Austen Deery cut his teeth as an editor at Brooklyn-based production company Voyager, where he quickly rose to his senior editor position, working on numerous national broadcast campaigns for brands such as Kia, American Express and Meta. He began his commercial editing career crafting director's cuts for Voyager's roster and quickly found himself in constant demand. His eye for kinetic motion and ear for cinematic sound design, combined with his storytelling sensibilities, make him a rare triple threat. Voyager launched Leap Year Post (www.leapyearpost.com) on February 29th, 2024, bringing together a network of post production professionals. Here, Deery reflects on his career to date.
Austen, how did your journey in post production begin? Was editing always your passion, or did you discover it along the way?
“Like many editors I know, I never expected editing to turn into a full-fledged career. I never imagined that when people asked what I do, I’d be answering with, ‘I’m an editor,’ quickly followed by the clarification, ‘a film editor.’
“As a teenager, all I wanted to do was direct, but it always felt more like a daydream than a real possibility — just something to keep my creative gears turning. I’d shoot videos with my friends and edit them in Final Cut. They were terrible and I have since destroyed any evidence. In school I studied computer science for the money, planning a Silicon-Valley career. But after a near-fatal car accident, my world flipped upside down. In a cliche twist, I started questioning whether I really wanted a life dedicated to big tech. A little voice, possibly encouraged by the heavy meds, kept telling me to take a chance on something I actually cared about.
“Long story short, I cold-emailed Voyager (they were a newer company then) while still bedridden, met their head of production for coffee when I was able to walk again, and eventually ended up interning for them. After two summers living in their office loft, I got hired as a ‘creative assistant,’ tried directing, quit directing and found myself editing directors’ cuts. Those edits built a portfolio, and soon I was landing real projects.”
What has been your most challenging project so far, and how did it push you as an editor?
“I was recently working on a high profile feature documentary, which has since been put on hold. I can’t say much, but we were dealing with an overwhelming amount of archival footage — hundreds of hours — along with modern-day material. Balancing the two was a real challenge. Just as we cracked at it, external factors led to the financier pulling funding.
“Looking back, it was the writing process that tripped us up. Footage arrived in pieces, so we’d start cutting, only to scrap everything when the next batch came in. Almost a year in, we admitted the film wasn't working. It felt like a failure, but also an opportunity. We took a step back, shut off the computers and wrote the whole thing out. In a week we had a paper edit we liked, but a month later the project was canceled.”
Photo: Poland Spring
What advice would you give to someone looking to start a career in editing or post production?
“Any success I’ve found in this industry has come from the people I’ve surrounded myself with. Talent alone isn’t enough to get ahead. A producer once told me, ‘It’s not a question of talent — everyone is talented. It’s about work ethic and being a good human.’ That pretty much sums it up.
“Take every opportunity you can, make things (even if they start out bad), meet as many people as possible and put in the extra work. Do the extra extra work. Meet with directors, work on directors’ cuts (often for free), take time to recharge and start building a portfolio and website you can shop around. And by ‘reel,’ I mean a body of work, not just a single highlight video.
“That’s coming from a commercial editor — features and shorts are a different game. The key is finding people you trust. That will get you through and make all the difference.”
What drives your creative inspiration when you approach a new project? Are there particular films, directors, or artists that have influenced your style?
“My creative inspiration comes from everywhere — it’s hard to pinpoint specific influences because I take in so much content across different mediums. What really drives me is hearing from directors about what inspires them. Their passion is contagious and becomes fuel for my own creativity.
“One of the best things about being an editor is the opportunity to learn from writers and directors. Every project is a chance to tap into their energy and ideas. That’s something I never take for granted. Collaborating with them doesn’t just shape the project; it helps shape my own evolving. They are an incredible resource.”
What inspires you creatively outside of your work as an editor? Are there any hobbies, experiences or interests that fuel your creativity and influence your editing style?
“Music is a huge source of inspiration for me. I spend an almost embarrassing amount of time exploring different genres and digging through the deep archives of vinyl collections. At one point, I even tried my hand at starting a music video production company — emphasis on tried. While that venture didn't take off, it shaped the way I approach rhythm, pacing and emotion in editing.”
How do you balance storytelling with technical precision in your edits?
“My precision often falls into beautiful disarray. The more I edit, the more I find myself moving away from the technical aspects. For me, much of editing is about finding ways to disrupt the norm. A friend once told me that the best way to tell the story you want is to first forget about what you think is ‘right’ and then let go of your favorite elements.
“That said, you can't completely escape the technical side of the craft, especially when working with clients — everything needs to be proper in its place. If you have the luxury of time, be patient. My approach is typically to stay methodical and technical up to the first cut, then step away and return with fresh eyes and new ideas. That's when the real fun begins.”
Can you describe your editing style? How does your inspiration feed into your choice of pacing, transitions and overall rhythm in your projects?
“I tend to lean into a clean visual style with a heavy focus on sound elements. I believe that music and sound effects can make or break a project, so I pay close attention to the audio landscape of my edits. There are times when I start by editing the sound before even touching the visuals. This approach allows me to establish the overall rhythm and mood early on, which then informs the pacing and transitions as I build the visual narrative.”
Photo: Meta
How do you work with directors and other team members during the editing process? What’s key to a successful collaboration?
“It’s a tricky balance between pushing creative boundaries and compromise. Whether you have a client or not, the most successful approach I’ve found is to hash out a vision with the director and then jam on that first cut as if you have all the freedom in the world. Go above and beyond. If you impress people with the first cut, you’ll have created trust that will last throughout the entire project. Worst case, the client tears it to shreds and you have a great starting point for a director's cut later down the line. My latest Parkview Health campaign is a great example. Marcus Tortorici, the director, thought healthcare spots are generally too predictable and wanted to take a more uncompromising approach. Turns out the client wanted that too. They dug the first cut and it’s been smooth sailing since then. You never know if people are going to love or hate what you make, so why not make something you love and go from there.”
Looking back, has your approach to editing changed over the years?
“Over the last few years I’ve learned that perspective is everything. Most editors experience tunnel vision and lose objectivity in the cut. Taking time away — whether it’s going for a walk or cooking — has been essential for gaining clarity. I’ve also learned to trust my natural instincts. I’ve seen edits stretch for months, only to realize the first cut was the best. Trust that initial version and use it.”