Running the room - The art of managing the human dynamics in an edit suite
Great editors are masters of pace, rhythm and storytelling, but they’re also really good at something else…’running a room’, the underrated art of balancing the power dynamics and interpersonal relationships in an edit suite (virtual or in person!).
But what does it really mean to ‘run a room’ and do it really well?
This article, a joint piece by exec producer, Amburr Farls and assistant editor Kelsey Harmon, illustrates some of the many interpersonal dynamics between client, editor and creatives, that all need to be expertly nurtured in order to give an edit the justice it deserves.
Huge thank you to Amburr and Kelsey for their beautifully written, insightful words. Enjoy!
Amburr Farls and Kelsey Harmon
Amburr Farls: There was a moment in time when I thought I was going to be an editor. I taught myself Avid, I “ran” the “AV department” at an agency (AKA one room with one avid media composer and a stack of 3⁄4 inch tapes – remember those??).
I loved the energy you could put into an edit, I loved how you could control the storyline, the sound, the emotion and the pace. Pace. Forever one of my most favorite choices an editor can make.
“It’s a magical thing, really; watching an editor walk into a room of mostly strangers, all of which have sat with this storyline, this product, this idea for weeks or even months and hear all these thoughts and opinions (sometimes competing), yet gracefully communicate their perspective and advocate for what works, entertain, and provide a comfortable creative space for all. I love editors. ”
‘Deal with it’ Calvin Klein - an edit by Cut+Run editor Amy Joy Rosenberg
What I did not love was all the voices behind me. I felt a lot of pressure sitting in that chair; from the CDs trying to convey their ideas and vision, to the producers needing to know specifics, and that account executive pointing out how to add in more “product” (I’ll never get that out of my head). And as a natural born people-pleaser, I couldn’t take it. I found it too stressful to say the least. It was also in that moment that I discovered there was another art form beyond the craft itself that editors must master. The art of running the room.
As much as I loved editing and still do, I knew this artform was not my forte. My role was not to become the editor, but rather, the editor’s protector and champion of their talent. Talent not just in their craft, but in the art of running the room. A talent that is greatly overlooked and taken for granted.
It’s a magical thing, really; watching an editor walk into a room of mostly strangers, all of which have sat with this storyline, this product, this idea for weeks or even months and hear all these thoughts and opinions (sometimes competing), yet gracefully communicate their perspective and advocate for what works, entertain, and provide a comfortable creative space for all. I love editors.
One of the Cut+Run edit bays
The art of running a room can be done a lot of different ways. Over the last two decades, I’ve observed many editors — the quiet listener type, the hilarious entertainer, the gregarious warm and fuzzy, the mysterious but effective, and of course the chameleon that evolves effortlessly based on the temperature of the room. There’s no one right way – it’s art! Still, whatever the choice, it needs to be perfected just as much as the craft of editing itself.
Cut to meeting a young talent by the name of Kelsey Harmon. Her positive energy is infectious, her love for the craft palpable and her ambition inspiring. We hired her as our Vault Manager, a common entry level role for a budding editor (never poo poo this position. It’s one of the most important roles in a successful post house and it teaches you a lot of the basics and organization skills needed to become an editor). I digress.
Of course, Kelsey nailed it. Her initiative, her natural raw talent and her instincts were seen immediately by the editors. She was promoted to a full-time AE supporting some of the most senior editors at the company.
Her talent for the craft of editing was apparent, but what wasn’t developed quite yet was her understanding of the room. We sat down together and talked it through. Here’s what she has to say:
Kelsey: So, I would say I’ve been cutting footage for about 8 years. Now, let me clarify - a good 6 of those years consisted of what you would call the (very) early stages of being an editor. From the moment I first fell in love with editing (making ringtones for my sister in Garageband and throwing together home videos in iMovie), to creating short films in Final Cut while studying abroad in South America, to cutting countless film class assignments in Premiere - you could say I’ve had an eclectic mix of editing experiences. And only 2 of those years have been in a high-level, professional industry setting. In fact, exactly 2 years and 2 days ago, I began my first assisting job on a music video edit at Cut+Run. It was cutty, it was beautifully shot, it was uniquely artistic, it was infused with sound design - it was amazing. And from that point on, I began to really fall in love with the artform that is film editing.
However, even after all of those days, weeks, years (all-nighters) I spent cutting, I was fully unaware that there is this whole other element to what it means to be a great editor - this art of running the room.
Amburr and I sat down and we talked about this very idea. My focus had solely been on the technical craft, but she explained that there are other intricacies of the editing process that an editor must manage beyond the edit itself — something I didn’t fully understand yet. She challenged me to simply observe the room with as much focus as I had put toward the technical side.
Now, to be fair, I had never actually been in an edit bay. I had only been in virtual rooms (thanks Covid). I didn’t know what it felt like to be in the room where it happens - breathing the air of the crazy circus that is a creative space, with all the voices, ideas, challenges and beauty that comes with it.
