Church Edit: Where Creativity Has No Boundaries

“It’s been an incredible year,” says Church Edit co-founder Mah Ferraz, as she looks back on the past 12 months of award-winning work, roster-building and more.

The edit company, led by Mah, was established alongside fellow co-founders James Drew, also founder and EP at Ethos Studio, and Jerad Anderson, founder and EP at Florence, who were inspired to create a forward-thinking, artist-driven house that champions creativity, rejects outdated practices, and, vitally, provides a safe haven for artists from all backgrounds to congregate.

Mah says that Church represents a “new wave” in the industry that fellow creatives, collaborators and peers quickly supported and rallied around. “From day one, it felt like Church was born already walking – we hit the ground running and haven’t looked back since. The response from the industry has been overwhelmingly positive and supportive, and we’re so grateful for the trust and opportunities we’ve been given, and continue to receive.”

Mah has years of experience in commercial editing, boasting over 85 awards to date for clients including Meta, Apple, Nike, Coca-Cola and Spotify, but Church, like its co-founder, refuses to be defined by the past. Instead, the company has a simple goal, “to do things our own way."

Quickly gaining momentum since opening its doors, the team’s belief in bringing a “more holistic approach to storytelling, branding, and culture” has resonated widely. “What’s been especially exciting is the way we’ve attracted like-minded collaborators who see the potential in this path we’re carving,” Mah says. “There’s a real sense of shared purpose and creative energy, and we’re only just getting started.”

A Roster Based on Talent – Not Zip Codes

From the get-go, faith in Church’s belief system was so strong that it was enlisted to work on a campaign before it had officially opened its doors. The project, for Ray-Ban x Meta, epitomised Church’s “values and vision”, which were already resonant, despite having “no logo, no branding, and just the vision of what Church could be.”

Edited by Aaron Saiki, Church collaborated with Translation and production companies Scheme Engine and Partizan on the series of films. The campaign was “all built on trust,” says Mah. “It all came together organically: a Brazilian editor cutting a US campaign, working alongside an agency and directors we love, for a company that technically didn’t exist on paper yet. It was all built on trust – trust in the talent, in the team, and in the creative. And not only did they trust us – they were just as excited to see Church launch.

“That project was more than just a great first job – it was a moment of real affirmation. It showed us that the industry is open to the idea that talent has no borders, and that trust is key to great work.”

 ^{Above,  Ray Ban x Meta 'The Art of Downtime', directed by Erikah Badu, edited by Aaron Saiki}

Aaron sits on the roster alongside a diverse, global group of talent – a “roster based on talent, not zip codes,” selected for their existing skillsets or budding artistry, capable of growing through close mentorship and collaboration. Mah describes the process of building the roster as “one of the most exciting parts of this chapter,” adding, “I love discovering new voices or coming across an editor whose work I admire, and imagining a future for them at Church. We’ve built an incredibly talented roster, and I feel proud to work alongside them and am constantly inspired by their artistry.”

Mentorship has long been a part of Mah’s philosophy, beginning with supporting assistants in their own personal growth and development. At Church, this extends across the whole company. “Now, I get to do that across the whole Church team – championing new voices, guiding their development, and helping them reach their goals. It’s very rewarding.”

Mah's partner, Emilie Aubry, was named partner editor at Church, closely intertwining the pair’s personal and professional lives. For Mah, this unity at both work and home is made possible by openness, communication and mutual respect for one another’s craft. As she says, “Emilie and I have a really special bond. We can talk about anything, and we make it a priority to do that – both in our personal lives and at work.”

The couple’s personal and professional lives see them regularly travel, providing ample ground for creative inspiration and conversation. “We’re constantly in motion, both geographically and creatively, and that energy feeds into our work in really exciting ways. It makes our partnership feel very creatively enriching."

At the same time, Mahworks closely with her fellow co-founders on business affairs and management decisions. “That separation is healthy and creates a good balance,” she says. “It all comes down to communication and having fun with it. We’re always bouncing around ideas, and she’s been a key part of the vision for Church.”

​^{Above,  Ray Ban x Meta 'The Art of Downtime', directed by Coco Gauf, edited by Aaron Saiki}

Building a Global Creative Community

Even from the beginning, Church was envisioned to be “global by design” – a place that “puts creativity and talent first,” fostering a community of diverse talent from all over the world who work internationally on campaigns that directly speak and contribute to culture.

“We’re committed to spotlighting and championing talent from a wide range of cultures and perspectives,” Mah says. “By doing that, we’re building a truly global creative community – one connected by a shared passion for editing and storytelling. It’s a space where people feel supported, inspired, and empowered to pursue their passions, no matter where they come from or where they’re based.”

It’s a mission that’s “deeply personal” to Mah. As an immigrant from Brazil, she had to believe in herself and her talent to build her career in the US, and wants to help others do the same. “I know firsthand how important it is to believe in your talent and your future beyond borders. I want to help open those same doors for others – to create opportunities that reach across geography and background.”

Being geographically fluid is in service of the work. The edit house has a strong physical presence in LA, with a New York location coming soon. It works internationally in Europe and South America, and does not let location dictate the work it takes on, or the editor responsible for the cut. “What matters most is matching the best talent with the best creative.

Wherever we need to be, we have an amazing production team that finds creative ways to make it happen. It’s all in service of keeping creativity at the centre of what we do.”

Beyond the work, Church stands as a place for people to come together, “fostering a sense of community in both spirit and practice.” It regularly hosts intimate gatherings for its team, as well as larger, public-facing events. As Mah puts it, “We’re creating spaces where people can connect, collaborate, and draw inspiration across the broader creative world.”

“The idea of Church being global, nurturing talent, and fostering a meaningful culture where people feel empowered to do their best work was always the goal, and it feels amazing to see that actually happening,” Mah continues, reflecting on the past year, and her overarching ambition for diversity to be prioritised in the industry.

Progress has been made, she notes, but there are still significant strides to be made. “What excites me most about the industry right now is the growing push for new talent and greater diversity – two things that were rarely prioritised when I first started out in this business. I love seeing younger directors and agency teams in the room, bringing fresh perspectives and new ways of thinking. While there’s still a long way to go when it comes to true diversity, it’s encouraging to see those conversations happening more openly. That shift gives me hope for where the industry is headed.”

A diverse, representative workforce helps in turn to take on some of the challenges facing the industry, tackling a mindset that “resists change – an outdated way of thinking that can limit opportunities for new talent, and prevent more diverse voices from entering the room.” Mah strives for a balance, whereby loyal, longstanding relationships don’t restrict new talent and ideas from getting a seat at the table, “It’s amazing to work with people you know and trust, but new partnerships are just as important. They bring fresh perspectives and help push the work forward.”

Co-founder James Drew echoes that spirit, “Church was never about building just another post house—it’s about building the kind of creative culture and mindset we want to see in the industry. Talent-first and always evolving.”

“For us, it’s always been about creating a space for new ideas, unexpected voices, and good work to thrive,” adds fellow co-founder Jerad Anderson.

Looking ahead, Church will continue to do things its own way. Mah concludes, “Our goal is simple: to keep growing – our team, our roster, and our community – while continuing to do work that truly excites and inspires us.”