Moving from editing to directing always seemed like a natural progression. Although directing requires a vastly wider and different set of tools, my experience editing helped me develop an instinct for the crucial elements of a successful spot.

But the transition hasn't been without its surprises. As a director, I haven't fully adjusted to sitting in the back of the edit bay, and I am still adjusting to not being the one at the computer. Recently, I was editing in New York with an editor I hadn't met before. I arrived early at the editing suite, found it empty, sat down on the couch and waited. After five minutes, I couldn't stand it and started pulling my own selects. This has been the most challenging transition.

Pre-pros. That was a surprise. As an editor I rarely came into direct contact with the client. I was a little amazed by some client questions. In the first pre-pro I attended, the product manager wanted to know the exact length (in frames) of every shot I was going to use in the spot.

Still, once an editor, always an editor. Coming from post-production gave me a working knowledge of the technology needed to accomplish a specific post effect or technique. And in a pinch, I can also make dubs and talk at length about time code. Creatively, I rely on this experience to solve story problems and challenges during pre-production, and having been an editor has provided some good technical perspective on the craft and a few insights into casting, pace, and performance.

My G4 laptop has probably been the single most important tool during this transition. I use Final Cut Pro HD throughout the entire process - pre-production for animatics, production for simple keys and reference, and of course for the final edit. During casting, I load the callbacks onto the computer and assemble them to get a sense of how the pace and performance of the proposed cast works together. I pull selects, try music, work on effects shots and maybe put together a potential sequence. The editing background has helped me make sure something specific is working. So if it's not, I can consider a different approach before the day.

As an editor I understand that options are essential to make the cutting process move smoothly. There are combinations of shots that can't be envisioned in pre-production. The lesson I've brought to directing is the more latitude in the edit, the better. I learned early not to edit too much during the process of shooting, or to limit coverage in each set-up. I now shoot everything fully and sort it out in the edit. Having been first an editor, it was easy to fall into a trap of thinking I would never use a set-up for a particular part of the story. The truth is - you never know what's useful until the spot is cut together. I have learned to shoot more and cover it all.

I've cut a few of the spots I've directed, including my most recent spot. But I've also found that in some cases as my own editor I've held onto shots for reasons that don't support the story. I think having another eye is very helpful. Like the writer/editor relationship - as a director, it helps to have the editor looking from the outside in. I do director's cuts myself, but sometimes defer to the editor's more objective eye.

I think one of the most useful skills that translate between directing and editing is the collaboration that is needed to sort out competing ideas to arrive at consensus. Listening to creative input is key to the process; a skill we learn early as editors. Evaluating everyone's perspective and having the ability to answer everyone's questions helps you accomplish the creative intent.

I think the advantage brought to directing from an editor's background and skill set is both creative and technical. I enjoy directing and the satisfaction of the craft. Despite having to get up early, it's good to see the sun more often.

Glenn Martin's path to becoming a commercial director has been a gradual evolution that includes acting, production and editing. Before becoming an editor, Martin worked as a Shakespearean actor, taught theatre and acted in several network television shows. His first job in production was as a PA, followed by two years as a production coordinator before moving to LA to begin editing. After working as an assistant for editors Tom Muldoon, John Murray and Jim Haygood, he joined Nomad Editing Company as an editor. He has cut for Arnold, Goodby Silverstein & Partners, Deutsch, LA, MVBMS, Publicis + Hal Riney, BBDO, NY and others including TBWA\Chiat\Day, LA where he has been editing Apple spots for the past two years (including the U2 iPod spot in 2004). He is director and editor of the new iPod "Shuffle" spot.