"I'm so involved in editing and enjoy the whole process of shaping a spot that I never stop to ponder," say an upbeat Tiffany Burchard, fresh talent for LA-based Filmcore's side unit Green LA.

A graduate of photography at University Ball State in Muncie, Indiana, Burchard continued clicking images until commencing her post career at Two Headed Monster in Hollywood. She briefly secured a position at Wollin Production Services, until ultimately securing work as a freelancer at Filmcore in LA. It proved to be an astute choice for the eager youngster.

"I started assisting Paul Norling, who gave me so many opportunities," reveals Burchard on joining the company. "If time wasn't a factor he'd let me cut and then let the clients know what I'd worked on."

Burchard's first solo job was also her most challenging thus far: "Chess," directed by Joe Pytka for Alta Vista through Wieden + Kennedy, Portland. "Chess" features grandmaster Gary Kasparov at a multiple chess tournament, stepping with precision and grace to various opponents in his quest to slaughter some small-time adversaries. Yet trouble is ahead in the form of a shrewd school kid whose Alta Vista search on 'Beating Kasparov's Evans Gambit' succeeds in stumping the champion to the obvious astonishment of the audience. Sharp cuts follow Kasparov's succinct movements and prove to enhance Pytka's vision.

"I'd heard some stories about Kasparov and thought he's just a demigod in the chess world," reveals Burchard about the edit that captures the poise, prowess and intensity of Kasparov's persona. "I had to convey his ease at playing each position and knowing exactly what to do. This made the creative more powerful and in turn enhanced the power of Alta Vista."

"Real Estate" for Cisco through GMO/Hill Holliday, San Francisco also displays Burchard's precise editing skills within a montage of images as shot by Peter Goldschmidt. The spot shows an ever-expanding flow of time to metaphorically emphasize how business is constructed upon the ever-hyped yet undeniably influential Internet. "The challenge was to keep the storyline while keeping the steady flow of imagery with high speed footage," says Burchard.

Burchard has also cut further spots of note including Microsoft, Geico, SportsCenter and Autoweb.com.

"Sometimes I work better under stress because I just focus on the work and don't pull away until I'm happy with the results," says Burchard on the pressures of the job.

"I wouldn't say that I plan my cuts, more I go with the flow of what I'm feeling at the time. Sometimes editors try too hard and this approach just doesn't work; you really have to enjoy the process, not stress out too much. I mean sometimes you look at crap footage and think 'oh God, what am I gonna do with this?' But then you throw yourself into the job with all your soul and suddenly realize that you've made something out of it all."

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