Film Editor
Scott A. Jacobs
DEMO REEL
Below are some scenes I wanted to share, but didn't include in my demo reel.
She-Hulk - "Pilot"
I was given a lot of freedom to cut a lot on this show through the generosity of my editor, friend, and mentor, Zene Baker ACE. This particular scene was an exciting challenge as it was the first time I really got to cut a scene dealing with motion capture. I am also proud to say that this cut is essentially my editors cut that made it to Disney+. Of course there were some minor trims here and there, but ultimately what I had done originally on my editor's cut remained the same. This show was extremely challenging on so many levels, but this scene is extremely gratifying. Cutting Mark Ruffalo and Tatiana Mislany was a lot of fun as well.
Person of Interest - Ep. 322 "Beta"
Without a doubt, this is the most gratifying scene that I have had the privilege of editing so far in my career. I received about 6 hours of dailies from 9 different camera angles just for this one scene. Aside from being a major climax for the series as a whole, what made this particular scene so gratifying is that my Editor's cut went virtually untouched with only minimal changes by the time the show was locked. By no means do I think I am perfect, but I take great pride in knowing that I was able to execute a scene in such a way that appeased everyone.
In layman's terms, this pivotal scene in the series is the first time that Finch (Michael Emerson) has seen Grace (Carrie Preston) since he faked his death to save her life from the Artificial Super Intelligence (ASI) he created. Grace had been kidnapped by an organization who could have revealed the truth to her. Before that could happen, Finch offered to turn himself in to not only keep his secret safe, but to keep Grace safe from the secret as well. The blindfold you see Grace wearing is out of respect to Finch for his cooperation.
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Of course an Editor can only be as good as the content that is provided to them and this scene is NO exception. The script was written by Executive Producer Denise Thé and the show was directed by Frederick E.O. Toye (also an accomplished Editor). Both are amazingly talented filmmakers and friends and I cannot wait to collaborate with them again. A very special shout out to Editor Scott Powell, ACE who allowed me to grow as an Editor while we worked together on POI. Not once did he care what scenes I chose to edit, including this one. I hope that all young Editors have the opportunity to work with someone as generous and as brilliant as him.