The problem of how to make something work is always a fun one to work on. It’s like putting a puzzle together, which was always really fun for me. I always felt like a more visual person and editing is storytelling with visuals. Then editing came up again, and I liked editing. In film school, I jumped into all different kinds of stuff thinking maybe I would try to be a DP or director. Of course, nobody should have been doing Jackass stuff, but that’s what drew me to editing. So to prevent these tapes from ending up in people’s closets, I jumped in saying we need to digitize them and cut it in a way we can watch over and over again. ” Then, when it came to watching it later, nobody knew what to do. Jackass was a big thing in our friend group, so a lot of people were like, “I have a camera, let's do this or let’s do that. I guess it started in high school, kind of out of necessity of people just wanting to make movies. What initially drew you to post production? Was there a “gateway drug” film or TV show that started your passion specifically for that side of the industry? The following has been condensed and edited for clarity. He is currently an editor on Crank Yankers, credited on all 20 episodes of season 5 and is slated to do the same for season six. He then transitioned to narrative television as an assistant editor on shows like American Vandal, Who Is America, and Brockmire. Getting his start editing and coloring, Daucsavage worked on nearly 100 national commercials and hit music videos for the likes of Bazzi, X-Ambassadors, Lindsey Stirling, Jackson Browne, Foxygen, and Limp Bizkit. Peter Daucsavage’s experience is vast, working in a multitude of different post production arenas. “I always felt like a more visual person and editing is storytelling with visuals.
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