Finely Sliced: Tiffany Taveras on The Power Of Music in Editing
Tiffany Taveras doesn't just edit; she crafts stories with meaning and intention that resonate across high-profile brands, music videos, and film. Her journey unfolded in Austin, Texas, where she honed her skills in creative editing and colour grading. In 2021, she made a pivotal move to New York City to join Whitehouse Post, swiftly establishing herself as a creative force.
Truly thoughtful about all aspects of the industry, Taveras aims to create art that not only captivates but also educates and inspires. Taveras' collaborations extend to top brands such as Chevy, Coca-Cola, Modelo, Marvel, and DoorDash, working closely with esteemed agencies, including Townhouse, Saatchi NY, Havas, Dentsu, and R/GA.
In addition to her commercial work, Taveras has a strong passion for film, with documentaries and films showcased at festivals worldwide, earning Grand Prizes at the Rhode Island International Film Festival and Lone Star Film Festival. Committed to inspiring emerging talent as well as promoting inclusivity and diversity, Taveras serves as a mentor and shared her insights at events like E4 Youth’s 'Creative Pathways' and SheMadeIt, a workshop empowering women and non-binary individuals of colour in the directorial creative space.
LBB> The first cut is the deepest: how do you like to start an editing project?
Tiffany> I like to be able to look at the footage with as little influence as possible. I’ll, of course, read a treatment to get a sense of what the piece is supposed to be. But the first time you watch down footage is precious because your initial reaction is the purest... You won’t get that again. So, I isolate myself, focus, and just follow my gut. Once my selects are pulled, I let the influences in. What are the directors’ goals, creatives’ goals, my goals... then I let that guide me as I cut.
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?
Tiffany> For me, it's all about tapping into and trusting my instincts. When I start an edit, I don't really stick to a set formula or hold myself to rigid steps. The emphasis is more about discovering what truly excites me and going with that flow. Sometimes it's the music I'm using that gets me in the zone. Other times, it's the footage itself or the subject matter that ignites that spark. I try to connect with the story in whatever way feels the deepest and go from there!
LBB> How important is an understanding of story and the mechanics of story?
Tiffany> Understanding a story is absolutely essential—it’s at the heart of what I do. Delving into the mechanics of storytelling and deciding which to employ is a nuanced process. Considering the medium where the story will live and the available time to tell it is crucial.
With short-form storytelling, I find that it requires a stronger sense of story to maximise impact within a limited time. There are always opportunities to develop characters and arcs in all types of pieces, and my approach to using these devices is usually instinctual. Regardless of the medium, my goal remains the same: to keep the story engaging and emotionally resonant.
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?
Tiffany> Cutting to music is my favourite type of editing! There's a reason we all love music—we have an emotional connection to sounds and rhythm. When cutting to music, how I use it really depends on the goal of the piece. Sometimes I use it to set an emotional tone; other times, I use it as a tool to add emphasis in certain areas of the piece, like cutting the track on an action or for comedic impact.
Music plays a significant role in my work, even in the edits that don’t require it. For those edits, I’m not using it to cut to the beat or anything; I'm mostly utilising it as an emotional guide or pulse. Then I turn it off and review everything without it, making changes where needed. For edits that do require music, it’s absolutely necessary to review the edit without it.
Music is a great tool for storytelling - because it’s a narrator in its own right. The challenge exists in ensuring the piece remains visually compelling without solely relying on it.
LBB> Tell us about a recent editing project that involved some interesting creative challenges
Tiffany> As I mentioned earlier, I don’t necessarily have a set practice for how I start an edit. This is both my inspiration and my challenge. Most recently I worked on a music video where the creative freedom was very much on my side. I wasn’t constrained by boards or an outline, and the director encouraged me to truly follow my gut. Sometimes creative freedom can be the most exciting phrase but can also be the most intimidating.
So, I reviewed everything, I could see the edit in my head, I knew what I wanted to make... but there was an unlimited supply of different formulas of edits I could put forward. In this situation, I focused on the scenes and shots that spoke to me and let the gaps fill in naturally around it. I just let my intuition guide me.
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?
Tiffany> Seeing the edit come to life with colour, mix, and VFX is truly exciting. The offline edit brings the story together emotionally, but adding colour expands our world visually. Sound not only strengthens the edit but also enhances its presence. For VFX-heavy projects, environments come to life.
