Editor Corey Frost has extensive experience in the world of sports storytelling, including work on Amazon Prime’s All or Nothing: The Michigan Wolverines, TNT’s
Shaq Life and Netflix’s
Coach Snoop. In 2023, he made a move into scripted storytelling, cutting the action thriller Grace Point from longtime collaborator/director Rory Karpf.
Grace Point marked the return of Brat Pack member Andrew McCarthy to the big screen, and also newcomer John Owen Lowe (Rob Lowe’s son), along with MMA fighter Chris Weidman. Both Frost and Karpf developed a tight bond with the fighter during their time editing and producing documentaries for UFC.
Frost’s latest project is the documentary New Here, which traces the complicated rise of NFTs over the last several years. The doc was directed by Dan Sickles, and produced by Shane Boris. Here, Corey shares insight into his editing setup and ////////
Corey, what does your editing setup look like?
“I’m set up with a Mac Studio Ultra M2, a Studio Display and a second monitor. My main workspace is my home office, which we converted from a formal dining room into a full edit suite. We even had AT&T fiber installed, so between that and the Studio Ultra, this room is cookin’!
Avid and Premiere are my go-to NLEs, and I frequently switch between them depending on the project. I work my way around Resolve, but mostly for Avid proxy workflows or temp color passes. But it’s getting more and more appealing to me.
“Outside of NLEs, I recently added a Stream Deck and a Wacom Intuos Pro to my setup. Since I do a lot of VFX temps, the tablet gives me way more precision than a mouse. The Stream Deck has been a game-changer for mapping shortcuts. I originally started on Final Cut Pro 7, so over the years, my shortcut setup has evolved into a Frankensteined mix of every NLE I’ve used. The Stream Deck helps me map the more complicated ones.
“Must-have software? My number one is Jump Desktop — I use it religiously, even within my own house. With a two-year-old at home, I sometimes have to step away to help out. Being able to remote into my system while she’s watching Bluey on the couch keeps my workflow moving.
“A close second in terms of my favorite software is BorisFX. The BorisFX Suite is a powerhouse. Mocha alone is a game-changer for tracking, and Continuum has saved me countless hours on temp VFX work. It’s quickly become a must-have in my toolbox.”
How did your editing style influence your work on Grace Point?
“I’ve always taken a master of all trades approach to editing and storytelling. I’m genuinely interested in pushing myself to learn more about sound, VFX and color — both creatively and technically. There’s often a fear around the saying ‘Jack of all trades, master of none,’ but there’s a lesser-known continuation of the quote that puts it in a different light: ‘A jack of all trades is a master of none, but oftentimes better than a master of one.’ That’s how I see it. I want to understand every aspect of post production so I can better understand my craft and communicate with other departments. If a VFX shot is hard to explain, being able to build a rough temp version in After Effects makes a huge difference. That mindset served me well on Grace Point. There’s a scene where our lead, Brandon, is cornered by the villains at the top of a sand quarry. He makes the decision to jump. In the original footage, you could see the bottom of the quarry pretty clearly, which made the jump feel low-stakes. While this wasn’t originally planned as a VFX shot, I built a rough temp version to show our director, Rory, how we could heighten the danger and he agreed it would work. We later brought in an incredible VFX artist, Adam Stroncone, who took the idea and made the jump feel truly massive.
“These are the kinds of skills you develop in documentaries, especially in sports docs, where the shots you want don’t always exist — you have to build them. There are no reshoots after the Super Bowl is over. You have what you have, and it’s your job as an editor to make every shot, scene and sequence shine to its fullest potential.”
What was the collaboration process like in the case of Grace Point?
“Rory Karpf and I both live in North Carolina, and we started cutting Grace Point in 2021, when COVID was still in full swing. I began editing from my home in Charlotte, working remotely until I had an editor’s cut. Then, I packed up my iMac and external drives, and headed to Rory’s house, where we worked together from his kitchen island. In indie filmmaking, there’s no vanity — you do whatever it takes to get the job done.
