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www.postmagazine.com 8 POST SEPT/OCT 2025 BITS & PIECES TRIM EDITING LAUNCHES NEW L.A. OFFICE LOS ANGELES — Trim Editing (https://trimediting.com) has opened a new Los Angeles office in West Adams, offering a welcoming space for directors, cli- ents, editors and collaborators. The company was founded in London in 2004 by Paul Hardcastle, who alongside edit partner Tom Lindsay and managing partner Jemma Daniel, built Trim into an award-winning editorial house. In conjunction with the opening of the new studio, editor Jamie Foord has joined the company as partner, leading the West Coast location, along with managing partner/executive producer Michael Miller. "Once we discovered West Adams, we knew that's where we wanted to be," says Hardcastle. "It has a really strong identity that mirrors our London location and is so well located for people, whatever side they are based. The local com- munity has been so welcoming, be it residents who pop in to see what we are up to, or production partners who have also moved here. We started Trim with the rule to chase creative ideas so the work can do the talking for us. Having LA partners Michael and Jamie, with their similar creative sensibilities, has been a fantastic start to this West Coast chapter, and I'm excited to see where it goes." Foord brings decades of experience to the role, with a career that includes a long tenure at Rock Paper Scissors, and multiple AICP and Clio Awards. A London native, he built his reputation in the US as an editor known for turning a wide range of creative perspectives into emotionally-resonant, story-driven work. His portfolio spans collaborations with numerous directors, as well as major brands, including Nike, Apple, Xbox, Calvin Klein, Ford and the NBA. "Trim was a no-brainer for me," remarks Foord. "The work that Trim has made over the years is second to none, and to be so humble and decent simul- taneously is pretty amazing. My long-term hope is to continue developing as an editor while helping to build something special with Trim US. I can't wait for us to add more good people to our roster and see what we create." THE STUDIO'S EMMY WINNERS SHARE INSIGHT LOS ANGELES — Apple TV+'s The Studio, featuring Seth Rogen as Matt Remick, the head of Continental Studios, had a hugely-successful Emmy sea- son, taking home awards for Outstanding Casting, Cinematography, Comedy Series, Costumes, Directing, Lead Actor, Main Title Theme Music, Picture Editing, Production Design, Sound Editing, Sound Mixing and Writing. Eric Kissack, ACE, is an editor on the series, which he cuts in DNxHD 1080p using Avid Media Composer. He was honored with an Emmy for his work on the pilot episode. "I'm very proud of the first episode of The Studio — 'The Promotion' — be- cause that's where we really locked in how we were going to pull off these long takes and still give us the flexibility to create a tight, funny comic edit," he shares. "I was on-set for the entire shoot, and I worked closely with the direc- tors and the DP to design a way of shooting that allowed us to create what felt like a series of oners, but were actually modular pieces that could be swapped or condensed as needed. There was a ton of learning as we went, but ultimate- ly, I believe we created something that has the elegance and fluidity of a oner, but the crispness and pacing of a well-edited episode of television." Lindsey Alvarez, CAS, is re-recording mixer on the show, along with Fred Howard. The team uses Avid's Pro Tools for mixing, with Alvarez handling the dialog and music. Both were honored with Emmys for their work on "The Golden Globes" episode. "Since the dialog was mainly recorded through lavalier microphones or clip mics, I used a combination of EQ and compression from the FabFilter bundle, and I used other plug-ins to help with isolation, such as Waves Clarity, Hush Pro, and iZotope RX," notes Alvarez. "I'm also a fan of Accentize's Chameleon to help with ADR matching. For reverb, I've been ex- perimenting more with FabFilter Pro-R2 and Cinematic Rooms by Liquid Sonics." Howard adds that he's using an Avid S6 control surface while working within Pro Tools, and that they are creating a Dolby Atmos mix. Supervising sound editor George Haddad, MPSE, also works within Pro Tools, employing Izotope software for cleaning up rustle and other unwanted sounds tied to production dialog. He uses Reason Studios samplers and Phase Plant for sound design. "For the mix, we were given three days per episode," explains Alvarez. "Fred and I will mix dialog and all the FX together to start. Once that's at a good balance, we lay the music on top from start to finish. This helped with pacing and giving a breath to the music, since the score had so much energy with the tracks composed by Antonio Sanchez." Howard adds that once the show started mixing, they continued to mix episode to episode without any schedule pushes. "This was a pretty big deal, and can be rare in the streaming world for a show not to push or re-deliver a revised 'locked' cut." Trim's Hardcastle, Miller and Foord