All of that changed last month, when I finally got the opportunity to assist in-person.
Day one of edit sessions begins, and I realize - a physical room is very different than a virtual room. When I stepped into that edit bay, and the room filled up with creatives, producers, designers, writers, directors - all of the people that make up the creative process of a highly collaborative, high-level edit - the vibe shifted. It was almost as if I had jumped inside of a Zoom call and lost the comfort of being behind a screen. Suddenly the screen was taken away, and I found myself sitting in the middle of it - feeling the dynamics, the personalities, the energy. The circus came to life, the game was afoot.
And then, the editor walked into the room. The chatter died down, the chaos abided, and everyone turned to listen.
One of the Cut+Run edit bays
“Just as a director confidently leads a production crew on set, an editor does the same thing in the offline - guiding the edit process through the twists and turns of a cut.”
I sat there and watched as the editor took us through the story, consulted the creatives, answered the producer’s logistical questions, and worked through various ideas - allowing every person the opportunity to speak up, all the while keeping us on track to craft an amazing edit. I started to see; this is what it means to run a room. Just as a director confidently leads a production crew on set, an editor does the same thing in the offline - guiding the edit process through the twists and turns of a cut. Accepting Amburr’s challenge and physically being in the room really helped me to grasp this concept for the first time (and to understand just how hard it is to do this virtually... mad respect).
The biggest takeaway that I experienced was that it’s not all business and cuts - it’s relational. A huge part of the edit process is the people! It’s bringing creators together to celebrate new ideas, to grind through a creative hurdle, to laugh, to fully enjoy the edit process together. There is a human element to editing that, I discovered, is just as crucial and just as valuable as the technical cutting itself.
Another key takeaway for me personally was this newfound desire to take ownership of my role. At this point in my career, I am an AE, and my job is to follow the lead of the editor, anticipate needs, assist the process in any way I can. I am not the primary runner of the room. However, there is much to say for owning your own confidence even in this position, and a good AE also has a lot to contribute to a well run room. I hope to lean into this ownership in my next edit, and in the next one, and in all the edits I am a part of from here on out. And I would encourage anyone in my position to do the same.
So now I see there are so many facets to being an editor. There is the craft of cutting together a beautifully constructed, artistic edit, and there is the artform of bringing people together in a creative space. Remembering too, that this artform is not limited by the type of space that you’re in. Whether it be a virtual room or a physical room, we as editors can foster an environment that draws others in, that makes people want to be in that room. This is no easy feat, but I believe it is the key ingredient to knocking it out of the park on any creative process.
I was taking my morning walk on the Venice pier the other day, and I stopped to watch a long boarder catch a wave. I watched as they dipped down into the trough, then rose to the crest, over and over again, with this calm, peaceful look on their face. Up and down, up and down. Sun sparkling, wave spraying, gooood vibes. My happy place. When an editor runs the room well, it feels like that. They glide through the ups and downs of the edit process, anticipating the turns, keeping the flow, all while maintaining a calm and collected exterior.
I hope for that in my career - to not only catch the waves, but to glide through the ups and downs. And, most importantly, to have an absolute blast while we do it together.
Multi talented Kelsey riding the ups and downs outside the edit suite
Meet the contributors
Amburr Farls - Executive Producer
Amburr Farls is Executive Producer and Partner at Cut+Run. Amburr joined the company as Senior Producer bringing years of experience heading large-scale, award-winning projects for all screens from broadcast to digital, social and film. She was then promoted to Head of Production, defining the leadership role with her signature enthusiasm and strategic development. She rose to Executive Producer of the Los Angeles office, working closely with the management teams in San Francisco, Austin, New York, as well as London via Cut+Run’s alliance with The Quarry. She was instrumental in supporting Cut+Run’s transition to connected, remote collaboration during the pandemic, and has earned deep and trusted relationships with her colleagues, as well as agencies, production companies and clients alike.
Kelsey Harmon - Assistant Editor
Kelsey Harmon is an assistant editor who works closely with award-winning editors at Cut+Run on compelling, stylish, comedic and sonically driven commercials, music videos and digital content. She’s a passionate skater and surfer who infuses energy and an artful eye into everything she does. Prior to joining Cut+Run, Kelsey was a freelance editor, contributing her talent to the fast-paced post for a multi-camera broadcast TV talk show. Kelsey attended Pepperdine University, where she earned a B.A. in Media Production with a Minor in Hispanic Studies, which included a year in Argentina where she was a media coordinator and produced 8 short films for the student study abroad program. This invaluable experience helped her hone creative and technical skills, including proficiency in Spanish, and fueled her enduring interest in exploring cultures through both craft and travel.
You can follow Amburr Farls and Kelsey Harmon on their personal Instagram accounts and Cut+Run for all the latest.