The current project I’m cutting - The Ticket. This picture is a comedy of a modern-day hippy and a TV-Evangelist who are forced to work together in an effort to recover a winning $250 million lottery ticket from a dead hooker. Shot on the Sony CineAlta, capturing the footage for this bad boy was reminiscent of the old days of digitizing tapes. Very nostalgic… gorgeous footage nonetheless! More to come.
Five shots I’ve had time to do some retouching with from my trip to Cannes. More to come from the trip soon! Enjoy!
As we approach the tail-end of the 2010 Cannes Film Festival, I’d like to take a moment to reflect on the experience of being here. Since this was my first visit, I took in a lot of information that I’ve managed to turn into knowledge; developed applicable skills that will help me in the future. The opportunity to network with people at this festival is incredible. Every one here has something worth contributing to the business, and the more you really listen to the people you speak to and interact with, it becomes incredibly apparent about who is meant to talk the talk and who is meant to walk the walk. This is the business - the hustle and bustle that every one dreams about. Two weeks of paradise in doing business, meeting incredible people, and reaching out to different parts of the world to develop new friendships, partnerships, and teams to begin a stride down a new avenue of work. This business is an entity of a different world, but it exists in our environment because of determination and a unique, persistent vision.
“I’m a producer - I don’t do it for a living, I do it to live.” - David Hannay (Australian Producer)
This quote sticks out in my mind, and it helps me recognize why I wanted to become a part of this business in the first place. With only four more days remaining, I’ll do my best in continuing to make the best out of the experience by being present. Presence, reliability, skill, determination, a strong network, and a clear vision is what will make us successful. And of course a little but of fun. Being an editor here has some amazing benefits. More to come when I return to the states.
Flying your way May 26, 2010. Edited by yours truly.
‘Live Free’ is a portrait of Royal Street Tattoo, a boutique tattoo shop located in Mobile, Alabama. This short documentary covers the philosophy of tattooing as seen from the eyes of the artists at the shop.
After months of work, it’s my pleasure to bring you this final cut. This was one of my favorite projects to work on as of late, not only because I discovered Foosackly’s – the best chicken in Mobile – but because this project let me use a different perspective in understanding how to shoot and edit documentaries. The crew I was on was great. The artists at the shop were great. Alabama was great. Hopefully you can do your best to enjoy this short film and walk away with something to say about it.
For you curious folks out there, this film was shot using the Canon 7D and cut using the Avid Symphony system.
Creatively transforming motion into flavor with the use of elegant, emotionally-empowering cuts in a colorful frame.
As consistent manipulation of emotion remains to be one of the most important elements in creating a successful motion picture, performances and the pacing of a film must be dealt with delicately. When done correctly, an editor can deliver a powerful message to the film's audience – a message that brings the film's viewers into the unique moment happening right before their eyes.
In the execution of cutting a film, keeping an open mind to the emotion that assists in telling the story is critical. Once an overall pace makes the picture scream with affection, color takes us home.
Welcome to the official website of Alek Rost, Film Editor and Colorist.
Massachusetts born. New Jersey raised. Georgia educated. As a filmmaker, more specifically a film editor, I've always believed that having a keen sense of how people act when they feel a certain way is of utmost
importance. When we know how people feel, we can craft a response in a way which it feels appropriate. We can make the people think, and the people around them who might be listening in on this emotional exchange of words will be enticed into the conversation. At least, they'll definitely be interested in it.
I approach my life as a series of cuts. The emphasis we put on our actions to keep our days pleasurable to ourselves are of the same breed to the actions that we, as film editors, need to emphasize so audiences understand the stories we deliver. We give them what is visually pleasurable, emotionally sustaining, and we do it all in a "get in, get out" sort-of manner.
I've always thought that the best way to describe film editing is a classic simile: a film ready for post-production is like a baby. Mommy and Daddy – the Director and the Producer – need to send their child away to daycare. They need a break to work and be sure they can make ends meet. While in daycare, the child can't be left unattended. The child must be molded to behave like a real child and not come back to Mommy and Daddy as a bad kid. The editor is responsible for molding the film. Finessing the film. Keeping the film energetic. When Mommy and Daddy come back, they'll see their child and leave daycare happy. And as they plan to have another baby, if we did our job well, they should let us know that they'll be back.
