For Zoey Peck, Sound Is the Foundation of the Edit

Zoey Peck is a New York-based editor known for her bold, expressive style, which can be seen in her work for Nike, adidas, Sabrina Carpenter, Calvin Klein, Charli XCX, and more.

Her edits often strike a balance between chaos and stillness, with sound design playing a central role. She recently joined the team at Papercut.

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

Zoey> I always start with sound design. For me, sound is the foundation – it helps set the tone, build the structure, and spark the viewer’s interest.

I begin by looking for sounds and music that complement the footage and give it structure. Then, using just two or three standout shots that immediately catch my eye, I start layering in sound to create a rough soundscape. That initial audio framework gives me a direction, and from there, I begin shaping the edit.

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?

Zoey> For me, editing has always been about feeling first; I rarely ever think about the technical part of it. I was able to develop this side of my craft by trusting my intuition and prioritising emotion over perfection. Sometimes the right shot isn’t the cleanest one – it might be shaky or slightly out of focus – but if it makes you feel something, that's what matters.

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

Zoey> It is important, even in pieces that don’t technically have a ‘story’. Structure can come from finding the moments you love and building around them. Whether it’s an hour and a half or 30 seconds, a strong edit creates momentum, builds to something meaningful, and finds a way to land. You can create it even when very little ‘story’ was actually written or intended.

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?

Zoey> Music is what first sparked my love for editing. To me, the two are inseparable – editing is rhythm, it is music. Even when there’s no actual soundtrack, I’m always feeling out where it builds and where it drops. Cutting to music is something I love, but even without it, I try to make the edit feel like it has a pulse.

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

Zoey> I recently edited a 90-second doc-style video for Spotify, which was directed by the incredibly talented Keaton Greene. The challenge was weaving together seven different voices into something cohesive and engaging, all within a very tight runtime. Balancing tone, pacing, and clarity – while giving each person a moment to shine and keeping it visually interesting – made it a creatively rewarding edit.

LBB> How important is your relationship with the director and how do you approach difficult conversations when there is a creative difference of opinion?

Zoey> It’s a key relationship that directly impacts the edit. My job is to bring the director’s vision to life, and I’m always honoured by the trust directors have in me. When something isn’t landing, or there are creative differences, it’s important for both sides to express exactly what isn’t clicking. Being honest and open usually leads to something better and stronger.

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?

Zoey> My favourite part is that moment right after I’ve watched all the footage – when the wheels start turning and possibilities begin to form. Thinking through all the different ways I could shape the edit is always the most exciting part for me.

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

Zoey> Too much footage is definitely more overwhelming, but not enough is usually a bigger problem. When there’s too little, the project often suffers – there’s just less to work with emotionally and structurally. So, while sifting through a lot of material is challenging, it usually leads to a stronger final piece.

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

Zoey> I am always proudest of the most recent ones because I feel as though I improve with every project I do. In this case, the most recent ones include a spot for Amazon, and another for the makeup brand Ilia.

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?

Zoey> Absolutely – brands are prioritising social content more than ever, which has changed how we approach the edit. A lot can get lost in the resizes, so even while cutting the main 16x9 version, I’m constantly thinking about how it’ll translate to other formats. There’s also a lot more pressure on those first few seconds – they have to grab your attention instantly.

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

Zoey> I don’t have editing heroes per se, but I do take inspiration from my peers and other editors whose work I admire. One spot that I think epitomises good editing is Nike’s ‘You Can’t Stop Us’ (2020) directed by Oscar Hudson and edited by Jessica Baclesse and Peter Wiedensmith.

LBB> How does editing in the commercial world differ from the film world and TV world?

Zoey> In film and TV, great editing is often invisible; if you don’t notice it, it means it’s working. In commercials, though, this is not always the case. Some brands want the edit to stand out. Attention-grabbing cuts, bold transitions, and rhythmic pacing are not just welcomed, but requested. That’s what I love about commercial work: editing can be at the forefront of what makes it compelling.

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

Zoey> Definitely. A lot of it shows up in transitions – white flashes of light, lens flares, blurry camera whooshes, stop-motion effects, match cuts, picture-in-picture moments – and I’ve used them all. Pacing has also gotten noticeably faster, mostly due to the influence of social media. Honestly, these might be things I cringe at in a few years, but right now, when they work, I love using them.