S23 - Ep 8 - Long Bright River - Film Editing

Cinematographer Romain Lacourbas returns to Below the Line to talk about crafting Ballerina, the latest stylish installment in the John Wick universe. This week on Below the Line, Skid is joined by Cinematographer Romain Lacourbas to discuss his visual approach to Ballerina, from the film’s sweeping Prague exteriors to its tightly choreographed fight scenes. Romain breaks down his collaboration with Director Len Wiseman, the decision to shoot single-camera action, and the creative problem-solving behind some of the film’s most explosive moments. We cover: Building trust with Len Wiseman — and how the director’s homemade pre-vis videos helped shape their collaboration Adapting the look of John Wick to a new city — with its own palette and texture Leveraging Alexa 35 cameras and Hawk Class-X anamorphic lenses to add volume and texture — a deliberate choice to highlight Philip Ivey’s distinctive production design Planning and executing long-take action — including that grenade-filled basement sequence Why most stunt scenes were shot with a single camera — and how that impacted timing, blocking, and performance Leaning into practical effects, from real explosions to blood rigs and rain-slicked streets Capturing Hallstatt’s natural beauty — even on a tight shooting schedule  Romain also reflects on the freedom he had as a DP, his continued partnership with Camera Operator James Frater, and how working with a detail-driven director made the difference. 🎧 Press play and go Below the Line on Ballerina. For more, visit belowtheline.biz.

Running a tight, emotionally grounded procedural is no small feat — especially when you're steering a beloved franchise into new territory. On this week’s Below the Line, Skid sits down with Director Patrick Cady, 1st Assistant Director/Producer Trey Batchelor, Cinematographer Jason Andrew, and Gaffer Derrick Kolus to go behind the scenes of Bosch: Legacy, the three-season Amazon series that extended the universe of Michael Connelly’s iconic detective — and pushed the crew into new creative and logistical territory. We cover: How Bosch: Legacy balanced a fresh tone with the DNA of the original series The shift to a 5-act structure, network oversight, and more “advertiser-friendly” creative mandates How tight prep schedules, minimal standing sets, and constant location moves shaped every department’s workflow Jason’s transition from Key Grip to Cinematographer, and how his background informed his pacing and shot planning The challenges of lighting on the move — and how Derrick’s rigging strategy kept the crew ahead of schedule Trey’s insight into cast performances, unexpected rewrites, and what it really means to “make the day” Keeping continuity between DPs and episodes while balancing stylistic differences The collaborative bond this crew built across 10+ years and two Bosch series Along the way, they reflect on the show’s emotional arc, where it fits within the Bosch universe, and how Bosch: Legacy became a proving ground for tight collaboration, creative flexibility, and below-the-line excellence. 🎧 Press play and go Below the Line on Bosch: Legacy. For more, visit belowtheline.biz.

Executing a well-timed oner is hard. Building a whole show around long, continuous takes? That’s another level. This week on Below the Line, Skid is joined by First Assistant Director Donald Murphy and Camera Operator Mark Goellnicht to go behind the scenes of The Studio, the Apple TV+ comedy that blends big laughs with an ambitious visual style. Directed by Seth Rogen and Evan Goldberg, the show follows the fictional chaos of Continental Studios — and brings that chaos to life through long takes, handheld choreography, and camera work that pulls the audience into the scene. Topics include: Shooting single-camera, continuous-take scenes for nearly every episode How the “oner” for Episode 2 was planned, rehearsed, and executed with an eye towards golden hour Building camera choreography around comedy timing and live dialogue Collaborating with actors and stand-ins on complex blocking Stitching shots using natural movement, practical transitions, and VFX Pulling off production in real-world locations like the Las Vegas strip and the Golden Globes Utilizing crew members as additional “background” for added realism Managing on-set tone and morale with Seth Rogen’s laid-back leadership Donald and Mark also reflect on how The Studio pulled off its most ambitious sequences — from passing a camera mid-shot between operators to filming in working casinos with minimal control. And yes, they name names: Martin Scorsese, Sarah Polley, Zac Efron, and Ron Howard all make appearances (on set and in the story). 🎧 Press play and go Below the Line on The Studio. For more, visit belowtheline.biz.

How do you bring a game world to life for the screen — especially when that world already has millions of devoted fans? Cinematographer Catherine Goldschmidt knows firsthand — and her work on The Last of Us reveals just how complex that challenge can be. Catherine Goldschmidt joins Skid to discuss her work on the second season of HBO's The Last of Us, with co-host Gianni Damaia bringing the perspective of a longtime fan and gamer. Together, they dig into the complex visual language of an adaptation that blurs the line between game and cinema — from shot-for-shot recreations to bold deviations. We cover: Catherine’s approach to adapting game cinematics into film language — including when to match and when to break away How The Last of Us uses space, light, and camera movement to draw viewers into Ellie’s experience Constructing visual set pieces like the subway ambush and Jackson assault with a blend of practical stunts, VFX, and strategic camera placement The emotional and logistical challenges of staging Joel’s death The visual shift from chaos to quiet in Episode 2’s final montage — and how that deliberate pacing reshapes the episode’s emotional impact Catherine also reflects on how her collaboration with multiple directors and departments shaped the season’s look and feel, and how visual storytelling can remain grounded even in the most heightened, post-apocalyptic moments. 🎧 Listen now to join us Below the Line with Catherine Goldschmidt — and explore more at www.belowtheline.biz.

