Since I’m about to hand over the Stop/Eject editing reigns to Miguel Ferros, now seemed as good a time as any to share a little insight into some of the kinds of things an editor has to think about while shaping a sequence.

This is the £700 public reward for Stop/Eject. (If you haven’t got a clue what that means, visit stopejectmovie.com to find out.) The total is actually up to £906 now, so there are two more public rewards coming your way: a podcast covering the third day of the shoot, and a breakdown of how the visual effects shots in the trailer were accomplished.

Here’s a little about Miguel, the man who will be taking my edit and polishing it up into a final cut. Miguel is the technical director of the Hay Film School, and indeed organised the Stop/Eject talk I gave in Hay last weekend. He’s also the director of Digital Film and Post, a consultancy company that advises on post-production workflows, helping to navigate the ever-changing landscape of tapeless acquisition formats, ingesting, off- and on-lining, distribution and archiving. His experience includes editing, VFX, producing and directing, mainly in the genres of documentaries, promos and commercials.

Stop/Eject marks a welcome foray into drama for Miguel, and I’m sure he’ll bring all his eighteen years of post-production experience to bear in fine-tuning the film. I’ll leave you with an award-winning Diesel Jeans commercial he edited.