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Film Unit Editor,Adam Epstein

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Hi there. I'm Adam Epstein

I'm an editor who’s been working
professionally on promos, commercials,
TV and film* for longer than is healthy
for my lower back, and for the past
five seasons I’ve been editing for the Saturday Night Live Film Unit. At SNL, the pieces we take on always come with an intense timeline: pre-produce everything Thursday, shoot everything on Friday, and have it cut and ready for air on Saturday. And while the schedule is rushed, the quality of the final piece never looks that way.

This summer on The Cutting Edge Post-Production Tour I'll break down some of the techniques and theories that I use, and share with you the experience that I’ve gained working in a fast-paced broadcast environment.  No matter what you’re working on in your creative or professional life, one of the things I hope to show is that with post-production, there's always a way to plus it. Check out some of my work below or check out some articles I’ve been featured in. See you on the road!

Alex and I have been shooting 2nd Units for each other for 20 years. There’s no one I trust more than him to be my eyes when I can’t be there myself.
-Matt Jensen, Director of Photography (Game of Thrones, Chronicle, True Blood)

View Some of MY work

Press

Hybrid Edit is pleased to announce editor Adam Epstein has been nominated for a Primetime Emmy® in Outstanding Picture Editing/Short Form for the beloved SNL "Lincoln" piece he cut starring Louie C.K. (episode host).

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Once upon a time, the Saturday Night Live Film Unit –— those responsible for the fake commercials, shorts, title sequences and pre-recorded elements used in sketches — shot on 35mm film stock. 

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By now, pretty much everybody has seen and social media'd last week's epic Saturday Night Live sketch, The Beygency. It was a potent jab at the almost suffocating unanimity of Beyoncé-fandom, and what happens when one man--episode host Andrew Garfield--dares to be lukewarm on Queen Bey.

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Saturday Night Live Film Unit Editor, Adam Epstein details the insane schedules that create SNL film content and how Adobe tools help make it all possible.

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One of the crown jewels of the Adobe Creative Cloud suite is Premiere Pro. If you’re just posting Vine videos from your iPhone, you won’t need a tool like Premiere Pro CC, but for those doing more advanced video editing Premiere Pro CC is the tool of choice.

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Frequent readers of our site are likely familiar with the work of the Film Unit over at Saturday Night Live. On multiple occasions, we’ve covered the work of the Film Unit DP Alex Buono, most recently as he talked us through his work on the Wes Anderson parody, The Midnight Coterie of Sinister Intruders.

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One of the biggest treats each week on Saturday Night Live is to see what kind of bizarre short films will be shown. These mini-movies are the product of the writers along with the filmmaking unit headed by director/producer Rhys Thomas. Adam Epstein is their editor.

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Ask Adam Epstein to name the toughest part of his editorial and motion graphics workflow for Saturday Night Live's Film Unit and he will tell you, unequivocally, that the intense 24-hour edit sessions preceding the live show are actually a lot of fun.

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Remember the 1970s days of Saturday Night Live (SNL) and the Coneheads? Okay, you may be too young, but trust us: it’s as hilarious now as it was then. George Carlin was the first host, alongside comedy legends like Chevy Chase, Dan Aykroyd, Gilda Radner, Jane Curtin, and John Belushi.

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Hybrid Edit has announced its exclusive commercial representation of creative editor Adam Epstein. Epstein is renowned for his editorial work on "Saturday Night Live." Hybrid Executive Producer Gail Butler made the announcement.

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The SNL Film Unit – the group behind those pre-taped film and commercial parody segments – produces at least one spot for every episode of SNL. And they do it from scratch every show week, a dead sprint for each Saturday night.

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* Adam is a member of the Motion Picture Editor’s Guild, Local 700.