Crawford Post Production has brought in a new editor, who at 21 years of age already has over eight years experience in the industry. Les Umberger didn’t do things the typical way. He started working at 13. He will now serve Crawford as commercial spot editor working primarily with advertising agencies, production companies, and broadcast and corporate clients.

Umberger began his career in 1993 as a camera operator at In Touch Ministries in Atlanta. The part time position became a full time one as a production assistant. He taught himself editing techniques by reading manuals and studying the practices of commercial and feature editors. By 16, Umberger had three years of experience under his belt. He joined Turner Production, which later turned into Turner Studios, as a Tape Operator. He started editing for the company six months later and was promoted to editor within the year. In 2000, Umberger left Turner and worked with NBC as an Online Editor during the 2000 Summer Olympics in Sydney, Australia. Umberger’s recent clients include Fletcher Martin Ewing, Cartoon Network, CNN, Goody’s, Director Hype Williams, NBC, TBS Superstation, The Discovery Channel, Tribune Broadcasting, Turner Classic Movies, Turner Network Television, Turner South, and Turner Sports.

Crawford is pleased as punch with their product replacement work, a service the company has provided for seven years, a service that most are not even aware of. The spots are used when products change in different markets and countries. Gary Milgrom, Senior Coordinating Producer explained, “The process allows products to be replaced on existing spots so the commercial does not have to be reshot. Although the editing must be perfect, it provides tremendous benefits for clients in both money and time. However, most companies and agencies are not aware that this can be done.”

The complex process involves adding grain, changing light sources, adding condensation and/or bubbles, man ipulating motion and movement and matching angles. With fire/inferno suites, editors can manipulate products with software and match angles. Crawford recently finished one such product for Fanta, a division of The Coca-Cola Company. Depending on the market, Fanta uses two different labels. Crawford artists had to replace 11 scenes, substituting a white label for an orange one. Crawford performed a similar function for Coke beverage, Surge and has worked with The Martin Agency to adjust commercials shot for Saab’s new 900-series car.