Firstlight: The invisible manipulators

The butcher, puppet or magic maker. An editor has been referred to many a name. The balancing of these three skills defines the role of the commercial editor to achieve the ultimate invisible manipulation.

In an industry of fast turn-a-rounds, editing can be referred to as a mere part of the production process to splice footage together and fix errors on set. Use editing to it’s full potential and your piece transcends from a video file to a tool of emotive persuasion.

Emotion is the key, according to Firstlight’s Bruce Flint.

“What does the edit make you feel? The subconscious emotional connection between the viewer and the brand is the ultimate achievement of commercial editing,” said Flint. “Successful invisible manipulation is fulfilled when the viewer is so engaged they are unaware of the editor’s input.”

He says this is achieved through the application of simple rules that assist to hide the edit.

“What is the motivation for making the edit? The priority should always be to progress the narrative. Cutting on motion helps to disguise an edit and creates a motivation to cut. Matching the action between two shots creates seamless flow. Matching eye lines between the shots ensures easy transition.

“The real art and opportunity hides deeper than these rules. It lies in the editor’s own sensibilities to the narrative. Holding the viewer with a compelling story by using rhythm, syncopation and pace to replicate an emotion. Keeping the viewer informed of the geography of the scene and the physical spatial relationships within it.  Drawing them in. Holding them there.

Flint believes everything that precedes editing is simply creating media for an editor to manipulate.

“Each craftsmen has their own editing sensibilities that assists the emotional development of the narrative. Firstlight has cut features, corporates, documentaries and series but our greatest skill is producing highly emotive narratives in short form stories.

“The seamless edit is complimented through colour grading. Colour grading is fundamental not only to assist the smooth transition of shots and maintain geography but further enhances visual story telling. Colour is used everyday to describe objects, conjure emotion and arouse responses. The perfection of colour in film is completed through colour correction and grading.  It conveys context beyond what we see on screen.

“Colour correction is essentially enhancing the original captured image and creating enriched continuity to the edit. Changes in light levels and weather conditions are just a couple of challenges a production may encounter on set. The correction phase reduces captured flaws in the raw footage and strengthens the flow of the piece.”

Working with these corrected images, colour grading facilitates the opportunity to give impact to the narrative and help tell the story.  

“Through manipulating the raw vision we can create a look and feel associated with the brand,” says Flint.  “This is crucial to encourage an immediate emotion in short form stories.  It is a critical layer in the telling of the story.

“Colour grading is a crucial part of our approach to post-production.  More and more can be achieved in the grading room. Despite an increase in the accessibility of colour grading software, professional film-makers are very aware that there is no substitute for the trained eye of a colourist that grades every day.  These artists understand the power of colour and the art of subtlety and simplicity.”

Firstlight’s passion for colour science remains at the forefront of the industry, based in great measure on incredibly high standards. Digital grading platforms are being developed, released and improved all the time to meet a constantly evolving industry.

“As colourists, everything that precedes grading is simply creating media for us to grade. Each colourist has their own colour sensibilities assisting the tonality of the narrative.  We pride ourselves on achieving both emotionally influential grades and stylistic looks.”

Firstlight is still celebrating the craft of post production in its twentieth year.  They have come a long way from their beginnings as an offline facility to the full service post house that they are today. With post production software becoming increasingly accessible, the focus has shifted from the equipment used in a facility to the quality of the operator.

Caitlan O’Connor initially encountered Firstlight through work experience whilst completing her Masters of Communication at the WA Screen Academy in 2010.

From her very short exposure to colour grading there, she developed the desire to pursue the craft. She was offered a position as junior editor in February 2011 and since then under Bruce’s guidance has developed into a respected colourist.  

Caitlan’s passion for editing extends beyond the short form narrative as she continues to edit and grade music videos, short films and features.

Flint brought his international award winning editing experience to Perth in 2008. Complimenting this is his passion for cameras, his experience as a director and a producer.  His directorial knowledge assists the edit by approaching the cut with a different perspective.

Firstlight’s passion for the craft of visual storytelling and the experience of the viewer is why they’re still here, no matter whether it be in a documentary, film or commercial.  

“The audience reception, reaction and response are the reasons for our continued work. Every kid in their bedroom, every backyard operator, every agency has the technology, but it’s no longer about the gear. It’s about the editor’s sensibilities. How they interpret and relay the narrative. It’s about their experience to know how to enhance the story in post with passion and perfection,” concludes Flint.

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