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The Cutting Room

Photos from ACE’s London Editfest

ACE have released a selection of photographs from ACE London Editfest. Cheryl spoke on the Small Screen, Big Picture panel, alongside fellow panelists Pia Di Ciaula, Gary Dollner, Tony Kearns and Terilyn A. Shropshire.

Full gallery of photos is available on the ACE website.

A slideshow of select images is available on the ACE Facebook page.



Cheryl to appear at ACE EditFest London

Cheryl will be appearing on the Small Screen Big Picture – Editing For Television panel at this year’s ACE EditFest London, alongside fellow editors Pia Di Ciaula, Gary Dollner, Terry Kearns and Terilyn A. Shropshire.

EditFest is one of the most prestigious events centred around the craft of editing and Cheryl is very proud to participate this year.

Further information about EditFest can be found by clicking the images below:

ACE EditFest 2019


Cheryl profiled on Master The Workflow

The second part of Master The Workflow‘s series on Women in Film is an interview with Cheryl, detailing her career in editing and discussing various aspects of being a woman in the industry.

Read the full interview via the link below:

Cheryl is interviewed as part of a series of articles about women in editing

Cheryl Interviewed for Soho Editors Creative’s Blog

Cheryl was recently featured in a video interview discussing many aspects of editing with Soho Editors for their Creative’s Blog.

Link to the full interview via image below:

Full interview available on Soho Editors Creative's Blog

Cheryl featured in The World Of Women Editors article series

Cheryl is being featured in a series of articles about women in editing for the Master The Workflow blog.

This first article in this series runs the numbers on women in the film industry, and specifically women in the cutting room. In a male dominated industry women have traditionally fared better in the editorial departments than other technical fields, and this article delves into the possible reasons why.

Link via image below:

Cheryl is featured in a series of articles about women in editing

Art of the Cut: Conversations With Film Editors – In Print

Cheryl is featured in Steve Hullfish’s book “Art of the Cut: Conversations With Film and TV Editors”. The book is a “virtual roundtable discussion” combining information, techniques and stories from over 50 editors with a wide variety of experience. Hullfish drew from the many interviews in his “Art of the Cut” series and assembled them into a hugely useful resource for editors and aspiring filmmakers.

Art of the Cut is available on Amazon.co.uk.

The Martian – The Art of the Cut Interview with Steve Hullfish

Author and editor Steve Hullfish publishes a series of insightful interviews with feature film editors for the website the Pro Video Coalition. The series is called The Art Of The Cut.

Following his interview with editor Pietro Scalia about editing The Martian, Steve interviewed me about our post process and workflow.

It’s a very in-depth, technical article about our process and I’ve been told it’s been very useful to lots of assistant editors and post production folk. Steve got in touch with me in January to let me know it was the most popular Art Of The Cut article of 2015!

The Art Of The Cut: The Martian With Cheryl Potter

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The Great Gatsby: No Ordinary DI

What do you get when you have a major event feature film that runs at 2 and half hours, in 3D, with a rolling conform, multilayered transitions, complex optical sequences and thousands of VFX shots? A very involved Digital Intermediate process. Adriene Hurst (for Digital Media World) describes the process of finishing The Great Gatsby in this article: Cutting Edge Transforms ‘Gatsby’ into Living Colour.


Image courtesy of Cutting Edge/Warner Bros pictures

As the Editorial DI Supervisor my role on the film was to work closely with Senior Digital Intermediate Colourist Adrian Hauser and his team to ensure the DI was always as up to date as possible – no simple feat with a cut that was changing by the minute and VFX updates rolling in continually. I was also the point person for Lead Flame Artist Hugh Seville and his team of artists who were handling the sequences dubbed by Baz as “poetic glue”, ensuring they had the latest scans, VFX and reference to create these complex opticals.

The above article is very focused on the excellent job Cutting Edge did with the DI. To add an editorial slant to that information I’ve jotted down five tips on managing a complex DI from an editorial perspective. (more…)