrepresented in front of and behind the camera. Though things are slowly shifting, we still have a long road ahead of us and I hope that seeing someone like me in the position I am in, can create change for the better. I really hope I can keep paying it forward, as many others have done for me.
Tell us about a pivotal moment in your career;
Being stepped up to Lead Editor for Season 2 of my last production with Darrall Macqueen, 'Lovely Little Farm', a family HETV drama series for AppleTV+. I had been working on the production for Season 1 and part of Season 2 (shot back to back) for a year as an Assembly Editor/1st Assistant Editor, before our previous Lead Editor, Rob Garwood had left to pursue another opportunity. Before he left, Rob had kindly made a strong case for me to take over his role and everyone at Darrall Macqueen had such faith in me as well, I ended up taking over 5 episodes in Season 2, including the finale episode! It definitely escalated quickly, but they felt that having been on the show since the beginning and working with Rob, I had demonstrated a strong sense of what the show was about and what they needed from the edit, so I was given a shot! This has resulted in my first official Editor credit on a long-form production and it all snowballed from there. Including signing with an agent (Jessica Carney Associates), to landing my next editing job, to now, winning the British Film Editor's Cut Above Chris Crookall Award for Breakthrough Editor! What an incredible journey! I'm so grateful to Rob and everyone at Darrall Macqueen & AppleTV+ that took a chance on me.
Women in post you admire?
So many! I admire the journey from live music, to pre/postvis, to now long-form drama my good friend, Siân Fever has taken. We've been friends for a long time, and have kept each other motivated and hungry within the industry. I also love the work Fiona Starogardzki, Carly Brown, Trace Taylor, and Emma McCleave are doing and how they've all worked their way up to Editors, from being Assistants as well. Also, a seasoned, but humble and nurturing mentor like Catherine Creed, who taught me how to look at things from a different perspective for my MA short films and still recommends me all these years later!
But, the one person that I would say I'm actively aspiring to become like is the lovely, Úna Ní Dhonghaíle. We met years ago at EditFest in London, when I was still trying to break into long-form from the trailer world and she was so generous with her time, her advice, and her efforts to get my name out there. She is the reason I got my first assistant editing gig, and she has not stopped recommending me and trying to hire me since! She is such a champion for the next generation of editors, and despite being an absolute editing queen, has not lost an ounce of humbleness and generosity - if anything it's growing!
What advice do you have for other women wanting to start a career in post?
Do not be put off by the uneven playing field. Take up space and have your voices heard. Remember that you are all valid, you are all worthy, and you deserve success. Despite the hurdles that most definitely will be placed in your way, you are strong enough to overcome them. And know that there are many of us that are working hard to pave an easier path.
Don't be afraid to ask for help, to put yourself out there, to be vocal about what you want to do and where you want to be. Don't assume people will know, no one will realise if you don't speak up! Be patient with those that are generous with their time, but also take initiative and be proactive in getting yourself and your work out there. Learn to be organised (very important!), communicate professionally, and be a team player. This industry is built on teamwork, so have a positive attitude, be eager to learn, and word will spread fast that you're someone that is valued and pleasant to have on a production. I'm always happy to take on someone less experienced if they have a great work ethic and attitude. With so much work on the horizon, now is the best time to get into post! See you in the cutting room :)
Stand out scene (or scenes!) you've worked on.
The entire short documentary I edited for Producer/Director, Julia Stovell's 'Aftershock: A Love Story' was probably one of the hardest things I've ever cut. It's just 14mins long, and was cut as an intended pitch video for the full length documentary. It follows a traumatised veteran suffering from a physical injury and PTSD after he returns home to his family from the war in Afghanistan. The interviews and therapy sessions Julia had filmed were extremely raw, heartbreaking, and difficult to watch, and even more difficult to condense down and cut into a coherent piece. I feel I'm quite an empathetic person as well, and found the whole experience very emotional, especially seeing the determination of his wife, who was desperate to save him. I'm really proud of the work I did with Julia, and getting Luke Dallison's story out there was a real privilege.