Finely Sliced: The Mastery of Pace and Rhythm with Tyrone Rhabb
Tyrone Rhabb is an editor with Cut+Run whose work encompasses commercials, branded content, music videos and documentaries. Tyrone’s body of work reverberates with vitality, timely narratives, and dynamic sound. His creative imprint can be seen on his collaborations with Nike, Away, Adidas, Fitbit, ESPN, and The Lion King.
LBB> The first cut is the deepest: how do you like to start an editing project?
Tyrone> Whether I’m working on a commercial, film, or music video, my first step is always speaking to the director after a shoot. Any general callouts regarding the footage are great to know before I begin to review and make my selects. I almost always do a light music search as I'm reviewing dailies. I'll find a playlist and just try to vibe out as I'm watching through in case something hits creatively for me.
For short commercial work, I generally just start editing the beginning of the spot. For everything else, I'll sometimes start working on the moment I'm most excited about editing. It could be as simple as a cool transition we discussed or the best scene, etc. I've had instances where I started editing the climax of a piece before anything else and then worked my way around it. The goal is to give the best part of the piece the most attention during the editing process. I really want that moment to sing emotionally.
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?
Tyrone> I'm sure many editors would agree that honing in on the emotion and mood of a film is a skill that we're constantly developing. It's just something that happens over time as you continue to work on great projects. You learn what to look for in the footage. You learn what pieces of audio evoke the mood you're trying to achieve. You learn that sometimes holding one shot on screen can do more for emotion than cutting between three-four shots. I tap into the emotional mindset by reflecting on the pieces of art that I find inspiring, whether they're films, paintings, musical scores, anything. I find ways to adapt those experiences into my work.
LBB> How important is an understanding of story and the mechanics of story?
Tyrone> Just like emotion in film, an understanding of story is also integral. When we understand the mechanics of story we then have the tools to shape it in creative and unexpected ways. In the short form commercial world, getting a story across in 30 seconds can be a huge challenge. There's always the risk of it being too dense or too cutty and confusing because you're trying to pack so much in. On the other side, with longer form pieces, you run the risk of creating something boring and drawn out without enough action, tension or energy. An editor who truly understands story mechanics will be able to confidently make strong decisions in either of these mediums.
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?
Tyrone> Before I was a commercial editor, I worked in the reality TV space (some HGTV, DIY, Travel Channel shows). I had a mentor who encouraged the younger AEs to avoid cutting to the music because the tracks were constantly being replaced or extended or cutdown. We cut scenes and montages without music and then would layer in tracks afterwards. It was a great exercise.
There's a natural rhythm and phrasing to scenes that should exist even without the help of music. In film, the breaths in between sentences and the pauses for reactions can really make or break a scene. Films can feel uneasy or frenetic if the pacing is too random or unexpected. That being said, cutting to music is actually really fun but I believe a true mastery of pace and rhythm occurs outside the constraints of a track.
LBB> Tell us about a recent editing project that involved some interesting creative challenges.
Tyrone> A couple of years ago I got to cut my first SuperBowl spot for Will Smith who was promoting his new 'Bel-Air' series on Peacock. The spot highlights people from around the world playing and performing the Fresh Prince theme song however they liked. We started the casting and editing only three weeks before the SuperBowl which was a huge time crunch considering the amount of approvals we needed from Will Smith, NBC, etc. We went through rounds and rounds of music composing, After Effects work and ultimately Flame work.
Everyone on the team was in a different city or time zone so we were all on live Zoom sessions working until 2am each night. It was one of those commercials that really put us all through the ringer but we came out the other side incredibly grateful for the experience.
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?
Tyrone> It's great having a say across all things post production because the choices we make as editors are done with intention and we want to see our ideas through to the end. The best part is when you do attend sessions and see how these talented artists elevate the work even further. You also build great relationships by interacting with other facets of the post department.
LBB> What’s harder to cut around – too much material or not enough? (And why?)
Tyrone> Having too little material to cut with is definitely more difficult but can also test your creativity. You're forced to cut around the limited number of shots in interesting ways to avoid an uneven performance, camera bump or buzzed focus. Having too much material is preferred but can be challenging to sift through (especially for a tight turnaround). At the end of the day, you have to be grateful for having options!
LBB>Which commercial projects are you proudest of and why?
Tyrone> I'm really proud of the Disney short I worked on celebrating the 25th anniversary of The Lion King on Broadway. The film is entitled 'Generations' and demonstrates the impact of the show across its 25 year run on Broadway. I worked closely in the edit room with directors Jams & Bash to make sure the multi-layered story was being told clearly without revealing too much.
I'm also super proud of my Fitbit 'Feel Your Power' campaign starring Youtuber/Musician Marc Rebillet. Directed by Florence's PHAM and Michael Barth, the global campaign was a big, bold and fun rebrand for Fitbit that stirred up a lot of conversation (and controversy) online. It's also a project I remember as having a ton of great footage (and other character vignettes) that we just couldn't fit into the broadcast spot. Sadly a lot was left on the cutting room floor.
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?
Tyrone> I've definitely seen a change in the projects I get asked to do. Nothing is necessarily being taken away, but instead we're now accounting for all of the different platforms and media buys that exist. There are new aspect ratios and title safe parameters we need to abide by. There are specs for all the streaming platforms and websites that didn't exist when I was first coming up as an assistant.
With that change comes some interesting work. In addition to 30 second spots, there are now teasers and long forms to tell stories in creative ways without the confines of traditional advertising.
LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?
Tyrone> My editing heroes are many of the editors I've had the pleasure of assisting over the years. The advice, wisdom and techniques I've learned from them have influenced my work greatly.
I tend to gravitate toward faster paced edits that leave me in awe but I've also developed such a great appreciation for longer form storytelling where the cinematography, slower pace, and beautiful sound design do the real talking. Some incredible spots and films that grab my attention are Richard Cooperman's Lexus 'Changing Lanes' directed by Melina Matsoukas, 'Gang' a short film for Dazed Magazine edited by Clayton Vomero, Adam Robinson and Micah Scarpelli and one of my favourites, Adidas 'House Party' edited by Gary Knight.
LBB> How does editing in the commercial world differ from the film world and TV world?
Tyrone> In the commercial world jobs come and go much more quickly. In the TV and film world, jobs take weeks and months to complete. I think you really become one with your project in a way we don't always get to experience as commercial editors. Many people also enjoy the stability of working on longer form content. I personally love the variety of work I get to do and see the time constraints as creative challenges.
LBB> Have you noticed any trends or changes in commercial editing over recent years?
Tyrone> Commercials were always short, but commercials in the age of social media are a different beast. The storytelling is much quicker and less nuanced in many cases. The editing itself, particularly for social media, can be less polished and more over the top. Jump cuts, for example, (which we're traditionally told to avoid) have become one of those editing tactics we use in order for brands to reach a younger audience on social media who would otherwise skip a traditional commercial.
