Having worked on over 200 commercials and international campaigns for brands like Red Bull, Tesla, and L’Oreal, editor Nikolay Ivanov is more than well-versed on what it takes to execute an effective commercial, but when the pandemic hit and new limitations were placed on production crews, the industry had to pivot.
What came out of this period were new ways of doing things, and for Nikolay, that included successful ways of implementing remote editing workflows for filming and offline editing.
“I was working on a project with renowned German director, Charley Stadler in Munich for the brand, Einhell, featuring Oliver Kahn. Due to quarantine regulations, I couldn’t be present for the shoot. We tested a remote editing workflow based on Teradek hardware and Frame.io cloud service, which enabled instantaneous camera-to-cloud H.264 proxy uploads, sending files directly from camera to editorial via LTE, 5G, or WiFi as well as providing high resolution live stream at the same time,” Nikolay said.
“The three-day shoot involving two units went smoothly and we were able to work almost as [well as] being side by side with director on set, even though we were not in the same location. This felt like a significant advancement for the industry in making the shooting process more efficient and faster.”
This editing technique also warranted a new, streamlined gear setup, which Nikolay designed with a camera technician. It consisted of 3D printed cages with proper mounting points to hold the device with additional modems and assembled power management based on industry-standard V-mount batteries.
The objective was to simplify the process to the bare minimum: opening the transportation case, attaching the battery, connecting an SDI feed from the camera, and that was it. These sets are now used in most commercials involving Russian Arm shots, allowing production teams to save time, clients to review footage conveniently from anywhere in the world, and editors to start working on footage from any location globally.
Nikolay talks about his process for editing commercials and much more in the interview below.
Nikolay IvanovNikolay Ivanov
Editor’s note: the following interview is edited for length and clarity.
No Film School: First off, what made you want to become an editor?
Nikolay Ivanov: For me, the first steps were largely influenced by luck and the environment that continued to shape and mold me.
My journey to becoming an editor began in the late ’90s with my involvement in the snowboarding community. As an avid snowboarder and photographer myself, traveling in search of fresh powder, watching action packed snowboarding videos with a few friends we started producing snowboarding films, handling everything from shooting with MiniDV cameras to screening our home baked movies in theaters. This full production cycle sparked my initial interest in the editing process.
While studying economics, I juggled several jobs, until a friend offered me a role on a reality show for Muz-TV—a musical TV broadcast channel. During this time, I handled everything from transcribing tapes to conducting interviews and assembling rough cuts with the director late into the night.
After that project ended, I focused on my thesis for six months. Later, the editor I worked along with reached out and invited me to substitute for him on a commercial shoot with an action film production company. The job was a success, and my work received positive feedback from both the production team and the client.
This marked the beginning of my advertising career through word-of-mouth recommendations. I subsequently worked on projects for Filmservice, Park Production, Profilm, and other companies, and my career took off.
Simultaneously, I worked on various documentaries and reality shows, honing my skills in different TV productions until I transitioned fully to freelance. This diverse experience, combined with my passion for storytelling, cemented my desire to become an editor.
NFS: You have worked on everything from television series to music videos. Is there one type of medium that you would say is more difficult to edit?
Ivanov: I never really ranked which genre is the most difficult to edit. It might be due to me transitioning through them one by one during the years of my professional career. It comes down to what you like more, which pace of storytelling is beating in sync with your heart. Choosing the projects and people you are going to collaborate with helps as well.
Editing different types of media each comes with their unique challenges.
In documentaries, the amount of footage usually overwhelms at first. To manage this, I start by organizing everything in the project, doing all the selects by myself. By having a clear vision of the narrative structure, I can focus on building blocks that supports and enhances the story, reducing the feeling of being overwhelmed by the volume of material.
Creating a compelling visual narrative in a music video also involves balancing artistic and commercial elements. A good song can provide a strong foundation, making the editing process more intuitive and enjoyable. The trick here is to choose your battles wisely. You don’t want to be stuck for weeks in an edit suite with the song that makes your soul cry. Always listen to the track and have a nice chat with director about his vision of the project before committing.
Editing commercials is crafting a compelling narrative, typically within 30 seconds. Here on top of being fast, having a creative vision you have to be a real diplomat navigating the often diverse expectations of clients and agencies, ensuring brand consistency and effective communication throughout the process.
Editing any kind of media has its own complexities, and I’ve developed the skills to handle these by combining technical expertise, creative storytelling, and effective communication to ensure that each project meets its intended impact.
Nikolay Ivanov on set.
NFS: You recently worked on a commercial for Telsa Spotlight highlighting their new Cybertruck. Can you talk about how that commercial was different from some of the other ones you have worked on?
