Ask the Artist with Editor Corey Frost

Corey Frost is an Emmy-nominated editor renowned for his work in both documentary and scripted films. With a focus on emotionally charged storytelling, Corey has edited a diverse range of content, including short and feature-length documentaries for top television networks and sports channels.

He most recently co-edited, acted as VFX editor, and used Continuum on the acclaimed genre-bending documentary New Here, directed by Sundance Grand Jury Prize winner Dan Sickles and produced by Oscar winner Shane Boris.

Where are you from? How did you get your start in the industry?

I’m originally from Sebastian, FL—a small beach town on the east coast. I wasn’t your typical cinephile, but I had wanted to be a filmmaker ever since seventh grade. I grew up surrounded by music and sports. My great-grandmother always had a piano in her house, and our family would tell us how she used to play live music in cinemas during the silent era. Naturally, I gravitated toward music in middle and high school, and that immersion became my way in.

Music was my gateway into filmmaking. I would watch NFL Films VHS tapes, where the music took center stage. Composer Sam Spence created these masterpieces, and Steve Sabol and NFL Films cut them to beautiful 16mm slow-motion footage.

After college, I didn’t have a job lined up and was honestly looking to direct. On a whim, I applied for an internship at NFL Films. Luckily, I got it, and it opened up a world I had only seen on TV. I spent my days assisting producers and my nights learning Avid Media Composer, cutting my own projects on the side. From that point on, I fell in love with editing and found myself in sports post-production. That started a 15-year run so far. 

Your social feeds focus mainly on editing. Is there a specific film or TV show that first sparked your interest in editing? Why do you love it so much? 

When I was a kid, I saw Baz Luhrmann’s Romeo + Juliet. It was so wildly different from the Shakespearean material I had imagined or seen in school. The film was cut by renowned Australian editor Jill Bilcock, and its original style completely turned the Romeo and Juliet story on its head for me. The visually engrossing direction, bold costume design, and kinetic energy made it stand out, but it was the editing that truly set it apart from anything I had seen before. The rapid cuts, flashy transitions, speed ramps,  frenetic pacing—it felt alive in a way no other film or show I had watched as a child did to that point. The opening alone establishes this hard-hitting, almost operatic tone that was so original.

It was also the first film that made me cry as a kid—I finally understood how films could make you feel something. I think I was probably nine or ten. That emotional impact was the result of many things, but ultimately, it was the editing that pulled me into the experience.

That’s when I fell in love with the idea that an editor can shape the style of a film or TV show and create something amazing. So much can be transformed in the edit to create meaning and emotion. When you’re on set, you don’t get that same feeling—schedules are chaotic, days are about hitting marks, and it just never felt like my environment. You’re capturing the pieces that will eventually be shaped in the edit. Editing is where everyone’s craft comes together in this magical apex. That's what I love about it!

As I get older, I see the craft of editing so much more clearly than I did in my mid-20s and early 30s. And so, I use my social media—on Twitter and Bluesky—to cut through the noise and share as much knowledge about editing as I can, whether from my own experiences or from some of the greatest editors around me.

What Boris FX tools do you use? Which effects/features do you rely on most? 

Mocha Pro and Continuum are my go-to tools right now. They offer a ton of creative and technical flexibility that I never used to have. For our film Grace Point (available on Amazon Prime and Apple), we used Continuum to add things like rain in post for our initial cuts, helping to really sell the edit. Any cut I deliver as an editor has to be strong from the first pass—I hate trying to sell a bad temp effect because it pulls directors, producers, and test audiences out of the story. Boris FX gives me high-quality templates to build from, providing the flexibility and customization needed to create seamless effects.

I’m currently co-editing a film, New Here, directed by Dan Sickles, where I’m also working as a VFX editor. The film explores the crypto art culture, and Continuum is a perfect fit—it opens up so much creative expression with glitch and distortion effects that align perfectly with the film’s style and setting. It’s like it was built for this exact project!

Boris FX Continuum rain effect interface for temp VFX on Grace Point

You recently made the leap to editing your first feature film Grace Point. What were some major differences between editing sports-related content/unscripted shows and an indie film?

Even though I’ve been editing in the documentary space for nearly 15 years, I sometimes felt like a fish out of water editing scripted. It flexes a different creative muscle. In sports, the stories are fairly straightforward—you’re almost always building toward an event or a game. There’s a natural plot-driven throughline.

In scripted, plot is obviously important, but another crucial element comes into play: actor performance. I’d say that’s the biggest difference. You have to find ways to work with multiple actors, multiple takes, and really shape their performances for the betterment of the story. And sometimes, as an editor, that means stepping back—cutting less and allowing great performances to breathe.

