Finely Sliced: Germain Wu’s Empathetic Approach to Editing
Trained as a mechatronics engineer and a multimedia designer, Germain Wu has 18 years of experience working in digital and post-production serving various positions as a 3D artist, motion graphics and compositor to offline and online editor. Germain is currently a senior editor at Prodigious Singapore.
LBB> The first cut is the deepest: how do you like to start an editing project?
Germain> Well, I like to approach a project by dissecting the brief, breaking down the semantics of keywords, and looking through the available material. This helps me identify the best approach for the edit or animation.
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?
Germain> An empathetic approach is crucial. I often find myself immersed in the material, almost intimately, focusing on the talent's performance. It's important to let the material guide the edit and enhance the performance, to achieve the best results.
LBB> How important is an understanding of the story and the mechanics of the story?
Germain> Understanding the story is essential whether in an edit or animation piece. It ensures the narrative flows naturally without forcing content to fit the brief. Identifying the right mechanics keeps the audience engaged and prevents confusion. Otherwise, you end up having something that says a lot but conveys nothing at all.
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?
Germain> Music is a universal language that transcends culture, making it the most tangible aspect in an edit that you can detect. It translates very well visually when you synchronise the pace of an edit or animation to it. I prioritise movements within a scene to create anticipation and tension, using expansive moments for emphasis. I often start with a music bed and some audio design, timing build-ups and crescendos to set the pace, then integrate visuals to build the story.
I do quite a bit of regional work with non-native languages and having this process is particularly useful when overcoming this barrier. It allows the visual language to lead the piece I'm working on.
LBB> Tell us about a recent editing project that involved some interesting creative challenges.
Germain> We recently had to tackle an editing project for a client with limited direction, a small catalogue of previously shot material, no storyboards, and evolving voiceover scripts. The footage featured roaming camera moves that seemed out of place. I had to really scrutinise the entire media pool, looking for subtle expressions and performances to create a coherent visual sequence. We used various editing techniques, including reversing footage and stabilising what are typically poor takes, and even added computer-generated (CG) elements.
The scenes that worked very well were not your typical takes. It was moments when the talent paused “acting” and was in her natural state when her persona shined through. These were the ones that really made the edit so much more genuine and authentic – it turned the edit around.
Despite the challenges, we managed to solve the ask of the client and delivered something that feels authentic and aligns with the brand's tone and voice.
LBB> How important is your relationship with the director and how do you approach difficult conversations when there is a creative difference of opinion?
Germain> Understanding the director's vision and working style is crucial for productive discussions. With data and performance metrics now playing a significant role, ongoing conversations are common. Maintaining an open approach facilitates collaboration and progress.
LBB> What’s harder to cut around – too much material or not enough?
Germain> Not enough material is always more challenging. While you can reframe the story with excess material, a lack of content limits your ability to make the edit work.
LBB> Which commercial projects are you proudest of and why?
Germain> The most challenging projects are often the most rewarding. Overcoming obstacles and thinking creatively to make a project work is always satisfying. It can only strengthen one’s skillset and bring a sense of fulfilment.
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?
Germain> Absolutely. The demand for attention and clicks has led to shorter, more concise videos. While this limits the time to convey a sensorial and authentic experience, it offers the exciting challenge of crafting impactful visual content within a brief timeframe.
LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?
Germain> I don’t really have a specific edit hero type. But the types of work I love started in the MTV era, especially work from directors like Michael Gondry and Spike Jonze. They were way ahead of their time. Growing up, their work profoundly influenced my own work and editing perspective.
LBB> How does editing in the commercial world differ from the film world and TV world?
Germain> I used to feel there was a big difference from when everything was shot on film and tape media, with cinematography playing a huge role in dictating workflows. However, the lines between these types of editing have blurred with technological advancements. The workflows now often overlap, making distinctions less pronounced than they once were.
LBB> Have you noticed any trends or changes in commercial editing over recent years?
Germain> Data analytics have increased scrutiny on edits, leading to shorter content with more information packed in. Visual languages are evolving rapidly, and traditional editing no-nos are now trending when done intentionally. Despite shorter production times and tighter budgets, storytelling and authenticity remain paramount.
The fundamentals of editing will persist, even as AI begins to influence the landscape.
