CHRIS WITT | PICTURE EDITOR

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Chris Witt Portrait

I offer versatile editing skills across diverse genres, tailoring each project to its unique vision. Rather than "painting by number," I listen to the nuances of the footage and intuitively shape it into its most authentic form.

My films have been screened at over 100 festivals worldwide, including Cannes, Busan, American Film Institute, and Tribeca, have won numerous awards. Additionally, my editing work has garnered notable reviews and recognition including:

MY CRAFT

I specialize in narrative-driven editing, leveraging a keen sense of story and taste to enhance the emotional depth and authenticity of each actor’s performance. Early in the editing process, I incorporate sophisticated sound design, creating immersive soundscapes that elevate the visual narrative. My proficiency in Fusion allows for the seamless integration of temporary VFX and compositing, streamlining post-production and crystallizing the film’s final vision.

MY SPEED

I pride myself on my exceptional speed in editing, delivering rapid results without compromising on taste or quality. My ability to ‘chase the camera’ provides directors and producers with a real-time glimpse into how the film is taking shape, allowing for strategic adjustments on set. With efficiency comparable to that of two editors, my swift editing process can significantly reduce post-production costs by halving the time typically required, offering both economic and creative advantages to any project.

MY APPROACH

I’m an intuitive collaborator, finely attuned to my director’s vision, seamlessly adapting to their preferred workspace, be it a home office or studio. I offer freedom to experiment, guiding the initial cut towards their vision before collaborating closely to refine and elevate the project. Additionally, my expertise includes being brought in mid-edit to rework films or solve problems, acting as a film doctor. My approach is rooted in openness, exploring every avenue towards cinematic excellence.

Press

Frame IO

“What I love in a rewarding creative partnership is how both the director and editor sharpen each other and, in turn, sharpen the story. We share a sense of trust and freedom to make bold choices and experiment with ideas. On each project we’ve collaborated on, we’ve had this pact that we won’t succumb to creative fatigue and say, ‘Well it’s good enough.’ I think it’s within both of us that when there’s an itch about something in the edit, we ultimately need to scratch it.”

For Chris, it’s all about the journey. “Editing is a process, and if you set out to nail the final form in the first pass you’ll miss out on all the discoveries. The beauty of editing movies is that they take on a life of their own and seem to tell you what shape they want to be cut in— if you’ll only slow down and pay attention.”

The Herald Bulletin

Carpenter said he enjoyed working with Witt, whom he described as someone who balances being an artist and a team player.

“At every step of (testing the film with focus groups), Chris would bring fresh ideas and ultimately, there was a certain reshaping of the narrative of the film that Chris helped initiate,” he said.

“We’re forever grateful for his stamp on this project.”

Cinemontage

“These movies have a personality because nobody expected what they were going to shoot. What comes out is often very different than what they anticipated. When you slow down and listen and watch the footage, it will inspire you and speak to you on how the movie itself seems to want to cut together.

When I do cut unscripted, the rhythm, pace and sequence and cinematic feel that I learned from cutting narrative really speaks to what I do. When I cut a movie, and a scene isn’t working, I have the skills from my unscripted background to look at the footage and think outside the box and look at a scene or the footage in a brand new way because that’s what we do every day.“

We’ll Fix It In Post

“It’s important for me in the edit chair to facilitate flexibility. If you religiously keep an organized system of tracking edits, and you maintain an open mind and positive attitude, you will absolutely find something through your labors that will make the cut better. The end of those days when something unexpected is discovered is always the highlight of my time with any director.”

We’ll Fix It In Post

“…many of my movies are in languages I do not speak. This is only possible because human emotion is universal. So is guiding an audience on a journey through moving images and sound design. So in that case there are many more similarities in how I approach different types of movies (and languages) than differences.”

Filmmaker Magazine

“One way to create a natural flow in sequences is to be very mindful of eye trace and where characters are placing their active attention. If a character moves or even darts their eyes in a direction, our primitive instincts will shift our own perception in the same direction in case there’s a lion spotted in the bush and another human’s eyes are warning you to run like hell. If I guide your eyes from one position on screen through an edit to where I want them to be looking on the next shot, your eyes will already be looking where I want them and not searching the frame for the focal point. You’ll soon find yourself in a trance. Time flies when you’re in a dream state.“

Business Insider

On the day Witt and Abi, the film’s director, started editing the film together, Witt said that he discovered Michael K. MikWilliams had died.

“It just happened to be that we had already been working a week in post-production and we heard the news. We grieved for that part of that day. And we were just like, okay, we need to go back to work,” he said. “It felt like the responsibility to craft the remaining embers of his creative voice. Of his work on earth, you know? It was tough. The responsibility to do that well was heavy.”

 

Loud And Clear Reviews

We often played with the idea of a real-time experience. Before the “Sniper Run,” as we called it, I took extra time to show his back and neck stiffen, and I’m allowing his experience to unfold without upcutting, but as his heart begins to race in his paranoia, I match with the pace of the edit— letting us see what he’s seeing, and thus feel as he feels. 
Just like with the moment of Brian holding back with Estel, here was another opportunity to get into the mind of a character through the editing. If my rhythms ease you into a dream-like state, then I can sync you up with the character and you will acutely experience their emotion. It’s about moving the audience from an observational perspective into a subjective one with the character. Hopefully your heart was beating in time with Brian’s as he clocked all those security cameras!

Let’s Collaborate!