Brody is our lively Lead Editor here at Stepney Studios. Driven by story and rhythm, they’ve spent more than 10 years crafting edits for a multitude of clients. If you want your story told in a concise and compelling package, Brody’s the editor you want in your corner.
They’re also known for their love of little trinkets, so if you’re dropping by the suite, it never hurts to bring a gift. (More ducks, please.)
How do you tell a story with nothing but fragments of other stories? That was the challenge when the Adelaide Film Festival asked us to cut together their trailer for the 2025 season. It wasn’t our first time, we had edited their 2024 trailer, too, but this year came with a twist.
We had two weeks.
“At first, I thought, ‘two weeks, that’s plenty of time,’” says Brody. “But they were also creating an original composition, which meant we had just five days to picture lock before post sound. So in reality… we had one week.”
Setting the Brief
The Festival provided a clear brief: build a trailer with a three-act structure. The piece needed to begin with tension, then open up into something strange and captivating, before closing with warmth and connection. All of this, in 60 seconds.
“The ad had to move and inspire the audience,” Brody explains. “That was the line that stuck with me.”
In addition to the 60-second hero trailer, the brief also called for a 30-second cut and three 15-second versions. With time ticking, the edit suite became both a canvas and a testing ground.
Finding the Rhythm
Normally, having a client in the room during editing can be helpful. But in this case, the pace of the project meant Brody had to move quickly and experiment without explaining every decision along the way.
“This is where you’re scribbling ideas down and throwing paint at the canvas,” they say. “The fine-tuning comes later.”
With only fragments of other films to work with, the process became about discovering unexpected connections. A whip-pan here. A horse running past there. A flashlight suddenly illuminating an eyeball. Each moment built towards the bigger picture.
“There are times when you overthink an edit,” Brody reflects. “But I’ve found that when you overthink, you start to make connections you didn’t expect. Maybe the characters of this ad are the audience itself. The tension reflects the world right now. The release reminds us this is a safe space. Curiosity invites us to explore. Connection is the gentle hug.”
Avoiding the Beat Trap
Music is always central to an edit, but in this case, it was a trap to avoid.
“Cutting to a beat can be a hole you dig too deep,” they say. “Once you start, it’s hard to stop. My advice is always: cut without music first. Trust your instincts. Find the rhythm in the story. Then bring in the music.”
With that approach, and the addition of Matt McKenzie-Smith’s original composition, the trailer began to take shape. By the time the first draft was sent, it already carried the emotional arc the Festival had asked for.
The Big Screen
When the Adelaide Film Festival team came in for a session, the feedback was immediate and positive. Only a handful of shots needed changing. The trailer was locked ahead of schedule and ready for post sound.
For Brody, seeing the finished cut premiere at the Festival was a moment of pride.
“I’ve always loved the Adelaide Film Festival. The curated picks, the hidden gems. Being able to edit the trailer and then see it up on the big screen… that was a highlight.”
As always, it was a collaboration, with sound by Matt McKenzie-Smith, graphics by Cul-de-sac Creative, and trust from the Adelaide Film Festival team.
Closing Thoughts
The edit of the 2025 Adelaide Film Festival trailer was more than a job against the clock. It was a reminder of how fragments of story, when cut together with care, can create something whole, moving, and memorable.
Or, as Brody puts it:
“Yeah. I think we’ve got something here.”
