The Musical Flow of Editing

The Musical Flow of Editing

Discussing a project with Company X Founder/Editor Barney Miller is like discussing a fine piece of music. He’ll talk about the intricacies of rhythm, mood and composition – all of which are imperative to good editing.

Miller is a firm believer in the symbiotic relationship between editing and sound. This philosophy is a cornerstone of Company X, the New York-based editorial boutique Miller founded in 2002. The company currently reps editors (and music lovers) Bruce Ashley, Megan Brennan, Robert Mead and Terence Ziegler, who have collectively been honored with numerous MTV, AICE, One Show, Clio, London International, Telly, Grammy, Addy and Chip Shop Awards.
 
The editors, some of which were nurtured and promoted up the ranks at Company X, have extensive experience working in commercials, music videos, web campaigns and independent films. Each editor is encouraged to follow other creative pursuits from directing and photography to graphics and art.

“Being grounded in various disciplines gives us a deeper understanding of the process,” says Miller. “We speak the language so it really helps with the communication. Good advertising is a collaborative process. In addition, all of the editors here are music fans. We have a similar sound-driven quality in terms of how we merge sound elements with the visuals.”

“Rhythm is integral to moving visual images,” he says, “because it adds another dimension. Painting is two dimensions, sculpture is three dimensions, and editing is two dimensions with the fourth dimension of time. Watching motion picture is about time. Where you put a cut and where you change a scene -- even if it’s for a silent piece -- creates a rhythm and pacing.”

Miller’s musical approach to editing has spawned a creative partnership with music house Sugarbox and founder Andrew Hollander. The two met in 2005 when Hollander was looking for studio space, and Miller was looking for a new opportunity. After collaborating on demos together, the two realized that their best work resulted from every department working in tandem and sharing ideas.

“Whether it’s working with Sugarbox or another music company, I often ask for demos before I start editing,” remarks Miller. “No matter how effects-heavy or simple the shot, I really focus on integrating the sound and picture. It’s unfortunate when they are compartmentalized or become an after-thought. A :30 spot has an arc to it not unlike a song. As an editor, it’s up to me to find the flow and right composition of the shots.”

Company X is committed to remaining a boutique, keeping its roster small and versatile. It also believes in promoting from within. Both Brennan and Mead were assistants before becoming full-time editors. Associate Producer Gwynne Evans was a temp, and Sugarbox Producer Leigh Hurwitz was a receptionist. This dedicated approach reinforces the hands-on, personal and intimate environment created by Miller for both the in-house talent and clients.

His young up-and-coming editors are encouraged to embrace different types of projects, sharpening their creative tools by working on webisodes, YouTube videos, and rip-o-matics. In an age where agencies and clients are trying to maximize their production budget and increase their online presence, this adaptability has become a highly sought-after skill for editors.

"A good editor has a sense of rhythm both musically and storytelling-wise, an openess to the unexpected, and a willingness to change and improve the work," concludes Miller.  "And he or she also knows when to stop, step back from the canvas, and say, 'it's finished.'"