Finely Sliced: Steve Puhach on Capturing the Feeling, Not Only the Moment

Steve Puhach is an editor at Nimiopere Film Editorial. With percussive cuts, technical precision, and immersive sound design, Steve is always dialled into the edit, editing spots for clients such as FIFA, Sick Kids, Lays, Subway, and Kids Help Phone. 

LBB> The first cut is the deepest: how do you like to start an editing project? 

Steve> I start by going through all the footage. I have to watch everything. If I see moments that I know are going to work, I’ll start slotting them into a sequence. Often by the time I’m finished my selects, I have a solid feeling for how the piece is going to come together. I also don’t limit myself to editing chronologically or give myself too many restrictions at this stage. If there’s something about the ending that really speaks to me, I’ll start with the end of the piece and work my way back. 

Then there’s my quest for the perfect track. Music is everything to me. Once I find that, the edit tends to reveal itself. 

LBB> Non-editors often think of editing just in technical terms but it’s integral to the emotion and mood of a film. How did you develop that side of your craft? 

Steve> I got my start by shooting and editing wedding videos. That experience helped me learn that it's often the quiet, subtle moments that are the most impactful. You don't have to scream "I LOVE YOU!" in order to make it emotional...you know? You have to capture the feeling, not only the moment. I keep that in mind when I approach anything I’m editing. 

LBB> How important is an understanding of story and the mechanics of story? 

Steve> Both are crucial. As an editor, you’re also shaping the narrative so you need to know when to build tension, when to release it, and how to keep the audience engaged throughout. You also have to know the emotional beats and emphasise key moments through timing and by choosing the most impactful shots. A deep understanding of the story allows you to create a cohesive and compelling film that resonates with the audience. 

LBB> Rhythm and a sense of musicality seem to be intrinsic to good editing (even when it’s a film without actual music) – how do you think about the rhythm side of editing, how do you feel out the beats of a scene or a spot? And do you like to cut to music? 

Steve> Like I mentioned, music is a crucial part of my approach to an edit. You have to use rhythm to your advantage to enhance an edit because it can be such a powerful element of storytelling.

To feel out the pace of a scene or a spot, I try to immerse myself in the footage and pay attention to the flow of the performance and the emotional beats of the narrative. I look for natural rhythms, whether it’s through voice over or action – that way, I can create a sense of momentum and tension that propels the story forward. I also try to not overdo it with music so that it’s not overpowering – sometimes, ambient sound can be just as effective to create tension or set the mood.

I want my rhythm and music decisions to always feel dynamic, cohesive, and engaging to draw the viewer into the story. 

LBB> Tell us about a recent editing project that involved some interesting creative challenges. 

Steve> I was recently walking and editing simultaneously! We were shooting a huge campaign in the streets of Cape Town with director Mark Zibert and the shoot was moving fast.

Mark likes to see a quick assembly of an edit while we’re still shooting to see how the footage will translate into the film. So I was pulling footage onto my computer and editing assemblies while literally walking from one location to the next. It was definitely a challenge, but an awesome exercise. It’s nice to be on set to see ahead of time what you are going to be working with, and by being there you have a chance to offer input so it pays to be on location. 

LBB> In the US we know that editors are much more heavily involved across the post production process than in Europe - what’s your favourite part of that side of the job? 

Steve> I love being a part of the process from start to finish. Once you’ve seen your edit a million times you start to look at it differently. You start to like it less and second guess yourself. But once you let go, and after it goes through sound, colour and VFX, it comes back to life in a whole new way. 

LBB> What’s harder to cut around – too much material or not enough? (And why?) 

Steve> Having a mountain of footage can be daunting, but it allows the editor to craft a better story. It can be stressful knowing there are millions of ways you can edit a film . That being said, the world is your oyster. It's an incredible but challenging test. When you're working with minimal footage, it’s obviously easier to assemble but there's really only so much you can do. 

LBB> Which commercial projects are you proudest of and why? 

Steve> I'm really proud of the work that I know has made a difference. I recently worked on a Kids Help Phone campaign about the parental pressure in sports. Not only was the creative aspect and execution unbelievable, but the message deeply spoke to me and I wanted to make sure I did it justice. When I have the opportunity to collaborate on campaigns like that, it's an honour to help craft and bring those stories to life.

LBB> There are so many different platforms for film content now, and even in advertising something can last anything from a few seconds to a couple of hours. As an editor, are you seeing a change in the kind of projects you’re getting from brands and agencies? 

Steve> Recently, editorial has become much more open to exploration. Before we would be confined to delivering a 30 second spot without much room for exploration beyond that scope. Now we have more opportunity to delve deeper into the footage and create a larger story. I get the chance to build on the director’s vision and present a larger brand film to compliment the shorter versions. We get to experiment a bit more, and the landscape becomes limitless.

It’s a fun exercise and clients love to see how we can repurpose all of the footage they shot. It gives us all an opportunity to showcase the film in a way that maybe they wouldn’t have imagined initially and they want to have that as an option too. 

LBB> Who are your editing heroes and why? What films or spots epitomize good editing for you? 

Steve> I've had my eye on Sam Ostrove for a while. He edited an NFL spot that changed the game for me. I’ve also been loving what director/editor Leigh Powis is doing recently. They both really push the craft to a unique space. I'm also lucky enough to work alongside and learn from two of the biggest editors in the country: Graham Chisholm and Raj Ramnauth.

Their styles are completely different but I find myself drawing inspiration from them both. Graham brings an impressive attention to detail and precision, while Raj infuses his work with creative technique. I like to think of myself as a hybrid of the two of them, incorporating elements of both their approaches to my own work. It’s an invaluable learning experience to watch them work. 

LBB> How does editing in the commercial world differ from the film world and TV world? 

Steve> Time limits. We have to tell a full story in 60 seconds, 30 seconds, or even less. It's a completely different world of thinking when you know you have a time constraint. In film you can just keep editing, and editing, and editing... There's something incredible about being able to make an emotional impact on someone in only 30 seconds. 

LBB> Have you noticed any trends or changes in commercial editing over recent years 

Steve> Flutter cuts. They’re everywhere, and everyone does it. I’m guilty of it myself. An easy way to get from one place to another is to blast a few 6 frame shots with some cool sound design and call it a transition. Enough already! 

Being the editor puts you in a pivotal place in the process and it’s one that I take very seriously and love. You are in a position to bring something to life and work with both incredible clients and creative partners. I can’t imagine being anywhere else.