Finely Sliced: Finding the Rhythm with Jorge Sandoval
Editor Jorge Sandoval is known for his visually compelling and inventive narratives that shine through in his work across film, music videos, branded content and commercials.
His portfolio spans collaborations with brands including Hennessy, Nike, Coppola Winery, FIFA, Puma, and Apple among others and has lent his talents to music videos for artists that include Schoolboy Q, Janelle Monáe, Olivia Rodrigo, Camila Cabello, Big Sean, JoJo, Onerepublic and more. His passion for music and editing with an instinct for the unexpected is what makes him unique.
LBB> The first cut is the deepest: how do you like to start an editing project?
Jorge> Music. I am inspired by a good track that matches the visuals. Once I find the right rhythm to the visuals even in the base edit, I can really start to craft the story together and tap into the emotion. Editing audibly is just as important to me as editing visually. A lot of the time I like to find a good music track or sounds that complement the treatment. I find that brings inspiration, so when I get the dailies I am already starting from an emotional place.
LBB> Non-editors often think of editing just in technical terms but it’s integral to the emotion and mood of a film. How did you develop that side of your craft?
Jorge> I suppose editing is always technical given that we use computers and software to create stories, but over time it becomes second nature to use these tools which allows the focus to be solely on the task at hand — telling a good cohesive story. Developing that side of the craft is something that is constantly evolving as each project is unique to the story you are trying to tell.
You have to keep challenging yourself to find the best way to tell it. I am always working on that side of my craft by trial and error and I am constantly trying different methods — whether it is using different music, pace, sounds, etc. I believe in failing fast; the faster you fail the faster you can find the best path forward. Patience is also key, as well as, staying inspired.
I find a lot of inspiration through my mentors and editors I’ve looked up to along the way, plus the younger generations. Seeing how they approach new media is something I find fascinating.
LBB> How important is an understanding of story and the mechanics of story?
Jorge> Understanding story is the most important aspect of what we do as filmmakers. Whether you have one shot or a thousand, the better you understand how to tell a story, the more impactful a project will be and the more the viewer will get out of it. It is also helpful determine which assets are the most valuable to the story and how to use them to find the best way to deliver the message.
LBB> Rhythm and a sense of musicality seem to be intrinsic to good editing (even when it’s a film without actual music) – how do you think about the rhythm side of editing, how do you feel out the beats of a scene or a spot? And do you like to cut to music?
Jorge> Rhythm and music are integral to how we interpret what we are looking at. A change of tune can really change how we view something. Even when I am working on a project that may not have any music attached to it, I may still use a sound or a musical track to find a rhythm for the project.
LBB> Tell us about a recent editing project that involved some interesting creative challenges.
Jorge> The most recent project I worked on was for Olivia Rodrigo's GUTS tour generating background visuals that played during the show. Working in that landscape is challenging in itself because you are creating content that is being coordinated in real time with incredible teams that are managing the entire show. From choreography, singing to lighting, it all has to connect.
Aside from all the creative decisions being made to put on the show, there is also this insane time crunch as the first show date does not change. I really value working on these type of projects because you always have to find ways to be creative and inventive with all that is happening around the visuals. I absolutely love that energy and the collaboration that happens.
LBB> In the US we know that editors are much more heavily involved across the post production process than in Europe - what’s your favourite part of that side of the job?
Jorge> I take big pride in all projects that I am a part of regardless of when I’m brought on, but I do find that the ones where I am more involved from the initial stages to be the ones that I get really excited about. There’s a bit more collaboration and oftentimes the reason that you are asked to be part of a project in a more in-depth way is because the teams value your input and may need guidance in certain parts of the productions.
LBB> What’s harder to cut around – too much material or not enough? (And why?)
Jorge> They both offer their own challenges, but I would say not enough material. Working with limited footage often constricts you from the amount of options you can try. There are many ways you can tell a story even with two pieces of media, but there is only so much you can do with it. Given the option, I would want as much material as possible.
LBB> Which commercial projects are you proudest of and why?
Jorge> This answer is continually changing for me because I am so proud of all the projects I’ve been fortunate to be a part of, but the one that comes to mind right now is the U2UV commercial.
That project has all the elements that I really value — storytelling, VFX, music — and it took such a huge effort from everyone involved to get that one done. It was pouring rain, we were in Bogota Colombia shooting in the barrio of Rocio, and I am editing in a small town gym as footage came in. Two weeks later boom! It’s playing in the Super Bowl. It was crazy, but I truly loved the amount of team effort, between pre production until it aired.
LBB> There are so many different platforms for film content now, and even in advertising something can last anything from a few seconds to a couple of hours. As an editor, are you seeing a change in the kind of projects you’re getting from brands and agencies?
Jorge> The landscape of content is always evolving, so we have to do our due diligence to keep up. There are so many different ways that people consume content. Before maybe there was one or two deliverables that would be either 30 or 60 seconds long. Now it’s open to interpretation, you can have anything from three seconds to five minutes depending on the concept. It’s completely open and you just have to adapt to the ever-changing environment that we currently live in.
LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?
Jorge> There are so many great editors that it is difficult to answer this question specially. However, there are two editors that come to mind. Adam Biskupski, aside from the amazing narrative work he so brilliantly does, he made me view storytelling in a whole different way with Frank Ocean’s Nikes. It wasn’t linear storytelling, but it gave so much feeling and emotion by the way it was edited and I loved it. It was raw, it was honest and it was beautiful.
Also, Valdís Óskarsdóttir, she is an amazing editor and continues to be, but I discovered her when I first watched Eternal Sunshine of a Spotless Mind, one of my favourite movies of all time. This to me encapsulates powerful storytelling at its finest.
LBB> How does editing in the commercial world differ from the film world and TV world?
Jorge> I suppose the quick answer is that one is faster than the other. I feel you have to have a ton of patience with TV and film editing as opposed to commercial work because it is so fast-paced. A commercial can potentially be edited in a couple of weeks, but a film or tv episode might take months to execute. I personally like doing both, I love the fast paced nature of commercials and music videos, but I appreciate the time it takes to execute a longer narrative.
LBB> Have you noticed any trends or changes in commercial editing over recent years
Jorge> Commercial editing has gotten faster over time. The world has really embraced social media and it has revamped the way we tell stories and intake media. You sort of have to break a whole lot of the rules that you were told to follow growing up and view media in an entirely different way. I do love that it can have a bigger range and you can get really creative, like in a way that you can do with music videos. The spectrum is wide open and it is interesting to see where it will go.