“Once we had our next cut, we started remote screenings and notes sessions with John Owen Lowe via Evercast. At the time, remote post production was becoming the norm, and Evercast allowed us to recreate that feeling of being in a room together — bouncing ideas off each other, refining the film in realtime.
“Collaboration is key in any film or show. You can’t make a great film in a vacuum. Every stage of the process makes it better, and every person who gives feedback helps shape the story in different ways. During our remote sessions with John, he pointed out scenes we thought were working but ultimately needed to change to better serve the film. Without that level of collaboration, a project can really suffer.
“From my perspective as an editor, you also have to set your ego aside. It’s about listening to feedback and finding the note behind the note — that deeper insight that can push the film to its best version and you to your best version as a filmmaker. That back-and-forth process is what truly shapes the final product.”
Grace Point marked your foray into scripted storytelling, following Emmy-nominated work in the world of sports storytelling. How did those experiences prepare you for your work on this feature film?
“Coming from the documentary world has completely shaped how I approach scripted storytelling. In docs, you’re essentially writing the story in post — digging through footage to find the moments that will break the film wide open.
“When I was editing All or Nothing: The Michigan Wolverines for Amazon, we had already cut the entire series when network notes started coming in, revealing holes in the story. A lot of what we had built wasn’t working for us — it was working against us. I spent weeks combing through footage on the cutting room floor, finding new ways to reshape the series. Moments that didn’t work before suddenly became crucial in a different context. Scenes were rearranged like puzzle pieces. We ripped open the edit and rebuilt it in ways that completely transformed the show.
“As an editor, you have to be willing to tear something apart and rebuild it — especially when it’s not working. Constraints — limited footage, limited takes — can’t be excuses. They have to be your guide. You have to find creative solutions to tell the best possible version of the story. I learned that through documentary (storytelling), and applied it to Grace Point.”
What was the transition like from docs to scripted work?
“One of the biggest challenges in transitioning from documentary to scripted is learning how to shape an actor’s performance. In docs, you’re working with real people — raw emotions in interviews that you can’t manipulate as much. When someone gets emotional in an interview, they often catch themselves, and that moment quickly fades. You have to work with what’s there.
“At first, I assumed working with actors and multiple takes would be easier, but in some ways, it’s even more difficult. You might have five takes of a moment, and as an editor, it’s your job to find or craft the best version — one that serves not just the moment but the entire scene and, ultimately, the film. I second guessed my instincts a lot early on with Grace Point. I felt I needed to change my editing to cut narrative work. That was my biggest challenge.
“As I was cutting Grace Point, I reached out to several editors for insight. Wendy Hallam Martin ACE, CCE (The Handmaid’s Tale), gave me this advice:
‘Trust your gut and immerse yourself not only as the editor but as the viewer. Ask yourself as you’re assembling — what story are you telling? What shot sizes and performances best serve that? Who holds the power in the scene? Are they emotionally distant? Is there tension? Who do you crave to see and when?’
“That really stuck with me. Editing Grace Point, I’ve learned to trust my instincts in a way I hadn’t before. I think I was trying to cut what I thought someone would want to see rather than focusing on what’s actually in front of me and trusting my own intuition.”
What’s next for you?
“I’m co-editing New Here with an incredibly talented editor, Nolan Jennings. The film explores the value of art and culture through the journey of a pizza delivery person tumbling deep into the crypto culture rabbit hole. Directed by Sundance Grand Jury Prize winner Dan Sickles, it’s a hybrid documentary that blends scripted and documentary storytelling in a way I’ve never quite experienced before. 3D Metaverse worlds, wild art projects, blockchain culture — this film is a creative whirlwind in the best way possible. Bringing my background in both documentary and narrative editing to it has been an exciting challenge. It’s also really opened my eyes to what community truly means, especially in the digital space.
“Through New Here, I haven’t just explored the world of crypto artists; I’ve also found my own thriving and supportive online post community, as well as American Cinema Editors. In many ways, the film has been a mirror to my own career — diving into new worlds, meeting new people and evolving within my industry.
“This project has impacted me in ways I never expected, and that’s a huge credit to Dan’s passion and infectious energy. I am grateful to be part of something this unique and special.”