Ask the Artist with Editor Spenser Reich

Spenser Reich, ACE, is an award-winning LA-based editor and proud Bay Area native, whose career spans episodic TV and indie features. She relies on Avid Media Composer, along with Boris FX Sapphire plugins and iZotope audio tools, in her daily workflow.

Reich recently cut the pilot and season finale for Nemesis, a crime drama on Netflix, and edited on the first season of Diarra from Detroit. Previous credits include editing in the Power Universe, where her work on Power Book II: Ghost earned her a Black Reel Award for Outstanding Editing. On the indie side, a feature film she cut, Samson, won the Audience Award at the Asian American International Film Festival and earned her Best Editor of a Feature Film in the LA Independent Women Film Awards. Follow her on Instagram.

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

I’m originally from the Bay Area, but I moved to Los Angeles a little over 13 years ago without knowing a single person in the industry. I decided to attend film school here, and I was incredibly fortunate to land a feature film right as I was graduating. Being able to jump straight into editing within weeks of graduating from school set me on the path to becoming a full-time editor almost immediately. I’m extremely grateful for that start, and I haven't stopped editing since.

Spenser Reich at her editing workstations.

You use Boris FX Sapphire in your workflow. Which effects/features do you rely on most?

Sapphire is integral to my workflow, especially when building temp VFX or making highly stylized creative choices. On episode 105 of Diarra from Detroit, I leaned heavily into a heist-style aesthetic utilizing split screens and freeze frames. This wasn't specifically scripted. We discovered it through the editing process.

During that experimentation process, I relied heavily on Sapphire Effect Builder to quickly test versions of the look we were going for, especially for the intricate split-screen stacks utilized throughout the episode. The recurring countdown clock was another major point of experimentation and discussion. At one point in the process, I used Effect Builder to add highly stylized lighting, color, and movement to the clocks to emphasize the importance of the countdown clock in a fun, frenetic way.

These tools are crucial because they give us editors the freedom to play and experiment until the style perfectly serves the storytelling. I use Sapphire Effect Builder on nearly every project.

You also use Boris FX iZotope products. What type of audio tasks are you asked to handle as an editor, and how does iZotope help you tackle them?

Most of the TV shows I've edited take place in major cities, making location audio really tricky. Nemesis (Netflix) was shot on location across Los Angeles, often in heavily-trafficked areas. As such, I used iZotope RX for critical audio cleanup in the offline edit. Without being able to rely on the audio cleanup iZotope is capable of, some dialogue scenes would simply be inaudible to the producers and network during early screenings of the cut. The difference iZotope makes is truly night and day. It's frequently the difference between knowing you can salvage the actor's original on-set performance or being forced to do extensive ADR. 

 Nemesis Season 1 Trailer (Netflix)

How does having access to Boris FX tools give you a leg up in the editing suite?

Boris FX tools give me the creative freedom to experiment while maintaining a level of technical polish that wouldn't otherwise be possible in the offline. The aim is to never have our directors, showrunners, or execs distracted by subpar temp effects or muddy audio during screenings. Having Boris FX tools right inside my Avid timeline means I can always present my cut with my best foot forward, keeping the focus entirely on the storytelling.

How do you prep before a big project?

I always start by reading the script a few times. On the first pass, I focus entirely on my raw, honest reactions to the material, because you can only experience a story for the first time once. During subsequent reads, I take detailed notes on character arcs, structural pacing, tonal shifts, and questions for the director or showrunner.

Prep is also when I begin conceptualizing the sonic world of the project. I start pulling film scores I believe suit the story and read the script again while playing the scores. I will even listen to those scores while doing things around the house, like cooking or cleaning, to fully immerse myself in the story’s atmosphere. Finally, I like to align with my team early on. I love collaborating closely with my assistant editors — discussing our initial thoughts on story, sound, music, and workflow during prep builds a strong creative shorthand before filming even begins.

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

I'm big on keyboard customization, so there are several I feel like I can't live without. If I had to pick one, though, I love the "Extend" function (which sits on my 'N' key for "exteNd"). You have to add it to your keyboard manually, as it's not on the preset Avid keyboard, but I truly cannot live without it. I use it constantly.

Spenser Reich at the Emmys and premiere of Diarra from Detroit

How do you stay fueled (favorite snack) during a long session?

Almonds and black coffee are probably my two favorite fuels when I know I'm going to be in a long session. The almonds keep you full, but not uncomfortable, and the coffee needs no explanation. I mean, a nice cup of coffee on a long day is perfection.

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

I spend time with my dogs and go on walks in the hills to clear my head. I also love pottery and find that exercising a different creative muscle actually helps my editing muscle recharge. If I have a longer break, I love traveling abroad for the ultimate reset.

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

It's impossible to pick just one, but a few favorites that always stick with me are The Killing of a Sacred Deer by Yorgos Lanthimos, I Love Boosters by Boots Riley, Gattaca by Andrew Niccol, Fruitvale Station by Ryan Coogler, Alien by Ridley Scott, and Is God Is by Alesha Harris. I've seen each of these multiple times, and almost all of them in theater multiple times.

As for some of my favorite shows, they would have to be Atlanta, The Last of Us, 30 Rock, and Insecure. They're some of the best shows of all time.

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

There are so many wonderful filmmakers out there that I'd love to collaborate with. Editor-wise, I hope I can work with Joi McMillon someday and see her incredible process up close. For directors, Boots Riley and Ryan Coogler are at the top of my list. I love both of their distinctive styles and, as someone from the Bay Area, the voice they bring to their films feels familiar and comforting in a way only home can.

I am drawn to filmmakers who have an uncompromised, precise vision. The common thread among my favorite films and TV shows is a strong point of view behind them. Is God Is wouldn't be the masterpiece it is without Alesha Harris, just like The Killing of a Sacred Deer requires the distinct stamp of Yorgos Lanthimos.

Diarra from Detroit, Season 1 Trailer

You actively mentor the next gen of editors through MPEG Lift Up Women’s Mentorship Program, ACE Diversity Mentorship Program, and AFI Editing Fellows. Why are these 3 programs important to you, and why is it vital to uplift up-and-coming editors?

These programs are so important to me because I always want to be a door-opener. As someone who originally moved to LA knowing absolutely no one, navigating my early career path was scary and intimidating. If I can make that journey even a little bit easier for someone else, I want to do it.

Mentoring the AFI Editing Fellows is wonderful because they are just starting out in their careers. It's a joy to help budding Editors and filmmakers take their thesis film through the finish line, so they can enter the film industry with confidence.

The ACE Diversity and MPEG Lift Up Women's Mentorship Programs are particularly close to my heart. As a queer Black woman, I know firsthand that the post-production world can be a pretty homogeneous environment. I deeply appreciate how these programs proactively reach out to the next generation of POC, women, and LGBTQIA+ storytellers and provide the resources and networks needed to thrive. Being part of communities that actively uplift the next generation is just as important to me as any of the editing work I’ve done.