What does it mean to "edit for emotion" in a show built around crime, identity, and betrayal? Eric Litman knows — and his work on Dope Thief proves it. Eric Litman returns to the cutting room — this time, with Skid and co-host Christopher Angel — to share how he approached the editorial storytelling in Apple TV+’s Dope Thief, a show that lives or dies by its tonal precision and dual-lead structure. Guided by Chris’s thoughtful questions, the conversation digs into Eric’s instincts as an editor, the creative latitude he was given on the show, and the real collaboration that happens between editors, directors, and showrunners — all while serving a distinct visual and emotional tone. 🎞 How does an editor decide when to hold or cut away from a performance? 🧩 What does Eric look for when selecting alternate takes during tense scenes? 🧠 How does post shape the story, not just the footage? Whether you’re a film editor yourself, a creative working in episodic TV, or just a fan of layered, propulsive storytelling — this episode is for you. 🎧 Press play and go Below the Line with Eric Litman — and explore more at www.belowtheline.biz.

What does it take to keep track of iconic props across the Marvel Cinematic Universe? Assistant Property Master Travis Bobbitt would know—he’s been doing it for over a decade. In this episode of Below the Line, Skid and co-host Gianni Damaia sit down with (returning guest) Travis Bobbitt to talk about his journey through the MCU, culminating in his latest work on Thunderbolts. From organizing massive prop warehouses to navigating the fast-paced demands of a Marvel set, Travis shares what it’s really like working behind the scenes on some of the biggest blockbusters of our time. Whether you're a filmmaker curious about the property department's role or a Marvel fan eager for behind-the-scenes stories, this episode offers a rare glimpse into the creative logistics that keep superhero worlds believable. 🎬 How do props evolve from concept to screen? 🛠 What’s the pressure like working on a franchise with millions of fans? 🧠 What does continuity actually look like across ten-plus Marvel projects? Listen in for practical insights, war stories from the lot, and a few laughs with someone who’s helped shape the MCU from the inside out. 🎧 Hit play and go Below the Line with Travis Bobbitt — and explore more at www.belowtheline.biz.

How do you turn New Jersey into 1960s Greenwich Village — while navigating strikes, rewrites, and a lead performance that hinges on live music? That was the challenge behind A Complete Unknown, the 2024 Bob Dylan biopic directed by James Mangold. This week, Skid is joined by three key crew members behind the film: Set Decorator Regina Graves, Property Master Michael Jortner, and Second Assistant Director Brad Robinson. Together, they share how they navigated shifting scripts, location changes, and the challenge of historical fidelity — all in service of a film that manages to feel both intimate and iconic. Topics include: Rebuilding momentum after the actor’s strike forced a full crew reset The challenges of transforming Hoboken and Jersey City into Greenwich Village Training extras to behave like real 1960s folk fans — from posture to props Creating immersive environments for actors to perform (and improvise) in Balancing accuracy and atmosphere when representing real figures and events Behind-the-scenes dynamics with director James Mangold and star Timothée Chalamet Filming the concert finale, the Viking Hotel sequence, and the Columbia studio set How a film’s invisible craft can be both its triumph and its obstacle come award season The conversation also touches on the tensions between Dylan’s legacy and the demands of dramatization — and how the crew stayed grounded despite outside opinions and mid-production curveballs. 🎧 Press play and go Below the Line on A Complete Unknown. For more, visit belowtheline.biz.

Cinematographer Pedro Gomez Millan shares stories from the set of “Daredevil: Born Again”, Disney’s 2025 continuation of the live action superhero saga that aired on Netflix between 2015 and 2018. Also continuing his co-host streak: Gianni Damaia!

Editing a character-driven crime series is never just about pacing — it’s about stitching together time, tone, and memory. This week on Below the Line, Film Editor Matthew Barber joins Skid and co-host Gianni Damaia to talk about Matthew’s work on Long Bright River, the eight-episode adaptation of Liz Moore’s novel. From subtle flashback reveals to emotionally charged cross-cutting, Matthew shares how he and the creative team shaped the series’ visual language — often while discovering it in real time. We cover: How flashbacks replaced the novel’s internal monologue — and became a key storytelling engine Balancing mystery, family drama, and editorial tone across episodes Structuring the pilot to delay key character reveals — including the true identity of the killer The emotional inspiration behind a flashback-within-a-flashback sequence Using match cuts, location callbacks, and music cues to layer subtext Capturing warmth and humanity inside a show full of loss, addiction, and institutional failure Incorporating both classical and contemporary music to define character and mood The editorial juggling act of cutting dailies, managing tone, and staying ahead of a tight production schedule Matthew also shares how his personal life unexpectedly shaped some of the show’s most emotionally resonant moments — and how quiet, human moments often carried the greatest weight. 🎧 Press play and go Below the Line on Long Bright River. For more, visit belowtheline.biz.

Before streaming and prestige TV, there was network television — and few shows ran tighter, longer, or more efficiently than JAG. This week on Below the Line, Skid is joined by First Assistant Director Robert Scott and Key 2nd Assistant Director Kevin Koster to look back at their time on JAG, the hit CBS procedural that ran for ten seasons and laid the groundwork for the NCIS franchise. Together, they explore how the show combined military precision with Hollywood problem-solving — and how their team navigated last-minute script changes, tight location logistics, and complex stunts on a weekly basis. We discuss: Working with series creator Donald Bellisario — and his instinct-driven writing process Balancing legal drama, action sequences, and military protocol within a single episode The importance of trust and tempo in an AD team working at network speed Designing efficient workflows for multi-location shoots, vehicle setups, and stunts Welcoming new directors into a well-established style — while giving them room to breathe Managing day players, guest stars, and recurring cast across episodes Building and maintaining a core crew across ten seasons — and how long-term collaboration shaped production flow Lessons learned from JAG that still apply to today’s television sets Robert and Kevin also reflect on the camaraderie that sustained the crew across ten seasons — and why “making the day” meant more than just finishing on time. 🎧 Press play and go Below the Line on JAG. For more, visit belowtheline.biz.