Finely Sliced: Why Problem Solving Is the Name of the Game with Alex Heisterkamp

Alex Heisterkamp has been with Camp Lucky since 2015 and is known not just for his editorial savvy but for his deadpan wit. Over the years, Alex has lent his eye and talent to projects for such noted brands as RAM, YETI, Costa, Dickies, Lego, Whataburger, Toyota, Subway, as well as the powerful 2021 PSA about the dangers of DXM abuse. His creativity, diligence, and tenacity are a magic trifecta that has earned the unwavering trust of clients and colleagues alike. Alex came to Camp Lucky from the world of entertainment, working as a story editor on the ‘Bar Rescue’ series for the Paramount Network and 'My Cat From Hell' for Animal Planet. It was this early experience in reality and docu-programming where he first appreciated editing’s impact on tone, mood, and story. He’s never looked back.

LBB> The first cut is the deepest: how do you like to start an editing project?

Alex> I like to go in as blind as possible. Of course, I’ve read through the scripts and chatted with the creatives about overall tone, but I don’t want to be compromised by the shooting script notes or anything else. I just watch every frame of every take, and use colour coded markers to tag my 'selects' and 'super selects.' Once I’ve done that, I cross-reference my selects with the script notes to make sure what I’m seeing aligns with what the director/creatives were feeling on set.  With the amount of footage that comes in for some projects, this can make for a daunting task – but once you get through it, the fun begins.

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?

Alex> It is a combination of instinct and research. I think there is a reason why most editors are film/tv nerds. You have to be a bit of a sponge. Every time you watch something, the back of your mind is dissecting what it is that makes a scene 'work.' The use of music, sfx, when or when not to cut - there is an infinite amount of combinations. It really is art and science. 

LBB> How important is an understanding of story and the mechanics of story?

Alex> It is pivotal. Story is the one thing that connects us as humans, it is how we draw the viewer in and make them care. The same principles apply to a fifteen second ad that apply to a ninety minute film.

It’s rare that a spot delivers exactly as it was storyboarded. So much can happen on set – it’s our job to take the best moments from production and bring the story to life.

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?

Alex> First off, yes - I love cutting to music. It is a freeing experience. I really enjoy layering different screen modes when I edit, and when I combine that with cutting to music it puts the creative half of my brain into overdrive. It feels like riding a bike on a gravel path, where you’re in control, but sometimes your back tire will slide out from underneath you.

One of my mentors completely changed the way I look at editing. I used to focus on the visual side of editing and get a rough cut down before I started on sound design and music. But now I basically cut the music and sound design the big stuff (hits, risers, etc.) before I lay any picture down on the timeline. It felt very backwards the first few times I worked in this order, but I’ve found it to be a much more sane way to approach a spot.

LBB> Tell us about a recent editing project that involved some interesting creative challenges.

Alex> Problem-solving is the name of the game, and we are the last line of defence before it’s in the public eye. That little bit of pressure is what makes our job so exciting.

I just finished cutting a broadcast :30 for a university; like one you see during college football season. It felt like every single department at the school was filmed for the spot! Properly showcasing every discipline, while also acquiescing to institutional feedback, made for a fun and rewarding journey.

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?

Alex> I’m very fortunate to work at a company that has production and post-production under the same roof. I can pop over to the sound stage while we are shooting, to just support or weigh-in if I have any last second ideas. It creates a very collaborative experience with the entire creative team, and we use that good energy all the way through the edit. I never feel like a hired gun, which is nice.

LBB> What’s harder to cut around – too much material or not enough? (And why?)

Alex> ‘Not enough’ by a mile. It’s like fighting with one hand tied behind your back. When you don’t have enough material, you don’t have all the tools in your toolkit. The lack of footage starts to shape the choices you make, and it leads to a lot of “I can’t…” - which is a cardinal sin in an edit bay. Optionality is key, and when decisions are made for you based on a lack of material, the viewer will feel it in the final product.

LBB> Which commercial projects are you proudest of and why?

Alex> I’m proud of all of my projects for different reasons. Last year, I was asked to help RAM create their launch video for the RAM Revolution concept truck. It was introduced by the CEO at a big auto show, so the stakes were high. What made it so fun was the creatives gave me a ton of latitude to experiment and try things. This was also my first experience with heavy CGI, which added a new and welcome challenge. All these things, plus the client loving the video, made for a great experience. 

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?

Alex> Broadly, it feels like more smaller projects are being made, as opposed to fewer larger campaigns. I think it’s a sign of where things are going and how we need to position ourselves in the new marketplace. I think it’s exciting because brands seem to be more willing to experiment and take risks more so than in the past. 

LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?

Alex> My Hollywood heroes - Skip McDonald (who cut a lot of Better Call Saul and Breaking Bad) and Adam Lock-Norton, who cut a large amount of the content in the Nathan Fielder universe.

My real editing heroes are my fellow Camp Lucky editors Sai Selvarajan, Logan Hefflefinger, Marc Stone and Elizabeth M. Stewart. They’ve been my mentors for the last eight years and have had a profound impact on my career. I would not be where I am today without them. 

LBB> Have you noticed any trends or changes in commercial editing over recent years?

Alex> I love the visual flair that has taken over the last few years. Everything feels more purposeful and extravagant. Instead of shot - reverse shot, directors are using whip pans, crash zooms, masking, etc. to make the story feel more vibrant. And then on socials, it’s taken to the extreme where the visuals are so intense it’s almost seizure-inducing…I love it.