After looking at his vast resume, there is a good chance you have seen a project that film editor Nikolay Ivanov has worked on, as he has collaborated with everyone from Egor Abramenko, known for directing the sci-fi horror film Sputnik to Charley Stadler, the director of Dead Fish starring Gary Oldman. It’s his attention to detail and approach that separate him from some of the other editors in the field, especially his commercial work.
So what is the actual process for creating some of our favorite commercials we see on tv? Nikolay says, “For the Adrenaline Rush commercial, the director Michael Lawrence was remote in his Malibu home, while we were shooting in Moscow. I had to lean on all the remote workflows I’d developed during the pandemic to make it work seamlessly. We rigged up a rolling C-stand with portable LTE routers, a laptop with Zoom, and a couple of cameras to give a full view of the set. I had my portable battery powered kit with capture cards, which allowed me to take an SDI feed directly from the camera and route out the edit to the Zoom conference with director. We even connected the headsets to Zoom, so everyone on set could hear and interact with Michael, even though he was thousands of miles away.”
In the below interview Nikolay talks about everything from getting inspiration from Christopher Nolan’s Inception to wanting to work in the psychological thriller genre one day.
You have worked on everything from television shows to music videos and commercials for some of the most recognizable brands in the world. Whenever you are working on a commercial, for example Red Bull, do they send you certain guidelines about how they want the commercial to feel? How is that message conveyed to you?
Projects like these usually come with a stack of NDAs before you even know what you’re signing up for, and that was exactly the case with the award-winning Red Bull project I worked on with Profilm production company. I got a call from producer Dmitriy Timonov, who hinted at an exciting opportunity but couldn’t reveal any details until the NDAs were signed. My only question was, “Is it worth it?”—and I think you can guess my answer.
When working on a commercial, especially for big brands like Red Bull, there’s often a very clear vision set from the start. Usually, they provide detailed guidelines, but it’s a balance of staying true to the brand identity while allowing creative freedom. The process starts with an initial creative brief or treatment, where the client outlines the brand’s messaging, tone, and key elements they want to highlight. From there, it’s up to the director and the entire creative team to build on that.
For example, when I worked on this Red Bull campaign involving a zero-gravity pit stop, the concept was innovative and out-of-the-box, and the guidelines reflected that.
They emphasized adrenaline, energy, and breaking boundaries, which aligns perfectly with their brand. My role as the editor was to ensure that every cut, every transition, and the overall pacing captured that high-octane energy while maintaining a polished, cinematic feel.
The project required multiple formats—a main TV spot and a longer showcase film for different media. We had numerous pre-production meetings with the creative teams, including the director, to flesh out ideas and anticipate any challenges. It felt like prepping for a mission to Mars.
During rehearsals we had a Styrofoam mock-up of the bolide and the whole interior of the plane constructed in Russia, on which the Aston Martin Red Bull Racing crew and Roscosmos trainers could practice and we would test out the rigs and ideas. Rehearsals were crucial because of the limited flight time. This early stage allowed me to work out the pacing, transitions, and much of the sound design before we even went airborne, ensuring we captured exactly what we needed during the flight.
In addition to the main camera, a second camera was used on several flights, mounted in a special compartment in the ceiling, along with countless action cameras mounted on various parts of the bolide, helmets, and impact wrenches. The installation of these was entrusted to me. Who would miss a chance to get on such a fun flight!
The main TV spot was fairly locked down creatively, so the focus was on execution, but the showcase film gave us the freedom to experiment and push the creative boundaries.
My role on the Red Bull zero-gravity pit stop project was integral, from pre-production to post-production. I helped shape the pacing, transitions, and sound design early on, ensuring smooth execution during the flight. This approach contributed significantly to the success of both the main TV spot and the showcase film in capturing the true spirit of Red Bull’s brand.
Main spot:
Showcase video:
You worked on a commercial for Adrenaline Rush. The director was remote from his Malibu home, and we were shooting about 5 nights in Moscow. Would he Skype in or how did this work exactly? Is this often done?
Yes, it’s becoming increasingly common, especially in our current digital era, to work with directors remotely.
For the Adrenaline Rush commercial with Park Production and KB-12 agency, the director Michael Lawrence was indeed remote in his Malibu home while we were shooting in Moscow. I had to lean on all the remote workflows I’d developed during the pandemic to make it work seamlessly.