Ivanov: When a creepy serial killer tries to shoot someone inside the new bulletproof Tesla Cybertruck, you know it’s going to be a great script!
Creative Collective CEO of Charley Braun, Patrick Höchstetter and his partner and director Charley Stadler had this idea after the infamous PR event by Elon Musk. Despite being built to be bulletproof, the window shattered, and the video went viral.
This event presented a unique opportunity to create a memorable advertisement for the Cybertruck, especially since Elon Musk and Tesla had never hired an advertising agency before. They believed it would be a fantastic PR stunt for their creative team.
Höchstetter found a build of the Cybertruck in Berlin in 2023. The Tesla car hadn’t even been released in the States, let alone found somewhere in Germany. A gangster rapper from Berlin provided Charley Braun with a Cybertruck imitation for the shoot, but not without complications.
The conceptual idea was fairly simple: why would Elon Musk build a bulletproof car? We had an idea it’s to protect the VIPs from being shot at, especially in the States. We thought of who had been shot in a car and would be still alive if bulletproof… and that was Tu Pac.
The release of the Cybertruck was at the end of last year, 2023, and we launched the campaign a week before in hopes of catching Elon Musk and Tesla’s attention. Notably, Michael Epp, the Hollywood actor starring in the latest Guy Ritchie movie, participated in this project, alongside the VR studio Hyperbowl and the CGI company ACHT in Frankfurt. They created a 3D rendering of Tupac smoking a spliff with the tagline: “Tesla Cybertruck: Keeping Legends Alive.”
Edited by yours truly. You can watch it below.
NFS: On some of the commercials you have worked on, you have had to be present for the entire shooting period, working side by side with the director. Is this common? I feel like most people envision the editor working in a studio after all the footage has been shot.
Ivanov: Yes, I guess that many picture an editor being stuck in their dungeon, with dim lights and grey walls. I on the other hand, really love being on set close to the crew and director. That’s where you learn so much about filmmaking.
My career in commercials began in Russia, where due to the compressed deadlines and the specific demands of local clients, editors often had to be present during the entire shooting period. This meant making initial cuts on-site and collaborating closely with the director throughout the shoot.
Unlike the standard practice where editors wait for the DIT to offload and transcode the camera footage before starting to edit, I integrated an SDI capture card into my workflow. This allowed me to capture live feed and start editing as soon as the camera finished a take, significantly speeding up the editing process.
Traveling with Russian production houses for shoots abroad revealed that this practice is not widespread across the industry. On multiple occasions, we faced challenges such as the unavailability of specific gear or the camera department being unsure how to integrate me into their process. This required me to dive deeper into the technical aspects of the job. I often get involved during the preproduction stages to organize the necessary gear and communication, and to coordinate all the details with service production houses on the specifics of our workflow with the director on set.
Being present on set allows me to provide immediate feedback on whether certain shots are working well or if additional coverage is needed, helping to avoid problems during the post-production phase.
When I moved to Dubai, I continued to implement this workflow, transforming the way local production companies and directors work in the region.
While being on set is not always necessary for all types of editing work, it can be particularly beneficial in commercials due to the high stakes, tight schedules, and the need for precise execution. This approach can lead to a more seamless and efficient production process, ultimately resulting in a higher-quality final product.
NFS: During the pandemic you implemented remote editing workflows for filming, offline editing, and client presentations. Can you go more in depth about this?
Ivanov: Sure, it was an unusual period of transition from our typical workflow in the office or editing suite. We had to find new ways to continue working effectively.
I worked on a project with the renowned German director Charley Stadler for the brand, Einhell, featuring legendary Oliver Kahn. Due to quarantine regulations, I couldn’t be present for the shoot, so we tested a remote editing workflow based on Teradek hardware and Frame.io cloud service. Teradek and Frame.io enabled instantaneous camera-to-cloud H.264 proxy uploads, sending files directly from camera to editorial via LTE, 5G, or WiFi as well as providing high resolution live stream at the same time. To show the edit back to director, I set up a Zoom conference with a direct NDI feed straight out of Avid Media Composer.
The three-day shoot went smoothly, and we were able to work almost as being side by side with the director on set, though I was in my editing suite in Moscow and the filming crew at the Bayern Munich stadium. This felt like a significant advancement for the industry in making the shooting process more efficient and faster.
I brought several sets to Moscow, where I implemented them in our commercial productions.
With the help of a friend who is a camera technician, I designed 3D printed cages with proper mounting points to hold the device with additional modems and assembled power management based on industry-standard V-mount batteries. The goal was to simplify the process to the bare minimum: opening the transportation case, attaching the battery, connecting an SDI feed from the camera, and that was it. The streamlined setup significantly increased production efficiency and cost-effectiveness.
