"You have to watch the images flowing before you and pick out those that create a unique flow of motion," says Melbourne-based editor Chris Betteridge on the edit suite process. "You have to get that rhythm happening to create something unique, and use your creativity, drive and love for the image."

Currently repped by Sydney/Melbourne-based Digital Pictures, Betteridge studied electronics before securing a position at local Melbourne TV station, Channel 9. "I found that I liked playing with the image after cutting various work," recalls Betteridge on life at the station, slowly taking advantage of odd slicing jobs as they surfaced before moving on to Digital Pictures over five years ago. "Then my editing really took on a life of its own and I just moved forward from there."

Betteridge has now been a full-fledged editor at Digital Pictures for the past two years. He utilizes graphic design within his edits to add more of a punch to the work, offering more of a creative impact to the client. His recent work for The Salvation Army is a case in point. As black and white images of people in distress unfold on screen we see various elements in frame become colored with a rich red pallette - a bag removing grub to exemplify 10,500 food vouchers handed out a week or a teddy bear given to mother and child to represent the refuge offered to over 600 victims of abuse each week - all to highlight the support needed by the Salvation Army to continue its mission.

"I studied the footage available and decided to enhance the look with added color," recalls Betteridge. "I tried to look at the composition of the imagery then fit color into that composition to get their message across."

Another visual adventure is an allegorical tale of love and transformation starring ex-Bond girl Talisa Soto and ex-beau Costas Mandylor. As Talisa tries the seemingly perfunctory perfume she becomes one with the scent's spirit. A transformation takes place transporting her to a happening nightclub where she come face to face with passion in the form of Mandylor (until, that is, Benjamin Brett came along...).

"I looked for specific cuts to make the piece move along more powerfully," explains Betteridge, using both black & white footage in conjunction with vivid colors and graphic effects. "I used deliberate jarring edits and flashy imagery to get the viewer's attention within the parable."

As for his approach in the edit suite, Betteridge prefers to flex his Avid and contemplate added cuts beyond the boards:

"I'll make the look for the commercial, and occasionally cut against the script but cut creatively, to best exemplify what the images are saying to me. I then show the director and creatives my work and they'll either okay it or we'll take it back a peg and reshape. The way I see it, if you lack the drive and don't enjoy it then you won't cut well."