Experimenting Without Limits: Aitor Bigas on Redefining Editing in Music, Fashion, and Commercials
A visionary editor celebrated for his transformative work across commercials, fashion projects, and music videos, Aitor Bigas has quickly become the go-to guy for artists that want to tell stories that pack a punch. His recent Silver win at Cannes Lions for Best Editing in Film Craft highlights his mastery in the craft. His collaboration with director Ayappa on the Jindal Steel film exemplifies his approach - spontaneous yet meticulous, crafting a narrative mosaic from unscripted moments across India.
Rooted in his background as a drummer, Aitor's editing style is characterised by its dynamic synchronisation with music. Whether enhancing Rosalía's rhythmic allure or capturing Bad Bunny's infectious energy, he seamlessly integrates visuals with music, infusing each project with his distinctive creative touch.
In the fashion realm, Aitor revels in creative freedom, sculpting narratives for brands like Gucci and Loewe with fluidity and experimentation. LBB’s April Summers learns how The Acne Studios' 'From Model to Marble' campaign represents a milestone moment in the Modern Post editor’s career, showcasing his evolution towards a style characterised by rhythm and rapid cuts. Meanwhile, his recent collaboration with Nike and Futura underscores his ongoing journey to redefine visual storytelling, hinting at a future where his editing prowess continues to shape and inspire across diverse creative landscapes.
LBB> Congratulations on winning a Silver at Cannes Lions for Best Editing in Film Craft for Jindal Steel – it is truly a masterpiece! Can you walk us through your experience working on the campaign? What initial ideas did you have upon receiving the brief?
Aitor> This project came about when I was in New York City during the Christmas holidays. I was unsure about joining because I felt I needed a break. However, the team was very enthusiastic, so I decided to participate. The director, Ayappa, flew from India to Barcelona to work with me for a week. There was no script or storyboard; just various situations around India, creating a puzzle for us to piece together. Working with Ayappa allowed for total freedom. There was a lot of back and forth, experimenting, and trying different things to make the best connections and edits possible. It was tricky, but we found a way to make it work as it is now. The process was about orientation, experimentation, and finding what works best.
LBB> You have collaborated with many directors on high-profile music projects for artists like Rosalía, Bad Bunny, and Camila Cabello. How do you approach editing to complement and enhance their distinctive visual and musical styles while bringing your own creative touch to the project?
Aitor> Every project is unique, that’s for sure. For example, when working with STILLZ, the main director I collaborate with on music videos, he always uses an animatic before shooting. This gives us an idea of how we can structure the video. Once we have the first structure of the lip sync, I will start building the different elements.
I think I have my own style for music videos. I love fast editing that follows the music 100%. I've been a drummer since I was 16, so I always try to follow the drums and melody closely. This focus on the melody helps me chop and edit scenes in a way that enhances the overall rhythm and feel of the video. This has become a key part of my editing style for music videos.
LBB> "Titi Me Preguntó" by Bad Bunny was a massive chart-topping hit. How did you approach editing this music video in a way that not only captured the essence of the song's narrative but also Bad Bunny's globally recognised unique style and vibe? What techniques did you employ to achieve such a compelling visual story?
Aitor> This video was super fun. I met the director, Steelz, back in 2022 in Barcelona while working on a TikTok performance video. We hit it off creatively. Then he invited me to join a music video project in Los Angeles with Bad Bunny, marking the first time we worked together on a proper music video.
He gave me a lot of creative freedom for the video. I aimed for a classic hood style video, focusing on fast chopping, following the harmony of the cuts between shots. I also used different freeze frames in specific parts of the video to add to the overall drama and feeling.
LBB> How was your experience editing the music video for Camila Cabello’s new song “I LUV IT”?
Aitor> That video was my first time working with Modern Post. I joined in January, and this project happened in February. When I arrived at the Modern Post office in Los Angeles for the first time, my most iconic memory was meeting the team - they were all incredibly kind. It was a great experience.
LBB> From music videos to commercials and fashion films, each genre requires a distinct editing style. How do you navigate these differences, and what do you find most rewarding about each type of project?
Aitor> In fashion projects, there are no strict rules - I'm free to do whatever I want. I can follow the music, voiceover, or any creative direction I choose. I really enjoy this freedom because it allows me to experiment and create based on my instincts at that moment. In contrast, commercials often require me to stick to a storyboard, and music videos need me to follow the rhythm and structure of the music. Each has taught me different things when it comes to editing.
LBB> How have your collaborations with fashion brands such as Gucci and Loewe inspired your creative process?
Aitor> One of my favourite fashion campaigns I worked on was Acne Studios’ ‘From Model to Marble’ (directed by Manson) in 2020. This project was significant for me as it marked the beginning of my own editing style. It felt like a breakthrough, guiding me toward using rhythms and fast cuts. I still love the video and consider it one of my best.
LBB> What are some of your "editorial musts" or principles that guide your work, regardless of the project type?
Aitor> When there are no limits and I’m given complete freedom, that’s where beautiful things happen. Without strict rules, I can truly expand my creativity, following my instincts in the moment and allowing things to unfold naturally.
LBB> Looking ahead, are there any upcoming projects or collaborations that you're particularly excited about?
Aitor> I just released a project with Modern Post, directed by Christopher Anderson for Nike and Futura. It came out a few days ago, and I’m really proud of it. Working with Christopher Anderson, a legendary photographer with a great eye for moving images, was fantastic. While this project is brand new, I’m not able to discuss my other current projects at the moment, so it’s best to keep those under wraps…
