Sarah Igraine Welty - Editor
Job title - Editor
Experience - 10+ years
“In some ways, being an editor is being an artist, and in others, it’s a trade. Either way, you’re only going to learn by editing.”
Describe your job role and the kinds of projects/clients you work with.
I'm an editor at Uppercut Edit and work mostly on commercials, shorts, fashion & art films - though fashion has been my focus (and joy) in the last few years. My role is highly varied from project to project. Sometimes, I work to execute a very specific vision; other times, the story and visuals are up to me. Once, I was brought on an art film with A24 to give feedback on a new program. All come with creative challenges, which I find most exciting because this job forces us to stay fluid, modern, and fresh.
What does an average day look like in your post production working world?
Day-to-day always looks different, but the goal is invariable. Whether I have a creative director standing over my shoulder working toward a midnight deadline CET, or I’m on a four-month project where I can sit in the solitude of my edit bay, refining to perfection - at the end of the day, we are trying to create something amazing.
But the art of it isn’t everything… so much push happens in the background to make these projects come to life. I’ve come to rely on the support of my fantastic producer & assistant -- Nick and Davi. Knowing they have my back when every deadline is converging keeps me grounded.
How did your career in post production begin?
I started as a production assistant at Rock Paper Scissors right out of college - fetching coffee, answering phones, and plating take-out. I enjoyed sitting in with all of those heavyweight editors. I got to see what they were working on, what kind of creative approaches they took, and what it looked like to be really successful in this space. I remember sitting in with Matthew Newman, who had just received the footage for the first of the iconic Lincoln ads with Matthew McConaughey. Most of the footage was MM driving around and rambling, and I watched in disbelief, asking Matthew what he was supposed to do with the seemingly directionless footage. He laughed and said he’d find it. And obviously, he did. That was a big moment that showed me what this job could require. That moment informs me of my role as an editor - creating an environment where juniors can observe and ask questions.
What has been your career highlight?
I'm most proud of my relationships with the brands and directors that trust me to execute their vision. For example, I worked overnight with the Thom Browne team on a project for the Met Gala, and I was furiously cutting into the early morning. An overnight push like that is obviously very exhausting, but it's also really energizing at the same time. I remember leaving the Carlyle around 5 am and practically springing up my stoop when I got home, watching the sunrise, reveling in the energy of that night. I love being the person folks can rely on to get the job done and done well.
Emotionally, though, one of my all time highlights was assisting on one of David Bowie's last music videos - that will stay with me forever!
Who are your role models in post?
There have been so many people who influenced my creative style and my career path. Folks who pushed me, gave me advice, passed me work, and cheered me on. But the clearest and most actionable mentoring I received was from Uppercut founder Micah Scarpelli - he’s never afraid to tell it like it is. And I think his style and way of communication have offered the clarity I needed to grow into the editor I am now.
What advice do you have for others wanting to start a career in post?
In some ways, being an editor is being an artist, and in others, it's a trade. Either way, you're only going to learn by editing.
Also, watch your peers. I'm still learning daily - constantly looking at the fantastic work the folks around me are creating. Those people will push you to grow, but you have to keep your eyes open.
And speaking of your eyes, take care of them.