Finely Sliced: Birgitt van Heertum on an Editor’s Gut Instinct
Birgitt van Heertum is an Amsterdam-based film and commercial editor, known for her dynamic storytelling style and intuitive sense of rhythm. With a strong portfolio that includes award-winning campaigns such as “Too Many” for Vinted, Birgitt has crafted memorable work for other global brands like Heineken, Takeaway.com, and Procter & Gamble.
After working as editor at Blink in Germany, Birgitt brought her expertise to Wolfstreet as a senior editor. Here, she refines her storytelling skills, shaping standout campaigns that connect with audiences across Europe.
LBB> The first cut is the deepest: how do you like to start an editing project?
Birgitt> I usually start by laying down a very rough cut to get a feel for where we are and where we need to go. I often use the second-to-last take, as it tends to be one of the stronger ones, to shape a basic beginning, middle, and end. As I go, I work on smaller sequences whenever inspiration strikes.
This approach gives me a clearer sense of the footage, so I can make more intentional selects by focusing on specific movements or matches.
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?
Birgitt> I like that editing has a technical side, but I see those skills as a way to make room for the story I want to tell. How I work with footage and software is all about giving myself the freedom to be creative. Sure, technical skills help in a pinch, but making something that really connects with people comes down to empathy.
As for development, I love consuming all kinds of media, not just film. As a viewer I really feel things deeply, and I enjoy revisiting stories or performances again and again to figure out how they work and why. It’s a constant process of recognising these conventions for myself so I can use them effectively.
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?
Birgitt> Edits should always flow with a natural cadence and rhythm. Scenes carry their own tension, montages build and release, and jokes need just the right timing. I believe every editor has a gut instinct for pacing - that feeling when it just ‘clicks’ and feels right.
When I cut to music it’s always a very deliberate choice I make for specific projects and moods I want to go for. It’s super fun and makes for strong edits, but I generally try to avoid it so I leave room for myself to see if I can push the footage.
LBB> How important is your relationship with the director and how do you approach difficult conversations when there is a creative difference of opinion?
Birgitt> I really enjoy the collaborative side of editing. Building a trusting, open relationship with the director is super important to me, even if we’re working together for the first time. I’m their biggest supporter, but I’m also there to challenge them when needed. I’ve been lucky to work with some great directors where there’s always a lot of mutual respect.
When it comes to creative differences, I’m all about keeping things open. The director usually comes in with a lot of background from the (pre)production, while I try to stay as fresh to the footage as possible. That way, we can both look at it from different angles, which often leads to great discussions. My go-to is usually, ‘let’s just try it.’ We’re both creative and know what works, so I’ll lay down a sequence, and we’ll feel it out from there.
In the end, we both want to create something we’re excited about, so for me, the most important thing is that we deliver an edit we both love as a team.
LBB> What’s harder to cut around – too much material or not enough?
Birgitt> When something is overshot, the editing can become a bit of an overthinking game. You end up drowning in too many similar takes, and while most of them are good enough, you start second-guessing yourself, trying to find that one gem between gems that probably doesn’t even exist.
On the flip side, having limited footage can push you into creative directions you might not have explored otherwise. That’s when my experience really comes into play, as I dip into my toolkit to build something out of what seems like almost nothing.
LBB> Which projects are you proudest of and why?
Birgitt> Recently at Wolfstreet we wrapped up a big campaign for Vinted, and it was such a joy to work on. Everything came together really well from start to finish. The creative was super fun, it was beautifully styled and shot, and working with director Fabio de Frel was a great experience.
We were very much in sync from the beginning and managed to condense and translate the concept really effectively. The campaign ended up making its rounds online and started to take on a bit of a life of its own. I even saw some random re-edits pop up, which was a fun to see.
LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?
Birgitt> The list is truly endless, to name a couple of big ones Joe Walker and Jennifer Lame come to mind. I feel they both manage to be so present in the edit of these big blockbuster films they make. They can craft these small delicate moments in sequences or sometimes in just one cut. And when Aitor Bigas’s Steel of India commercial came out, I watched it on repeat - it’s such a masterclass in pacing, rhythm, and match cutting.
And speaking of really seeing an editor in their edit: Sally Menke, because… Sally Menke, need I say more?
LBB> Have you noticed any trends or changes in commercial editing over recent years?
Birgitt> A whole generation of editors is entering the industry now with unprecedented access to all kinds of media. You often see edits that are incredibly distilled, using tried-and-true techniques to get the message across faster than I’d sometimes even expect. It’s exciting to watch!
