Finely Sliced: Following Your Intuition with Kenny Shimm
Kenny Shimm is an editor working with Lost Planet. He brings the same freshness to his commercial work (with brands such as Meta, Nike, and Adidas) as he does to his RIAA-certified Gold and Platinum music videos.
As an editor, Kenny’s distinct editing style allows him to work with some of the most acclaimed artists such as A$AP Rocky, Future, Metro Boomin, and Lil Uzi Vert. Two of Kenny’s projects have been nominated for MTV VMAs in 2023.
Kenny’s ability to combine cinematic sensibilities with a musical ear enables him to underscore each client’s visionary piece. His taste and skills as an editor are as modern as they are timeless.
LBB>The first cut is the deepest: how do you like to start an editing project?
Kenny> I like laying down a structure. Without a foundation, things can get repetitive. So, I make a rough guide to have as an idea of what I want to show at certain points. I do this mostly by following a feeling.
Before I hop on a call with creative, I like to look through the footage first and organise everything by scene and selects to see what there is to work with. This lets me naturally pick up on shots that catch my attention and generate some ideas on my own. Sometimes, I see things in the raw footage that end up being great transitional pieces.
Communication and coordination with the rest of the team are also really important, so when I speak with creative, I try to get a strong sense of what they want and am open to sharing my ideas with them.
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?
Kenny> To me, editing is about what you want the audience to see. When you get technical, editing can feel like solving a jigsaw puzzle, but there are actually many combinations. Something can technically be cut “correctly” in different ways, but it’s what you, as the editor, pay attention to that guides the flow of a scene. When all these little details add up, the way I see it, the emotion and mood come through by following your intuition.
LBB> How important is an understanding of story and the mechanics of story?
Kenny> The story is everything. Film is about understanding and revealing the story that needs to be told. In editing, I often consider when to reveal visual information to the audience. That decision has a lot of power.
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?
Kenny> I started as a music video editor, so I’ve had to think a lot about when to literally cut on and off the beat. I noticed how much I loved it when cuts were off the beat because it kept the viewer on their toes. If you can tell when a cut is coming, it’s less impactful. Every project has its own cadence, so it’s also important to hold out on a cut and let the shot breathe for a bit.
LBB> Tell us about a recent editing project that involved some interesting creative challenges.
Kenny> I think cutdowns are always a fun puzzle to solve. The fact that certain videos are only fifteen seconds means they need to be perfect while also being digestible. You don’t want to leave anything out, but you also don’t want it to feel too fast.
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?
Kenny> I think what’s great about the process of being an editor is that you can really help production get what they need. I’ve been on calls with creatives where they ask for specific techniques, and I am able to make sure that we capture them properly on set. This then allows me to do a better job in the edit process.
LBB> What’s harder to cut around – too much material or not enough? (And why?)
Kenny> It goes both ways. If you don’t shoot enough content to get what you want, it’s harder to piece something together. It requires a lot of creative energy to make up for what’s missing, but this in turn leads to a very clear image of what the final product will be in the end.
When you have too much footage, there are so many paths you can take to get to the final piece. It becomes difficult to know what you need to present at the end, which showcases all the hard work that went into the shoot. With my editing style, I prefer more footage than less because removing cuts is always easier than adding.
LBB> Which commercial projects are you proudest of and why?
Kenny> I really like the Rockstar Energy drink commercial I did this February. It has a sense of energy, fun, and a creative flow. I also like the Nike spot I did with Druski because it shows my range as an editor. Commercials allow me to showcase some fast and engaging cuts.
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?
Kenny> In the past, commercials generally emulated the look and feel of TV shows. Now, I notice that brands make their ads feel more like music videos. This makes sense because of how fast-paced social media is. The edits have become faster and flashier to help get people’s attention.
LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?
Kenny> Lee Smith, who edited most of Christopher Nolan’s movies, is an incredible editor. He weaves multiple independent storylines toward a single conclusion in a remarkable way. He also shifts his style per project while maintaining a timeless character throughout.
Another editor I admire is Leonardo Dalessandri, who made an incredible video on YouTube called 'Watchtower of Turkey'. He uses so many different techniques to introduce his audience to the country. It’s just really fun to watch and an incredible feat.
LBB> Have you noticed any trends or changes in commercial editing over recent years?
Kenny> I’ve noticed that trends are usually a way of counting yourself out for the years to come. When you think of something timeless, there isn’t a gimmick or anything “trendy” about it. Some of the best edits I’ve ever seen use little to no effects or go out of the way to follow what has been seen previously on TV or in films.
