Barry Farrell has worked in tandem with Les Stroud for more than three years, joining the Huntsville-based production company during Survivorman Season 2 and continuing as Senior Editor through Survivorman Season 3. As Producer and Senior Editor, Barry is principally responsible for bringing Les’ newest adventures in Les Stroud Beyond Survival to life.

Barry took time out of his hectic Beyond Survival post-production schedule to answer a few questions:

1. Survivorman is known for its unscripted documentary style and 7-day formula. How does the storytelling formula differ for Beyond Survival and what challenges did this pose from an editorial perspective?

Beyond Survival was more cinema verité while Survivorman was documentary filmmaking. Shooting what you find as it exists with no set up and no retake poses many challenges for an editor. You don’t always have that perfectly set up shot to rely on for continuity. Survivorman had to remain in chronological order from day 1 through 7. Beyond Survival allowed more creative flexibility however it’s format posed different challenges given that we had up to 5 cameras running at any given time, capturing ceremonies and situations involving large groups of people. We had 100’s of hours of footage to review and cut to a 44 minute episode.

2. At one point, your team was cutting 6 shows all at the same time – which is pretty intense. What made this post-production schedule so challenging? Is this the tightest schedule you’ve ever worked on?

I’ve had tighter project schedules but they were dramas, fully scripted and shot in a completely controlled environment or studio. Creatively, we are a tight team and have worked with Les for a few years now so we’ve been able to hone and fine-tune our processes. Les is very decisive creatively so we never run around in circles trying out ideas that lead nowhere -it’s an editors dream.

I have a unique creative relationship with Les, one that I have rarely experienced with other directors. The trust factor is very high with the freedom to express ideas and techniques and apply them to each episode.

3. This is the first Les Stroud production that’s been all digital – not tape-based. How did that change your post-production workflow?

Our biggest challenge was coordinating and processing footage from SD cards, like the ones you have in your still camera. This new technology for shooting HD had no existing format for a postproduction workflow…so we had to create one.

Tape is as simple as placing the tape in a machine and pressing start. With the new digital formats there are endless ways to transcode footage for broadcasting and if there is one error the entire job can domino, instantly collapsing like a house of cards.

We’re using 40 Terabytes of hard drive storage for 10 episodes and until the data gets backed up, it’s very volatile.

4. You have a very small team of editors that you hand pick. They all speak of how grateful they are for the mentorship and guidance that you tirelessly give – what do you hope they take away from the experience of working under you?

I don’t keep [(editing/filmmaking] secrets from anyone I work with. I freely share all my knowledge and tricks of the trade that I’ve acquired through my 35 years of experience as a film editor. Using motion, colour, graphic composition, music, movement and words are the fundamental elements which need to be skilfully, imaginatively, and creatively applied by the editor to successfully compose a compelling story which captivates. I pass this craft on to my team.

There are a dozen ways to edit a scene but only one way to make it great.

5. You also own a company called Smash Editorial Inc. On its profile, you write, “Fear is the enemy.” Can you explain how taking risks has benefited you within your career? Is this mantra reflected in the work that you produce?

Yes absolutely…fear is the enemy. An editor must have the innate ability to immediately judge, recognize, and order composition, art, and story in a way that captivates and propels…that is a term best described as finding the magic.

If you employ fear, you will undermine your creative abilities regardless of your inherent talent or creative potential.

My greatest artistic accomplishments have been achieved by taking creative risks, forging fearlessly ahead and remaining open to new ideas and experiences. Never breaking the rules until I fully understand them….. then and only then, I tear them apart creating my own style. A bad editor can ruin a good film and turn brilliance into mediocrity with the click of a mouse. An editor is only as good as their last cut.

6. What are the next steps for you once Beyond Survival is wrapped?

I need some serious downtime and will be going Musky fishing with my wonderfully patient and supportive wife.I would like to extend my gratitude to my post team Andy Peterson, JohnnyMegalos, Graeme Fraser and “Joel” Johnny Pyke, for all their hard work and dedication.

Special thanks to my right hand editor Max Attwood for letting me see myself at his age.

Les and Wendy…without the two of you I would not have had the opportunity to work on such an interesting and gratifying project. I’m thankful we are colleagues and friends.

On to our next adventure…..

To learn more about Barry, the multiple awards he’s earned during a career that has spanned more than 35 years or to view the Smash Editorial Inc. reel, please visit:

http://www.youtube.com/user/smasheditorial

Barry’s Team for Beyond Survival includes

Editors: Max Attwood , Andy Peterson,

Assistant Editors: Graeme Fraser, Johnny Pyke

Post-Production Supervisor: Johnny Megalos