What’s it like to edit a project that has been selected by Sundance? EMERGENCY is a film that is part of the 2022 Sundance Film Festival Satellite Screen program. Y.M.Cinema Magazine has interviewed the editor behind it, Lam T. Nguyen. Lam has been an editor for more than 17 years. He has started cutting documentaries and moved to narratives. Let’s read Lam’s insights regarding the art of the cut.
Emergency: 2022 Sundance Film Festival Satellite Screen program
Emergency is a darkly comedic about a straight-A college student Kunle and his laid-back best friend, Sean. They are about to have the most epic night of their lives. The film was directed by two-time Sundance alum Carey Williams (R#J, 2021) makes his U.S. Dramatic Competition debut with Emergency. The film was edited on ADOBE Premiere Pro by editor Lam T. Nguyen. Y.M.Cinema Magazine has interviewed Lam on the challenges, insights, and takeaways, regarding the editing process. Let’s explore them below.
From editing documentaries to narratives
Y.M.Cinema Magazine: Please let us know about yourself – a short bio focuses on your career as an editor.
Lam T. Nguyen: I’m originally from Denver, Colorado, and graduated with a BA Degree in Film and Video production from the University of Denver. My film career began with an internship on the set of a musical feature film Ichabod: The Legend of Sleepy Hollow (2004, PBS). One day – I was asked by the writer/director of that feature, Rick Ramage, to cut a couple scenes from the actual film and he apparently liked what I did. So that’s how my editing career began. It was totally unexpected. Since then, I edited documentary films for a good 5-6 years and then moved to LA to advance my career in narrative films where I am more passionate about.
One day – I was asked by the writer/director of that feature, Rick Ramage, to cut a couple scenes from the actual film and he apparently liked what I did. So that’s how my editing career began. It was totally unexpected.
In 2019, I met with Carey Williams to work on R#J for Bazelevs and Interface Films, a fresh modern retelling of Romeo and Juliet that premiered at 2021 Sundance Film Festival and 2021 SXSW (where I won a Special Jury Adobe Editing Award). In 2022, I reunited with Carey on Emergency for Amazon Studios and Temple Hill Entertainment. This film premiered in the US Dramatic Competition at 2022 Sundance Film Festival and will also be screened at 2022 SXSW.
I did an exercise where I would edit an emotional scene with my eyes closed. Listen to the emotion of the characters and hit M to mark on the timeline for where I felt like I needed to look up and that’s where I would insert the cutaways. It’s truly editing with your feelings and instincts.
Why Premiere Pro?
Y.M.Cinema Magazine: Why did you choose Premiere Pro as the NLE to edit the film?
Lam T. Nguyen: I’ve worked on Premiere Pro because of how intuitive it was and the workflow between different programs in Adobe was very seamless. Adobe has advanced the software so much over the years that makes it more comfortable to work with where I can just focus on editing instead of having to figure out the technicality of the program. Also, I believe this project was the first feature that Amazon and Adobe partnered to work through the cloud and so we wanted to test the limits of working remotely (my AEs were in NY and I’m here in LA) and fortunately it went pretty smooth.
I believe this project was the first feature that Amazon and Adobe partnered to work through the cloud and so we wanted to test the limits of working remotely.
Converting ARRIRAW to ProRes
Y.M.Cinema Magazine: Please elaborate on the chosen codecs (ARRIRAW, R3D, ProRes….). Did you find any challenges editing those in Premiere Pro?
Lam T. Nguyen: We worked with the ALEXA ARRIRAW 4.5K footage. The offline edit was all ProRes conversions of the footage and transitioning this to finish online in the raw format really had no hiccups.
Pros and cons
Y.M.Cinema Magazine: What are the pros and cons of editing on Premiere compared to other NLE?
Lam T. Nguyen: Pros for Premiere: Layout and organizations are much cleaner to sort footage. I love the nested sequences. I was able to layout the full film in nested reels and can jump into specific reels to make edits. Seamless integration with After Effects, Illustrator and Photoshop. All the files connect with each other where any changes made in one program will automatically update in Premiere. The color option was great for us to correct any footage for the producer’s review. The recent cloud integration with the Premiere Production option gives it more flexibility to work with other artists in different states.
Seamless integration with After Effects, Illustrator, and Photoshop. All the files connect with each other where any changes made in one program will automatically update in Premiere.
Cons for Premiere: Turnovers for sound mix studios have improved but still have some little hiccups. Importing XMLs from other programs had some issues relinking clips. But I’m optimistic Adobe will continue to improve this for smoother transitions between programs.
Challenges: Multi-cam editing
Y.M.Cinema Magazine: What were the main technical challenges in editing the film?
Lam T. Nguyen: Well Emergency had much of a lesser technical challenge compared to last years, R#J (haha). We really pushed the boundaries on that film but couldn’t have done it without the Adobe Suite integration. They filmed Emergency with multiple cameras and setting up the Multi-Cam synced footage was a bit of a challenge but once we figured out how that worked it was great for us to review dailies and see all angles at one time.
Takeaways
Y.M.Cinema Magazine: Every project we (the editors) learn something new. What did you take from this project to be implemented on future projects (takeaways)?
Lam T. Nguyen: Oh yeah we are always learning something new for each project. I was constantly mindful in balancing the comedy, drama and thriller aspects of this film. Comedy is definitely one of the hardest genres to work in because it relies so heavily on timing. I’m a patient editor but comedy requires even more patience. I’ve learned that adjusting a shot 5 or 6 frames longer or shorter really makes a difference to land a beat.
Comedy is definitely one of the hardest genres to work in because it relies so heavily on timing. I’m a patient editor but comedy requires even more patience.
What I will also take away from this project specifically was how delicate emotional scenes were. We’re often taught to rely on reaction shots but I really learned that resting on an emotional shot was more powerful than trying to cut away too much for reactions. I did an exercise where I would edit an emotional scene with my eyes closed. Listen to the emotion of the characters and hit M to mark on the timeline for where I felt like I needed to look up and that’s where I would insert the cutaways. It’s truly editing with your feelings and instincts. I’m lucky to work with an amazing cast that helped me rely on them to influence my cuts.
Sundance has an awesome category called NEXT. NEXT is a category with films that tackle innovative and technical storytelling. I think if you can make a film that pushes the boundaries visually and technically that can get you an opportunity into the festival.
Tips & tricks
Y.M.Cinema Magazine: Does editing for Sundance demand some specific technical requirements? Also, please grant some tips and tricks for editors who are eager to be selected to Sundance. What can make your film be chosen from 9,000 projects?
Lam T. Nguyen: Sundance accepts the standard general formats for online programming. They also require DCP versions of the film for in-person or satellite screenings which will need a post house to handle. As for the tips, first I would say is to tell a story that you aren’t afraid to voice your belief in. A story that can get people to engage, inspire and motivate. So take chances and work with an open mind. Invite new ideas from anyone to get your film in the best shape possible. Secondly, Sundance has an awesome category called NEXT. NEXT is a category with films that tackle innovative and technical storytelling. I think if you can make a film that pushes the boundaries visually and technically that can get you an opportunity into the festival. For instance, R#J was told entirely through their smartphones and we took that challenge in applying fundamental camera techniques for the graphics in making that film fully immersed and cinematic.
Follow Lam T. Nguyen: Instagram | Twitter
Product List
Here’re the products mentioned in the article, and the links to purchase them from authorized dealers.
- Adobe Premiere Pro CC (1-Year Subscription, Download)