I actively marketed this remote editing technique with our adapted gear to production and rental houses, leading to a complete change in their approach to such shoots.
These sets are now used in most commercials involving Russian Arm shots, allowing production teams to save time, clients to review footage conveniently from anywhere in the world, and editors to start working on footage from any location globally.
NFS: During the Beta stage of Frame.io (A cloud-based database service) you collaborated directly with the software and hardware manufacturer, testing their cloud platform with Camera-to-Cloud technology and giving feedback on how it works and what can be changed. How did you initially get connected with them? Can you talk more about what the benefits of using this are?
Ivanov: I remember seeing the first presentation of Camera to Cloud (C2C) by Michael Cioni, at the time the Global Senior Vice President of Innovation at Frame.io. I was truly impressed with its potential to revolutionize postproduction and on-set editing workflows.
I shared a few Instagram stories showcasing my setup for large-scale productions in Moscow. These posts caught the attention of Michael and Frame.io’s Instagram channel, leading to them being reposted.
Michael reached out to me, expressing interest in how Frame.io could support my productions. He mentioned that any feedback I provided would help enhance their technology.
I had the opportunity to test various hardware and software compatibilities during commercial shoots with a wide range of cameras, including ARRI, Sony, and RED.
We maintained regular communication, exchanging feedback and workarounds to address any issues. Michael also connected me with the team and included me in an ALPHA test of an Avid workflow, which was incredibly beneficial for me as an Avid editor.
One notable example of the benefits of this technology was during the production of the award-winning series “Stranger Scenes: The Series of Stories inside the Tinkoff Banking App.”
Working on set and later in my editing suite alongside director Eduard Oganesyan, we created satire-driven films filled with funny situations happening to the characters.
The shooting schedule was extremely tight, presenting a significant challenge to complete within a single day. Additionally, numerous scenes involved actors driving cars, adding to the complexity. Our only option was to begin editing on the fly, making crucial creative decisions in real-time.
By implementing Frame.io C2C and live streaming on this shoot, I managed to save a lot of production time by controlling two units shooting simultaneously, editing the scenes straight away, and presenting the first drafts to the client right on set making the whole shoot to be done within such a short shooting day.
All this effort brought us multiple awards at the White Square and Silver Mercury festivals.
NFS: What software do you primarily use to edit?
Ivanov: When it comes to editing, I rely heavily on Avid Media Composer and DaVinci Resolve. Each of these programs has unique strengths that really help me tackle different aspects of the editing process.
As for Avid this was and is my main tool of trade. I started editing reality TV shows and documentaries and this was an industry standard in every production house for long form editing.
One of the standout features of Avid is its exceptional media management.
In recent years, remote work has become an integral part of the film industry, and Avid’s native integration with NDI technology have made it possible to stream high-quality video and audio feeds directly to remote clients, allowing me to collaborate with directors and production companies around the world without the need of any extra hardware.
DaVinci Resolve is another powerhouse, especially when it comes to doing online work and finishing a project. I use it a lot when I need to prepare proxy media for the project and when doing master outputs, as the quality of the exports is really great and native support of Mac M processors make all the renders a breeze.
I do use Adobe for various other tasks as well, but prefer to stick to the trusty Avid for my main editing workflows.
NFS: What techniques do you use to enhance the pacing of a commercial?
Ivanov: “Just make it all fit” is the main credo, but in reality, many situations demand that a lot happens within 20 or 30 seconds. In these cases, pacing becomes an incredibly important tool for making a good commercial.
Pacing and rhythm are important, yet they totally depend on the kind of work you are editing. Editing is all about a feel.
A good cut works with or without music, while bad cuts often rely on music to succeed. I usually start by assembling the scene without sound, focusing on the basic structure. Once that works, I begin adding layers like sound effects, enhancing the complexity of the edit.
The principal aspect of my style is that every cut has a purpose or an emotional feel. Using different types of cuts, such as jump cuts and match cuts, significantly enhances the pacing of a commercial, ensuring it captures and retains the viewer’s attention while delivering its message clearly and convincingly.
I always test the pacing of an edit on different screen sizes. Since I mostly work on commercials, I consider where and how the audience will view it—whether on a large OLED screen in their living room or on an iPhone during a bus ride. It’s vital to ensure the flow of the edit works well on both large and small screens.
NFS: What would surprise people the most about what falls under the title of editor?
Ivanov: The most unexpected part of being an editor is realizing that editing itself is just a small part of the role. Editors need to be able to read the room, sometimes acting as a bridge between the creatives and the client’s vision. Success in this field requires strong interpersonal skills, as much of the work involves collaboration and making others feel at ease. Ultimately, the job boils down to making everyone happy at the end of the day.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
