Where are you currently employed?
I work freelance through my editing and documentary production studio in Culver City,
Chakravision Productions Inc. (“Chakra” is an abbreviation of my first/last name and “vision” is short for television. I am not a yoga master.)
Current projects?
I’m editing and producing esteemed director Jon Avnet’s first documentary feature about American Ballet Theatre’s prima ballerina, Isabella Boylston, and I just finished “Beast Games” for Prime Video. Recent union projects included “The Magic Prank Show with Justin Willman” for Netflix, “LA Fire and Rescue” for NBC, and “Project Greenlight: A New Generation” for MAX.
Describe your job.
I’m an editor/producer of unscripted/documentary television and film projects, working on everything from shiny-floor game shows to docuseries. I craft story in post-production and work with production on writing pickups, tracking down acquired media, and creating the feel of the edit. Much of my time is spent digging through hours of material to achieve minutes of programming in the final version. I prefer storytelling that follows real subjects because it allows the editor to be the auteur as we control many aspects of the released edit.
How did you first become interested in this line of work?
I studied Television/Motion Pictures and Sociology at the University of Miami. At a festival I founded called Film Art Revolution, we showed student films and had music school students live-score them. Over time, I became interested in how editors’ control over light and sound could evoke emotional responses in viewers. Learning how integral editors are to that process inspired my passion for editing.
Who gave you your first break?
I got an opportunity to work as an assistant editor under the late renowned trailer editor Thomas Swords in Connecticut and New York. Under Tom, I worked on trailers and TV spots for films from Miramax, Hallmark Entertainment, October Films, Cabin Fever Entertainment, New Line Cinema, and Sony Pictures Classics, among many others. I quickly learned Avid Media Composer within its first few years of widespread use and worked up to co-editing trailers and TV spots.
What was your first union job?
My first union editing gig was at Mark Burnett Productions working on a show called “On the Lot,” which Steven Spielberg co-produced. I think it’s kind of funny, but also an honor, that my first Guild gig involved Spielberg.
What credits or projects are you proudest of, and why?
Early in my career, I cut an alternate version of the trailer for “Swingers.” I’ll never forget the excitement of seeing something on the silver screen that I had cut. The next credit/plot-point in my career was editing the pilot for “The Osbournes.” Months later, I found myself in the epicenter of a cultural phenomenon when the series became the first Emmy-winning show I’d ever been involved with. On “Real Husbands of Hollywood” with Kevin Hart — one of my first scripted comedy projects — I got to work with long-time friends A.J. Catoline, ACE, Rob Kraut, and Richard Sanchez. While working on that show, we ran for the Motion Picture Editors Guild board as an “Unscripted” slate and all got voted in. We worked tirelessly to create a springboard for early unscripted organizing successes, which I’m very proud to have been part of. Working on “The Voice” for nine seasons was an incredible experience because, as a musician, I enjoyed seeing how the sausage is made, and I earned my first two Emmy nominations as an editor. The documentary I’m working on now with Jon Avnet is probably the most significant culmination to date of my collective experience as an editor, producer, and storyteller.
What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
The biggest challenge may have come from my most recent project, “Beast Games” for Prime Video. It started with 1,000 contestants covered by 100+ cameras, 1000 GoPros, 1,000 microphones, and editing in Adobe Premiere Pro using over 10 video formats and assorted frame rates. The show married YouTube style with conventional legacy media unscripted editing to create a new “Franken-genre.” To overcome the stress this caused, I took a deep dive into Adobe’s new AI and upgraded features. I also had to check my ego at the door because the team on this show was truly spectacular, insanely talented — and many were half my age.
What was the most fun you’ve had at work?
Working on “The Osbournes” for MTV. With comedians like Henriette Mantel, Jeff Stilson, and Sue Kolinsky producing in the bays with us, we played, laughed, and shared ideas. We were crafting an unscripted show into a sitcom, which felt both genre-bending and super-rewarding. Also, our team of editors included some of my favorite people in the world, including David Tedeschi, Mary DeChambres, Richie Edelson, Brian Ray, and Greg Nash.
