
How to Film for the Edit
Shooting with the cut in mind, so the footage already knows where it's going.
Six recorded calls. Nine hours. The transitions, the sound design, and how the work turns into clients. No fluff, just the calls that got my students results.
Watch on your own time. Come back whenever. Every call is the full recording, screen and all.

Shooting with the cut in mind, so the footage already knows where it's going.

The transitions I actually use, built step by step in the timeline, and where they belong.

Whooshes, impacts, risers, bass drops. What each one does and when it goes in.

Layering, texture, and knowing when silence is the better choice.

Turning the edits into an audience and paid work. Spec ads, passion projects, the pitch.

The whole process front to back, plus the questions from the room.
The 16 sounds from my viral edit, 22 more I reach for constantly, and the sound design guide that explains how I layer them.
The homework sounds from the calls, so you can edit along with the recordings.
My grades, including the Fx6 looks, in .cube. Drop them on and go.
Film burns, grunge, textures, lens leaks, 8mm. Full HD, ready for the timeline.
I run Bonham Carter Film Company, a video production company in Miami. I shoot and edit the work myself, and I ran the Edit Bootcamp live for a small group. These are those calls.
Everything in here is what I actually do on a job, from what to capture on set to how the sound gets layered in the timeline. It's the process, not a theory of it.
Both were in the live cohort. The recordings are the same six calls, without the live feedback on your own work.
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