There’s like a renewed energy that ignites when the online process begins. It’s fun attending sessions and watching the finished product come to life. Collaboration is key in this industry, and it's one of the reasons I love it. Working with people of diverse skills and backgrounds is amazing—I get to continually learn, educate, and be inspired by my colleagues.
LBB> What’s harder to cut around – too much material or not enough? (And why?)
Tiffany> Absolutely, it’s much harder working with not enough material--- But I’d argue that not enough material can sometimes be a fun creative challenge. When faced with this challenge I just embrace it and dive deep into my creativity. I focus on intent and purpose, while avoiding repetition.
Having too much material can also present some challenges... what footage do I ultimately select, how long will this piece be? But at the end of the day, it’s much easier to transform a large amount of footage into something remarkable.
LBB> Which projects are you proudest of and why?
Tiffany> Last year, I had an opportunity to collaborate on a remarkable short doc called 'The Solace of Sisterhood'. It's a beautiful story that delves into the world of the Caramel Curves motorcycle club in New Orleans, directed by the amazing duo Anna Andersen and Geneva Peschka. What set this story apart was the approach.
Instead of the typical portrayal you might see of the club, Geneva and Anna took a poetic angle, exploring deeply into the lives, sisterhood, and legacy of these women beyond just their club activities.
Out of all the short documentaries I've worked on in my career, this one truly left a lasting impression. Learning about why these women founded the club and the hurdles they overcame was incredibly inspiring. I was deeply involved in sourcing archival footage from all corners—it got to a point where I felt like I knew everything about these remarkable women!
The most exciting part is that the film has resonated with so many people and is having its world premiere at Tribeca this year! I can't wait to celebrate this milestone with the entire team.
Another one of my favourite pieces is a short film called "Passing Through," directed by the incredible Erica Silverman. The story is a poignant retelling of Erica's final months with her father, who was in hospice care. Their relationship had been tumultuous due to his struggles with addiction, and in those last months, Erica realised how little she truly knew about her father and sought to find meaning in their relationship.
Initially, working on such a sensitive piece was intimidating because this story held immense importance for Erica... how would I do it justice? We established a deep trust and bond, creating an open and safe environment where we could freely express our opinions. This collaboration allowed the film to flourish. It was amazing attending festivals and meeting individuals who connected with the film; it was powerful.
Reflecting on these two experiences truly emphasises the profound impact of storytelling and reaffirms why I'm passionate about what I do. It's a privilege to craft work that deeply resonates with people and truly connects on a personal level.
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?
Tiffany> There's definitely an emphasis on creating more social content—vertical or square formatted projects directed for web use only. I get it; so many people are consuming content strictly from TikTok and Instagram nowadays. While most of these projects are in tandem with traditional commercial work, I do believe it's a helpful tool to increase visibility for our work. It allows more opportunities for agencies and brands to reach their audiences, and it helps filmmakers get increased engagement with their art.
LBB> Who are your editing heroes and why?
Tiffany> Is it bad to say 'myself'? Haha... On a more serious note, I’m very proud to be a Black Hispanic woman editing in this industry. The representation of women in creative roles, let alone creatives in post-production, is still unbalanced.
My heroes are all the women who push to continue to add more diversity, the women who have mentored me, and additionally my mentees. The talented women that I've seen grow and gain success in their respective fields make me optimistic for the future of our industry. They inspire me every single day.
LBB> How does editing in the commercial world differ from the film world and TV world?
Tiffany> Commercial work operates on a much faster turnaround compared to film and TV. A commercial project can last anywhere from a week to a few months, whereas longform projects can stretch out over multiple years. Whenever I have the chance to dive into longform content, I love it because I’m immersed in the story more deeply. You get really close with your characters and you cherish those stories because you’ve been with them for so long.
But, my heart truly belongs to commercial and short-form content. I live for the variety of projects—working on something new all the time, collaborating with different people. Plus, working on multiple projects simultaneously is a fun challenge that keeps me on my toes, bouncing from one creative space to another. It's incredibly fulfilling for me.
LBB> Have you noticed any trends or changes in commercial editing over recent years
Tiffany> Mixed media has been insanely popular the past few years. It’s made its way into production; allowing the industry to not necessarily rely on stock, archival, or UGC. I believe filmmakers are eager to capture the authenticity that mixed media can bring to a story and it can often promote a certain dynamism in an edit. Personally, I love it and I feel it brings a uniqueness to my edits.
