Noon: Time To Edit

Brian Noon of Flashcut loves the challenge that editing offers, and thrives on the unpredictable; feast or famine, Noon is one happy guy.

While studying TV broadcasting at college, Noon realized the potential editing possessed. "Editing is a huge storytelling element," Noon explains. "The timing and pacing of things are so important." It was a perceptive choice by Noon, who has exemplified his abilities in spots for clients like Molson ("Found a Peanut"), Levi's ("Blueprint for the Future") and the NBA ("Dream"). In addition to some impressive commercial spots, Noon has edited two music videos for the bands Kinnie Star and Limblifter.

Upon joining the company four years ago, Noon worked as an assistant to Mick Griffin. Noon quickly came up the ranks to become an editor at the company within a year. "He was incredibly reliable when he came to us so he moved up rapidly," recalls Mary Beth Odell, managing director at Flashcut. She appreciates the fresh viewpoint Noon brings to the company. "Brian has the ability to know what works best for a spot. His timing is not predictable and is [therefore] memorable."

Comedy is a constant companion to many of Noon's commercials, where timing is an essential element. "I'm drawn to comedy because it gets an immediate reaction from people. It inspires me and you can do so many different things with it," says Noon, who loves the effect comedy can have on his audience. One exemplary spot for Kellogg's, entitled "Chocolate Fool," (directed by Martin Granger through Toronto-based Avion Films) is a quirky dance number that Noon enjoyed piecing together.

After an underwear-clad nerd attempts to put Tony Manero to shame, piles of liquid chocolate engulf him from above. Sharp editing and a keen eye gave the spot a solid rhythm.

"Directors that know me like what I do and know that I can come up with something unexpected" explains Noon, who enjoys exploring the potential a spot has. "Sometimes coming from a completely different angle, a different perspective, can create an interesting idea." In addition to a perceptive eye, Noon believes the fundamental requirement for an editor is timing. "You have to find what's right for the spot in terms of rhythm; pacing and timing are essential. I try to cut quickly, right off the bat; go for the whole structure of the piece as opposed to segmenting it. The story has to build as one piece." SW

Lofting Ambitions

For Nick Lofting, good editing combines the divergent aims of shepherding the idea and pushing the bounds of creativity. Clearly this is a challenge for any editor, but Lofting has found a strong mentor in his boss, Sam Sneade, director of Sam Sneade editing.

Lofting began his career assisting Sneade who exposed the 23-year-old to top-level ad work; he assisted Sneade and Academy director Jonathan Glazer in cutting the Guinness "Surfer" ad and the most recent Adidascampaign shot by Harry Nash director, Ringan Ledwidge. A full-fledged editor since January of 2000, Lofting has gone on to cut spots for One2One ("Vinnie"), Observer ("Sport Monthly"), Preparation H ("Piles"), an anti-landmine PSA for M.A.G. and music videos for Recoil and Madison. Lofting says working with each spot's director has taught him flexibility and resourcefulness.