Jobwise, what do you hope to be doing five years from now?
Work in 2024 has been slow for so many of us, so I hope that in five years, I’ll still be working in this field. I’d like to continue working in scripted comedy television and feature documentaries. I’d also like to edit feature comedies.
What are your outside activities, hobbies, passions?
International travel, finding travel hacks, and spending time with my family and friends. I’m an extrovert and love industry events, networking, and brainstorming new ideas. I play keyboards and do background vocals in a rock cover band of mostly editors and producers. We’re appropriately called TRT [Total Running Time]. We mainly play friends’ parties and small events, but we rock! We recently had an editor-and-producer music jam and band showcase to great success, and we’ll have more in 2025. Outdoor activities include skiing, hiking, beach games, camping, biking, and going to my kids’ soccer games.
Favorite movie(s)? Why?
I’m a sucker for everything fantasy and sci-fi, so everything related to “Star Wars,” “Lord of the Rings,” Spielberg, and Kubrick. My guilty pleasures are music and political docs, bio-pics about musicians, and films about artists. “Fantasia,” “Pink Floyd: The Wall,” and “2001: A Space Odyssey” triggered my interest in becoming a storyteller.
Favorite TV program(s)? Why?
I’m enjoying “The White Lotus,” “Abbott Elementary,” “The Penguin,” “Ted Lasso,” and “The Lord of the Rings: The Rings of Power.” All these shows pull me out of reality and into “the zone” where I am just along for the ride, emotionally. I also enjoy music documentaries like “Beatles ’64” which was directed by my friend and fellow editor David Tedeschi and “Becoming Led Zeppelin,” because they beautifully captured a moment in time and still gave historical context by piecing together archival footage and scraps of unreleased audio and film. Although very different, both genres achieve the same result because they transport me emotionally and creatively to another time and place.
Do you have an industry mentor?
I’ve been fortunate to have many editing mentors during my career, including Thomas Swords, David Tedeschi, Ivan Victor, ACE, A.J. Catoline, ACE, Clayton Halsey, and A.J. Dickerson, ACE. I currently feel amazing mentorship working with director-producer Jon Avnet. His filmmaking sensibilities, union activism, negotiation tactics, and business savvy give me new insights into my work as an editor, producer, union activist, and artist. We’ve spent hours chatting about film theory, union politics, skiing, and longevity in this business.
What advice would you offer someone interested in pursuing your line of work?
I tell all of them the same thing: “Take the stairs and not the elevator!” So often, people want to climb to the top as quickly as possible without strengthening their legs and picking up various small but important bits of knowledge along the way. When opportunity knocks, dive in to the best of your ability, crush it, and do not be afraid to fail. Remember that failure leads to discovery and the wisdom to make better choices. Most importantly, follow your chosen genre and stick to it. There’s nothing worse than feeling trapped in a genre you don’t enjoy.
Was there ever a circumstance when you had to rely on the Guild for help or assistance?
Being an active member of the Editors Guild has been super-rewarding on many levels, professionally and personally. When I realized the incredible health insurance benefits that being a working union editor provides for my family, joining the organizing effort became imperative. Life-long friendships I’ve made through the Guild have been a safety net when times are tough. The camaraderie and solidarity of the MPEG community helped me find projects, find teams for my projects, and has been a springboard for my career overall.
Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
As many of us face an ever-changing entertainment industry, the uncertainty of landing our next union job can feel overwhelming, but don’t be discouraged. We must challenge ourselves to learn new software and techniques to prepare for these changes, and it’s doable. Remember your worth; value your experience and your humility as you step into roles where people half your age are your bosses. Don’t be afraid to listen, to try new things with gusto, and the work will flow. As someone who helped initiate the “I Am the Union” campaign when I was a member of the MPEG board and the Membership Outreach Committee, I can tell you that it’s up to us to strengthen this organization. We must get involved by attending board meetings, joining committees, shop-stewarding, voting, and attending the amazing events the Guild puts together. Being more active will lead to more jobs, friends, and staying on top of your game.
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