Film Editor Services

Here is how the work lines up. New York's editing community works inside one of cinema's foundational cutting traditions. Thelma Schoonmaker's Oscar-winning lifelong teamwork with Martin Scorsese from Raging Bull and Goodfellas through The Departed, The Irishman, and Killers of the Flower Moon, Sam Pollard's career-defining work with Spike Lee on Mo' Better Blues and 4 Little Girls and his own documentary directing, Tim Squyres on Ang Lee's slate from Sense and Sensibility through Crouching Tiger and Life of Pi, Susan E.

Morse on the Woody Allen canon, Walter Murch's NY ties, Anne V. Coates's New York work, Tatiana S. Riegel, and Jay Cassidy on Silver Linings Playbook and American Hustle. Our editor roster sits in that Local 700 ACE East lineage and works out of Picture Shop in Manhattan and Brooklyn (credits across The Marvelous Mrs. Maisel, Master of the Air), PostWorks NY (two Emmy sound awards), Harbor Picture Company, The Post Crew, Nice Shoes, and the Post New York Alliance network of specialty houses.

Here is what we have to work with. Credits span theatrical features, A24 and Killer Films feature slates, prestige series for HBO, Apple TV+, Netflix, Disney+, FX, Hulu, Paramount+, and Amazon Prime Video, documentary work for DOC NYC and HBO Documentary Films, plus the Madison Avenue commercial economy that finishes Cannes Lions and Emmy-grade campaigns out of NYC suites.

Here is the layout. Our matching process weighs genre, intended pacing, post-prod timeline, and the cut platform. Avid Media Composer for prestige episodic and union feature, Adobe Premiere Pro for documentary and unscripted, DaVinci Fix for cuts going straight into color — then narrows to editors whose recent credits and working style match the brief. Bilingual assistants are open where shoots need them given NYC's polyglot crew base. Assemblies often start during principal photography at Steiner, Silvercup, Kaufman Astoria, or Wildflower so directors can review and adjust coverage before wrap.

Here is how the work shapes up. Remote review is routine. EST is the standard US East Coast cut window, with morning overlap to London and Paris and afternoon overlap to LA — via Sohonet ClearView, Streambox, Evercast, and Frame.io. Delivery covers US broadcast QC, Emmy and Oscar tech specs, IMF, ProRes 4444 XQ, DCP for theatrical, and the streamer platform specs Netflix, Apple TV+, Disney+, HBO Max, Hulu, FX, Paramount+, and Amazon Prime Video Originals are finished against, with New York State Film Tax Credit (up to 30% with the post-prod add-on) compliance logged through edit labor and suite invoicing.