Victoria Mortati - Video Editor & Filmmaker
Job title - Editor
Experience - 15+ years
“Time away from editing is just as valuable as time spent in the project. Sitting in a crowded restaurant being present to what you hear, how time moves - will inform your edits. ”
Describe your job role and the kinds of projects/clients you work with.
I am a freelance video editor working on commercials and branded content in the fashion, beauty and art space. I frequently work on-site events, such as fashion weeks or installation events. There are post-producers and brands I’ve been working with for years, so I usually get work through word of mouth. I’m also in the process of writing a feature and it’s been interesting having to fight my desire to work backwards from visualizing the final picture edit to words on paper.
What does an average day look like in your post production working world?
The day starts with a walk around the block with the dog to grab a coffee. Adopting a pooch really helped me establish a daily routine (and get out of the house). Prior, I would sometimes have a hard time breaking away from the flow. Dogs are a really great excuse to get outside and take a break from the computer (not to mention the unconditional love and support they give you).
Once I’m settled, I start with emails and any urgent tasks. If I’m currently working on a job, I always check in with the client first thing in the morning to see what the day is looking like. If I’m starting on a new job, I will read any treatments, outlines, etc and download any assets that were sent my way. When it’s time to build out a project, I always make sure to cross reference everything I have on the drive with what I’m seeing in the set notes. I was an AE for years and take project prep very seriously - any issues I’ve ever encountered have been from not being super thorough on day one.
I will prep the project completely before I begin watching down footage of pulling selects. It really helps me to get familiar with the project both technically and creatively, before diving in. When sending a cut out for review, I always try to have it ready at least 2 hours before it's due to avoid any export/upload issues and be on time.
Another tip that’s helped me save time is gathering all of the client notes into a document and labeling date & project/timeline version. A lot of times you end up back where you started, so keeping track can help avoid rebuilding any cuts in their entirety.
How did your career in post production begin?
I’ve always been obsessed with films since I can remember. I got a CD-ROM of an editing software (Moviemaker?) in middle school andI would play around for hours with camcorder footage. I continued making films throughout college. I had two professors when I was at university in San Francisco (Danny Plotnick & Melinda Stone) who inspired me to shoot and edit 8mm & 16mm analog film, which I fell in love with. I experimented with direct animation, and played around with interesting ways to digitally transfer. There are films I made during this time that I'm still super proud of. I moved to Los Angeles and began the very traditional AE track at post-houses. I assisted incredible editors and colorists and had some of the most challenging professional years of my life. The hours were long and demands were grueling- but I feel grateful to have been a part of the Post-house “Glory Days”, so to speak. I’m also very happy we’ve come to our senses and realized there is life outside of Post. I assisted for about 6 years, and then became lead editor on a travel show. I began to cut branded commercials, docu-series and kept assisting on feature films. I returned back to New York and became a staff editor for the Bon Appetit series, and eventually became a lead editor at Vogue. My time there gave me a lot of experience in the world of fashion and beauty brands, which helps a lot now as a freelancer. I’ve been freelancing for about 5 years now.
What has been your career highlight?
Assisting on my first feature film, Lucky with editor Bobby Gajic. The film was written and produced for Harry Dean Stanton, as an ode to his personal life and the iconic role he played as Travis Henderson in Paris, Texas. The “post team” was just myself and the lead editor, the entire editing process was super collaborative and ego-less. We were on set everyday and able to interact with the entire cast and crew - you could feel how much heart was put into the process. David Lynch also acted in the film, so working with him and Harry on set everyday was unforgettable. David Lynch blowing cig smoke in my face and screaming "you're editing solid gold, kid!" was a career highlight to say the least.
Who are your role models in post?
I am always so impressed by everything Dede Allen touches. I'm inspired by the way she experiments with sound and transitions, she’s next level. Assisting Jacquelyn London at Sunset Edit at the beginning of my career was very inspiring. She's an incredibly precise, intentional, and intuitive editor. Her ability to source candid moments from footage is unlike anything I've seen, which I think make her edits so stand out.
My two dearest friends are Post-Producers in the industry and it has been incredible to work alongside them. Grace Hammerstein (Cabin Post) is one of the most talented post sups I know and is just a joy to work with - she never gets bogged down by the day to day and her interactions with clients inspires me to keep things fun. Marco Glinbizzi (Michael Kors) has such an extensive knowledge of film editing that he makes cutting the most mundane, corporate edit feel like a masterpiece.
What advice do you have for others wanting to start a career in post?
Technical advice: always be organized and learn how to prep a perfect project from a career AE. Their ability to build out a flawless project is unmatched. The first day on a project will define the entire course of the job. Color-code, use markers, be as specific as possible. Take note of every initial reaction you have watching down the footage, and trust your first instinct with best takes and powerful moments.
Personal Advice: Time away from editing is just as valuable as time spent in the project. Sitting in a crowded restaurant being present to what you hear, how time moves - will inform your edits. Walk outside for inspiration. Watch a lot of movies and consider how the edits make you feel. Also- make sure the person you look up to/your mentor has a healthy work/life balance. The way they live their life will have an impact on yours!