"Doing yoga together with clients helps facilitate creating spots; we are all sort of balanced and on the same level," says Bol, arc.light's founder and editor at the New York boutique. "A lot of time when people come to an editor they want input and a collaborative vision."

Bol has edited ads for Schick, the US Navy, Heineken and most recently Twix for Grey Advertising, New York. As with many of her spots, design elements, compositing, animation and effects were integral to the Twix ad. Bol was involved in pre-production along with director John Lindauer of Fuel, Los Angeles and VFX artist Kieran Walsh of Manhatten Transfer.

"I did all the pre-building, it was effects intensive work. The Avid has multiple video layers so you can do rough mattes and keys. I like to put together a pretty substantial work picture they can build from," says Bol. "I like to build all the pieces in rough form so the client and agency have a clear idea of what the piece will look like in terms of rhythm and timing."

An improved balance between arc.light's two rooms (each with Avid 9000s with pinnacle boards) came in the form of editor Rob Campbell, whose comedy/dialog expertise complemented Bol's graphics/composite layer style. Campbell joins arc.light from MacKenzie Cutler, New York.

"Editing for comedy is about finding the exact amount of time, pinpointing the moment, not hanging on for too long or getting out too quickly, nailing that exact count," says Campbell of the comedy cut. "You can tell when it's suddenly a frame or two long and it starts to smother a joke."

Spots for Sprite, Jobs.com, United Way, Wards, and Diet 7UP comprise Campbell's reel, which he says was built through solid collaborative with various creatives. Generally he sculpts a piece for a day or two, then the creatives come in and a melting pot process begins. Joining the company has, in the opinion of arc.light's executive producer, broadened the boutique's range and fits nicely with the growth strategy.

"Rob creates instant depth, so now we can get those jobs with comedy or dialog spots as well as graphics," says Mayo. "I can send out both reels and be totally confident it's quality work with the depth and diversity we need to be a major player."

Mayo notes they are looking for an assistant editor to join he, Bol, Campbell, assistant editors Ali Grossman and Lucas Roth, and office coordinator Leigh Marino in the pursuit of flexible Chi editing.

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