Rebecca Luff - Editor/ Partner at Magic Edit
Job title - Editor
Experience - 15+ years
“I’m currently building the team at Magic Edit and our first signing is the brilliant Vanessa Wood. She brings a wealth of talent and experience to the team and to stand together as mothers in this is a wonderful thing. ”
Describe your job role and the kinds of projects/clients you work with.
I'm Creative Director and Offline Editor at Magic-Edit cutting mainly TV commercials, but also working in film, documentary, installations and music videos. Over the years I have built relationships with some incredible directors including Emmy and BAFTA winning MJ Delaney, and award winning directors Liz Murphy, Fern Berresford and Max Fisher. Working on brands from Linkedin, Singapore Airlines, and O2 to Royal Navy, Shelter and Samsung. I'm about to start a job with the brilliant Sam Scaffidi at Smuggler which I’m really excited about.
What does an average day look like in your post production working world?
You learn very quickly that there are no average days in post production, but we try and add a little order to it. Everyday begins with coffee, lighting a scented candle and a quick catch up with my assistant and producer. If it's the start of the job then I will have just received the transcoded rushes from set, after a chat with the director on how the shoot went and what their outline vision is for the edit it’s time to start diving into the rushes and making my selects.
I like to look at every frame of the rushes especially with the more 'docu’' style shoots using real people. There’s a lot of magic to be found after the director says cut and the cameras are still rolling, people often relax more and produce some interesting naturalistic moments.
Being from a dance and drama background I'm always looking for the most natural or lyrical performances. Once I've completed the first round of selects I begin building a rough assembly of the storyboard which helps you get a sense of the story as whole for the first time. It's one of the most exciting moments in the whole process for me as you can see the films bones, so now the fun can really start.
Next stage is working closely with the director to make sure that their vision is met. Collaboration is so important, the edit starts to come to life once you start bouncing ideas off each other. I enjoy the challenge this brings and it always makes me want to push the edit further and really explore how the story is told. This stage is where you'll go back to the rushes and interrogate the takes you've chosen together. It’s also the time where you create your sound bed and look closely at musicality and rhythm of the piece to elevate the story. Lastly, the agency and client presentations. I find this quite exciting as it’s the first time you get to share what you and the director have been crafting, it’s a little adrenaline rush as you anticipate peoples reactions to their first viewing.
The agency have worked with this script sometimes for over a year and you’re about to show them it brought to life for the first time, and often not exactly as the storyboard reads so it’s a big moment for everyone in the room. As an editor it’s the time you have to be most diplomatic. The agency and client also need their time to work on the edit and collaborate. It’s the editors job to stay true to the director's vision, while listening to new feedback. It's a tightrope walk but part and parcel of the job. A big part of our job is communicating and diplomacy, making sure that the film and creative is protected and steered through to the end. It's a really collaborative creative process from start to finish and always makes you strive to be better.
How did your career in post production begin?
After graduating from university I hustled between being an assistant manager and working as a runner on the Trisha show on my two days off a week. My friend from university was working in recruitment while this was happening and had lined up work experience for a company called 'Final Cut', but she couldn't find anyone for the placement and asked if I could help her out.
I was reluctant at first as my experience on set made me realise Studio editing wasn't for me, but after a bit of convincing I moved things around and made it work. Luckily I did because as I stepped through the doors I couldn't believe this was a job! I remember sitting in with Suzy Davis and Joe Guest and just thinking wow, this is what I want to do with my life. I then made it my mission to get a full time job there, starting as a runner and working my way up, and the rest as they say is history!
What has been your career highlight?
Tough question, any Editors career will be a bit of a roller coaster, so just having a career is a win!
Right now it has to be setting up Magic Edit. I was approached by Wave studios to set up their sister company and what an honor that is. Sound is as integral to an edit as the visuals, so to be in partnership with arguably the best sound house in the world is an incredible opportunity. I’m currently building the team and our first signing is the brilliant Vanessa Wood. She brings a wealth of talent and experience to the team and to stand together as mothers in this is a wonderful thing. We’ve also signed a really exciting Exec Producer, but I have to wait until September to tell you about that!
My personal editing highlights include a documentary called 'Invisible Women' Directed by Alice Smith. It focussed on Angela Cooper and Luchia Fitzgerald, two incredible women who formed the Gay Liberation Front in Manchester and fought for women’s rights and shelters among many other things. There was no public record of them or their achievements, so in making the film we became part of recording and bringing light to their place in history. They are now part of the LGBTQ+ and Women's rights history at the Manchester library.
Also at the start of my career I received a nomination for best editing at the MVA's while still working as a receptionist at Final Cut. I'll always be proud of that.
Who are your role models in post?
Any woman that holds a career in post is a role model aren't they, It's' not easy to make your voice heard and manage to craft a career for yourself. People that have inspired me along the way are Suzy Davis, learning from her was incredible. Director MJ Delaney along with DOP Ness Whyte, and Producer Lucy Tate helped me to see and gave me the courage to know it was ok to have children and still have your career, not just keep it but excel in it. Producers Susie Innes and Siobhan Murphy are also two of the loveliest, most supportive women in the industry who I've known for years and are so incredible at their jobs it's hard not to be inspired by them. Editorial Peers that I admire and are doing great are Elise Butt, Ellie Johnson, Flaura Atkinson, Eve Ashwell, Mah Ferraz, Vanessa Wood and Amanda James.
What advice do you have for others wanting to start a career in post?
I saw a Japanese saying the other day that sums up how I've always approached this career... Oubaitori -
Never compare yourself.
Everyone blossoms in their own time in their own different ways.
Don't judge yourself by someone else's path.
That's really important to remember as it's a challenging career with no set path to success, your life is your own and this career is what you make of it. If you work hard, put in the hours in the edit chair, stay focused, and be nice to people along the way it will pay off eventually. It's a long journey, but if you want to be an editor it's worth it. You normally have to start from the bottom and work your way up, surround yourself with people you think are talented and are supportive, learn/bounce ideas off them as you grow into your own style.
Favourite piece/s of your work
This is difficult too. There are a lot of pieces of work that I have loved cutting and am really proud of. Singapore Airlines, Directed by the amazing Liz Murphy has to be one of my favourites. We had such an incredible time bringing this story to life. Shot over 10 days in 6 countries following a real member of the cabin crew. It was a big story to tell in 90 seconds and Liz had shot it all so beautifully and really captured a very special moment in time. The agency were just the loveliest people too so the whole process was a a pleasure.
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