SNL’s Adam Epstein & The Cutting Edge Tour

Jul 17, 2014 8049 0 Share
Aharon Rabinowitz
Aharon Rabinowitz
For the last 5 years, Adam Epstein has been editing for the SNL film unit – a team that has just a couple of days to make something that looks as polished and as real as the material they are often parodying. Adam describes himself as an editor who’s “been working professionally on promos, commercials, TV and film for longer than is healthy for my lower back,” and it shows in his work (“it” being his editing chops, not his lower back pain). Adam is going out on the road to share his editing knowledge in the Cutting Edge Tour, and we’re proud to sponsor him. We also want to save you a few bucks too. Use discount code CETRED at checkout and get $10 off. REGISTER NOW. On the Cutting Edge Tour, Adam will break down some of the techniques and theories that he uses, and he’ll share with you the experience that he’s gained working in a fast-paced broadcast environment. Some of those techniques involve the use of Red Giant tools so, naturally, we asked Adam to talk about how he uses our stuff in his stuff:

The post-production process at the SNL Film Unit requires tools that mirror what we do — they have to be fast and they have to be flexible. Red Giant’s products help us to more fully execute pieces that span a wide variety of styles and tones, while being lightweight and optimized to a level that they don’t get in the way of our unchanging weekly deadlines.

With the ultra-compressed nature of the SNL Film Unit post-production timeline, the more polished the look and feel we can give a piece from the get-go, the more we can focus on the most important aspect of the job: Is this piece working? Is it funny? Tools from Red Giant often save us from not having to take the time to explain that “yes, we’re going to eventually get rid of that greenscreen.” “Don’t worry, the color is going to eventually be what the piece needs.” This lets us be more free creatively, even if that freedom is often spent in search of a perfect fart sound effect. Or two.

We’re working on a piece that feels like a cop show from the ‘70s? Oh, hello there 3d Stroke and Magic Bullet Misfire.

Jaime Fox is jumping to camera in front of a green screen where we’ll be compositing a large explosion behind him? Nice to see you Keying Suite and Light Wrap!

The agents from “The Beygency” need a little bit more of a Tony Scott-esque color tone to really sell how serious they are about never disrespecting the Queen B? Mojo, get up there on that adjustment layer next to your responsible older brother Colorista! I’m sorry we’re only going to use you at about 20% opacity, but that’s not your fault — sometimes you just come on a bit too strong.


When it comes to making sure the pieces we shoot in a day and cut in another never look that way, Red Giant products are a favorite tool in the Film Unit’s arsenal. A great set of plugins will never make the piece for you — but they will help to make it better.

  Save $10 on your registration when you use discount code CETRED at checkout. Register NOW at

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