Learning to Solve the Editing Puzzle with Sarah Welty
For Sarah Welty, editing wasn’t simply a discipline she wanted to master, but a “complex puzzle” she yearned to crack. Her eye for editing has been shaped by her musicality and “obsession with craftsmanship”, a trait that can be traced back to her childhood, as she poured over ‘making of’ books to unpick how her favourite films were made.
Part of the roster at Uppercut Edit, which she first joined as an in-house cutting assistant, Sarah brings a unique approach to the role, blending her fashion conscious mindset with an eagerness to solve problems through craft and creativity.
Working extensively in the luxury fashion and beauty space with brands and labels such as Oscar De La Renta, Savage x Fenty and Vogue, the category offers a chance for Sarah to push boundaries and experiment, drawing inspiration from her background in experimental and art films, whilst showcasing her distinct understanding of the movement and fluidity of garments and fashion pieces.
To learn more about her background, influences and approach to editing, LBB’s Abi Lightfoot met with Sarah.
LBB> Firstly, I’d love to learn more about how you got your start in the world of post production and editing?
Sarah> I started in the industry where most people start - at the bottom! Luck landed me my first job out of art school at a post house as a PA/runner, and that was where I really began growing a love for the craft. I was really lucky to start where I did, surrounded by some of the best in the game who were also kind, generous and willing to teach. I started seeing editing as something more philosophical - as a complex puzzle I wanted to crack, and a medium I wanted to explore.
LBB> And had you always known that you wanted to work in film?
Sarah> I think deep down, yes. Growing up, I always had a great love of cinema, but looking back, I realise I was most drawn to behind the scenes exploration. I had a few ‘making of’ books about my favourite movies that I would look through constantly. I saw the kind of creative problem solving specific to cinema as something so fantastical; I think I always knew I had to be involved somehow.
LBB> How would you describe your editing style and approach? What’s the first thing you look out for when taking on a new spot?
Sarah> The first thing I do when starting a project is pretty ordinary - buzz through the footage. What's the vibe? How does it make me feel? How do I want it to make you feel?
Once I understand the footage, my focus shifts immediately to audio. The audio bed is how I drive my edit, whether it's through atmosphere and sound effects, music and a straightforward beat, or all of the above. For me, this is the foundation, and everything comes together from there.
LBB> You’ve cut for a vast array of brands and well-known celebrities such as Savage x Fenty and Vogue x Ebay. Was there a moment when you felt as if you’d ‘made it’ as an editor?
Sarah> It's tough to say, but the creative director of Oscar De La Renta once ordered me the gown I had been drooling over from their latest collection while working on the film for it. I think I actually started to cry a little when I got the text.
Though in all seriousness, I had the opportunity to speak to an editor I've long looked up to and admired, and they complimented me and my work in earnest. To be honest, I was so shocked to be considered a peer – but I think this interaction helped me let go of a lot of anxiety about whether or not I belonged in the chair.
LBB> You’ve worked extensively within the fashion space - why is this an area that appeals to you so much? How do you infuse your own style and flair into projects?
Sarah> I have an obsession with craftsmanship and mastery across all disciplines, so working in luxury fashion is like being able to witness the greatest and most creative celebrations of wearable, kinetic architecture firsthand. I am so drawn to creation details, structure, and how pieces move on a body that I think my eye offers a unique approach to seeing and understanding fashion in motion.
Although I most often work in advertising, my background leans more towards experimental and art films for installation/environment and gallery. I have found the luxury fashion and beauty space to be a beautiful intersection of the two - it very often allows me to push the boundaries of a film and blur the definition of what an ad should be.
LBB> The director-editor relationship is an incredibly important one. How do you collaborate with a director to bring their vision to life and nurture this relationship?
Sarah> I think the same way you would nurture any creative relationship – figure out how to work together. Everyone has a different process, different needs and different expectations, but on every project, we have the same fundamental goal: create something amazing. When this is the foundation of your relationship, I find things tend to fall into place, even if everything surrounding a project is hectic.
LBB> You’re represented by Uppercut, how have you honed your craft and gained experience as part of the team there?
Sarah> Watching and being guided by my more experienced peers for sure, continuing to learn the craft from them, and learning from their time in the industry. Few things can beat time and experience.
But I do think people often underestimate the power of watching the youth and new generations entering the space. The incoming gens will have a more organic understanding of how many emerging technologies work, and keeping them involved in the growth process can be a really powerful asset. I’ve learned so much from watching the terrific group of assistants we have here at Uppercut – it’s a really unique place. From our founder, Micah Scarpelli and our incredible EP, Lisa Sadek at the top, all the way to the bottom, we are all pushing for the growth and success of one another.
