"My goal is to set a rhythm so that the viewer gives themselves to the piece," says New York-based Crew Cutter Debbie Ditkowsky. "If that rhythm's on, you'll hold the attention of the audience; it's not about putting in as many edits as possible because timing and appropriate cuts are essential."

Loaded with a degree in visual communications, Ditkowsky entered the New York post scene with a solid passion for editing, working her way up from receptionist at Crew Cuts to become a full-fledged editor after assisting Chuck Willis on various projects.

"I learned a lot by staying in the room with the clients and watching Chuck work," explains Ditkowsky. "Plus I grabbed any free work that came my way because I love to edit; doing people's reels, music videos, spec spots plus some documentaries got thrown into the mix."

Ditkowsky has already cut a number of projects plus some amusing fodder for the Saturday Night Live team, shaping 10 of 12 parodies from the show's past season.

"I got involved because Chuck recommended me to Jim [Signorelli, director of the parodies and Easy Money]," recalls Ditkowsky. "The time restrictions are insane, as the shoot commences on a Friday and I have an hour or so to put my cuts together before Jim arrives. Then we shape the final version together."

One amusing parody entitled "Gemini's Twin" sees Gwyneth Paltrow gyrating alongside two female SNL'ers, tactfully taking the piss out of the overt gloss and sheen promos of Destiny's Child. Other suitably zany pieces include "Shampoo" where men in a courtroom get the 'urge' to wash their hair to discover the suds orgasmic power, rubbing their follicles ferociously as climactic moments ensue.

Other work on Ditkowsky's reel reveals an ability to create both tempo and flow, as witnessed and heard on "Battle" for the USGA through BBDO, New York, working on both sound design and music while pacing the spot on her Avid. "I just love working with music and sound effects," says Ditkowsky. "For me it's the icing on the cake because it takes the work to a whole different level."

Further cuts thus far include work on Planters, Gas-X, Snickers and Charles Schwab. Her editing on a short film entitled Gunplay (for Stefanie Burk at Columbia University) succeeds in conveying the fear, confusion and trepidation of a young girl's first visit to a firing range with overbearing father in tow. Close shots are cut with conviction to hide the girl's hands on an out-of-sight pistol as her condescending father instructs her in a disturbing fashion: "I was waiting until you were old enough to do this. Get a good grip on it. Hold it properly. Relax, don't squeeze too hard; you have to caress it."

"I normally like work without storyboards and script notes if time isn't an issue," explains Ditkowsky on her approach to short films, spots, promos and docs. "I look at every frame and keep the edit simple to match what the piece dictates. I avoid whatever the current trend is and keep the editing invisible because you're not supposed to notice it. I think I have a good sense of rhythm and am able to feel the beats, whether I'm working on comedy, drama or documentaries."

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