Before getting into documentaries, narrative scripted work was the dream. Now, shifting back into that world with a lot more experience, it’s been an incredibly exciting time in my career. It’s allowed me to learn a new side of filmmaking and editing craft—one that challenges me every day and makes me better for future projects in both doc and scripted.

What's a keyboard shortcut you can't live without?

I started editing on FCP7 back in the day, then moved to Avid Media Composer at NFL Films, and later to Adobe Premiere and DaVinci Resolve. My keyboard is a hodgepodge of all these NLEs. I’ve never used the default shortcuts because I switch between them so often, and to maintain my speed, I needed a singular set of shortcuts that remained consistent across all platforms.

The one constant is the ‘B’ key—it’s my splice or add edit shortcut. I’m not even sure when I changed it on my current layout, but at this point, it’s pure muscle memory. Anytime I enter a suite or open a new NLE, mapping it is the first thing I do.

How do you keep yourself fueled/your favorite snack when you're in a long session?

Coffee, peanut butter pretzels, and hummus. I’m like Martin Short in Only Murders in the Building when it comes to hummus.

Where do you turn for artistic inspiration?

Music, first and foremost. Ever since I was a kid, I’d buy original scores and listen to them as a way to imagine worlds and launch myself into a different headspace. That practice continues to this day—only now, it’s Spotify instead of CDs. I’ll dive into different genres or find a specific composer with just the right tone to help me focus and get into a creative mindset. Music is how I hack my brain into a flow state.

Sometimes, I’ll find a music cue on Spotify that I know won’t end up in my cut, but it helps me get my head in the right place. I’ll play it in the background—either on Spotify or Alexa in my office—just to feel the moment. This way, I can stop playing it and watch my cut without music, really seeing if it works on its own before committing to any specific tone for the scene.

New Here Trailer Teaser

What do you do when you need a creative break/reset?

My wife and daughter are a major part of my creative resets. Experiencing life with them allows me to do what I do. When I’m stressed or struggling in an edit, just seeing them can completely shift my mindset.

Also—this is going to be a true dad answer—but I recently became a full-on lawn nut. I bought a used John Deere reel mower designed for golf course putting greens, and now I mow my lawn like a course every two days. We’re talking half-inch tall grass—ha! I even bought a cup and flag to make a little golf hole where I’ll chip or putt with family and friends.

It’s honestly addictive, but it also gets me out of my head and outside. The monotonous mowing for an hour or so, with the white noise and a consistent pattern, is surprisingly meditative. It helps me get my steps in, clears my mind, and resets my focus.

Bet I’m the first person on this site listing mowing lawns as a creative break!

What's your favorite film and/or TV series?

I feel like my favorites are always in constant rotation, depending on what I’m watching day to day. But for series, Succession, Euphoria, and The Last of Us are three incredibly powerful shows on so many emotional levels. These are the kinds of series I always gravitate toward—and hopefully, the types I can be a part of one day in my career. They have these big, epic feels, but it’s the emotional depth and rich characters that truly drive the story forward.

Shoutout to editors Timothy Good, ACE, and Emily Mendez—two incredible talents behind The Last of Us—and Aaron I. Butler, ACE, from Euphoria. Their work has been a huge inspiration to me, and I’m proud to have had the chance to become friends with them over the years.

If you could collaborate with any director/producer/editor/artist, living or dead, who would it be and why?

Anyone would jump at the chance to work with legends like Steven Spielberg or Martin Scorsese, and I’m no different. They are the greats, and being part of anything they do would be a dream come true.

I did have the chance to work with director Gavin O’Connor (The Accountant) on a development project a little while back, and I absolutely loved his approach. He has a focused vision. Those are the kinds of people I really enjoy working with. I’d love the opportunity to team up with him again on something longer form.

From an editing perspective, Elísabet Ronaldsdóttir is an action QUEEN, and her films are absolutely incredible. It would be amazing to cut alongside someone of her talent.

What career and/or life advice would you give your younger self?

Don’t be afraid to be vulnerable. Put yourself out there as early as possible. This industry is built on relationships—your success depends on people knowing who you are and what you bring to the table.

For years, I hid behind my work. I wish I had pushed myself past the imposter syndrome mindset and put myself out there much earlier than I did. But better late than never!

Remember, both life and filmmaking have their ups and downs. The highs and lows of each don’t always align, but they often intersect in unexpected ways. It’s a roller coaster of emotions—loss, happiness, uncertainty, and triumph. Navigating both takes patience and perseverance. Keep pushing!