March 15, 2018
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In This Issue
2018 AICP Awards Entry Deadline Extended to Friday, March 16th
Susan Credle of FCB to Chair the 2018 AICP Next Awards Judging Panel
AICP Call For Entries Film Warns Creatives That Winning Has Been Known to Alter Personalities
Be Sure to Mark Your Calendar and Save These Important Upcoming AICP Awards Dates!
AICE Awards Announces 2018 Curatorial Committee
AICE Awards Insights: Editor Dan Sherwen of Final Cut Talks About Cutting Under Armour's "It Comes From Below"
AICP Renews Partnership With Amex for Foreign Currency Exchange
Agency In-House Production Entities
The AICP Production Training Seminar is Coming to Chicago and Dallas
AICP Legal Inititiative Workshop Held in Los Angeles, Upcoming Workshops in New York and Online
Congratulations Frank Stiefel, Longtime Friend of and Champion of The AICP
AICP Membership Continues to Grow
Visit the AICP Calendar on for all upcoming dates and events...

March 14th, 2018 - Business Affairs Roundtable in Los Angeles

March 20th, 2018 - AICP Legal Initiative Workshop - Webinar

March 20th, 2018 - AICP Labor Roundtable in Los Angeles

March 27th, 2018 - AICP Legal Initiative Workshop in New York

March 28th, 2018 - Business Affairs Roundtable in New York

April 21st & 22nd, 2018 - AICP Production Training Seminar in Chicago

AICE Awards Insights: Editor Dan Sherwen of Final Cut Talks About Cutting Under Armour's "It Comes From Below"

The 2017 AICE Awards Best in Show winner went to Editor Dan Sherwen of Final Cut for his work on Under Armour’s “It Comes From Below,” created by Droga5. The spot shows the Washington Nationals superstar Bryce Harper as he contemplates the importance of stats to an athlete’s career.  To view the spot, click here.

Dan, who’s based in London but cuts for clients all over, has more than two decades’ experience in the industry. He cut his teeth – pardon the pun – working alongside some of the industry’s most talented directors and creative teams, frequently collaborating with the likes of adam&eveDDB, BBH and Wieden + Kennedy, and is a frequent collaborator of Somesuch directors Aoife McArdle and Nick Gordon, among others. He’s been nominated as SHOTS coveted Editor of the Year two years running and has won numerous awards for his work.

We spoke to him recently about baseball, the challenge of editing deconstructed narratives like this and what it’s like to be honored for the craft of editing.

Q: This spot features non-stop voiceover and is chock full of numeric graphics and overlapping images, is punctuated by sound effects and features a slowly-building music track. What was your biggest challenge on this job?

A: Bryce Harper broke so many amazing records at a very early age, and the expectations for him to continue achieving were seriously high. Many sports journalists questioned whether he could handle the intense pressure. My challenge, editorially, was to reflect this. I felt the best way was to build the edit in a fast and frenetic way, to make the numbers feel like they were clouding his subconscious, almost as though he was batting them away.

Originally, the edit had quite a slow build, with Bryce walking out from the locker room and into the ballpark. I soon realized this felt too conventional, so I dropped those scenes and started the edit straight in the action. I wanted to see how far I could push the pace, but it was also important to retain the legibility of the graphics. It became a case of ‘frame fucking’ (pardon my French) – subtracting and adding frames until the narrative arch became airtight.

I’ve always been fascinated with sound design; for me it’s a huge part of storytelling and was essential in this film. The rushes were MOS, so I had the challenge of building all the sound from scratch. In fact, very little changed in the final mix. I used a mixture of diegetic and abstract sound effects to help punctuate his statistics and build the tempo to a climax.

Q: Being English, are you much of a baseball fan? Does one even need to be a baseball fan to get the message this spot is conveying?

A: I loved baseball as a kid, actually! My aunt lived in Canada and I have very fond memories of seeing the Montreal Expos with her whenever I visited. Sadly, they no longer exist as I knew them, but I still have one of their caps! So, it was pure happenstance to me, then, that I learned the Montreal Expos later became the Washington Nationals, Bryce Harper’s team. Fate, it seems, had reunited me with the team of my youth! Whether it helped the edit having some knowledge of the game I’m not in a position to say, but hopefully it subconsciously did. However, I don’t think you need to be a fan of the game to understand the spot. I think anyone who understands the extremes to which athletes go will get it.

Q: What was your reaction upon hearing that this spot won not only the AICE Awards’ Best in Show but was also the Dialogue / Monologue / Spoken Word winner?

A: Absolutely over the moon! Unfortunately, I wasn’t at the awards ceremony to collect the awards. I plan to attend in 2018, so who knows, maybe I’ll be nominated again?

Q: In addition to an AICE Award last year, you also won a Cannes Silver Lion for Editing. What does it mean to win awards that specifically honor your contribution as an editor?

A: Winning awards isn’t what drives me, but it’s great to have my hard work recognized! We editors spend many an hour in a darkened room, often agonizing over single frames, so it’s a great thing we have awards dedicated to our craft!

The 2018 AICE Awards will be held on May 10th at Unici Casa in Culver City, CA.  For more information, click here.

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