Since I’m usually involved from pre-production through to the final delivery, I’m no stranger to editing on set and adapting workflows to ensure everything runs as efficiently as possible.
We rigged up a rolling C-stand with portable LTE routers, a laptop with Zoom, and a couple of cameras to give a full view of the set. I had my portable battery powered kit with capture cards, which allowed me to take an SDI feed directly from the camera and route out the edit to the Zoom conference with director. We even connected the headsets to Zoom, so everyone on set could hear and interact with Michael, even though he was thousands of miles away.
This way, even though he wasn’t physically on set, his creative input was present throughout the entire process. It’s a workflow I’ve used on several projects, especially during the pandemic, and it’s proven to be highly effective.
My role went beyond just editing; I had to act as a creative mediator, ensuring the director’s vision was being implemented on set while also keeping things efficient. This remote workflow, which I’ve now applied to many projects, allows for creative input to happen in real-time without the geographical limitations.
The editing continued remotely as well. We worked out the story and sound design, collaborating with Mattias Friberg, who built on our draft and created the final sound design and original music.
In the end, the effort was well worth it. The campaign turned out to be a huge success, picking up over 13 awards at MIXX Russia Awards, Silver Mercury, G8, Perspectum Awards, and Red Apple film and commercial festivals.
You have said that you are constantly watching movies to get inspiration for your work. Has there been a particular movie that has really stood out to you?
I wouldn’t say I specifically choose movies just to spot outstanding editing. For me, the most important aspect is the plot and how the story flows. In a great movie, the editing doesn’t have to stand out; it’s a tool to enhance the overall cinematic experience.
What I really appreciate in a script is when timelines unfold at different paces but are woven together seamlessly. A good film should challenge traditional storytelling and take you on an emotional rollercoaster.
I’d say some of Christopher Nolan’s older work, like Inception, is my go-to when there’s nothing new that grabs my attention. It’s a masterclass in complex storytelling and pacing.
Having a young kid, I’ve also been watching more animated films with him, and I have to say I really love the aesthetics of Spider-Man: Into the Spider-Verse. It’s crafted with so much care and creativity. The editing tricks and transitions in that film are inspiring, and you can definitely pull ideas from it into commercial work.
You worked on a commercial for IKEA titled “Another Planet” about sustainability that received some major awards. Can you talk about those accolades and how you approached this project?
The “Another Planet” project for IKEA was special for so many reasons, and I’m really proud of how it was received.
The concept was about eco-conscious people who live as if they’re from another planet—because sometimes, living sustainably can feel like you’re an outsider. But the message was one of empowerment: the more “aliens” there are, the faster we can turn our planet into a better one.
I got involved early on in pre-production, which is where I love to be because it allows me to help shape the visual storytelling from the ground up. From building boardomatics using storyboard stills, working alongside director Egor Abramenko, known for the sci-fi horror film Sputnik, featuring Oksana Akinshina, Pyotr Fyodorov, and Fyodor Bondarchuk and the team from AlfaFilm production house and Instinct creative agency, we worked out a storyline that felt like a blend of sci-fi and everyday life, which was crucial in making the message resonate. We really wanted the viewers to feel immersed in this ‘other world’ where sustainable living is the norm.
Luckily, we had composer Oleg Karpachev onboard from the start to help us with a remake of the great soundtrack which brought everything together. Working on set during the shooting period I polished the flow and the rhythm of the spot into a really nice captivating commercial.
The project won multiple awards in sustainability-focused categories at prestigious industry awards like the Epica and Effie, which was exactly what we were aiming for. It was incredibly rewarding to see that the film resonated not just with the audience but also with industry professionals. For me, it reinforced the idea that impactful editing can be a driving force behind storytelling, especially when working on projects that carry such an important message.
What’s something that surprised you about the post-production world that you may not have realized while in school?
What really surprised me was just how much editing isn’t just about technical skills—it’s about managing relationships and expectations. When you start you focus so much on learning the software, on the art of the cut, and storytelling. But once you’re on an actual job, you realize that a huge part of your role as an editor is managing feedback from multiple sources: the director, the client, the agency, and sometimes even the actors.
It’s almost like being a diplomat. You’re constantly balancing the creative vision with the practical needs of the project, all while keeping everyone happy. It’s not enough to just make a technically perfect cut. You need to know when to fight for a certain creative choice and when to adapt based on feedback. That’s something you can only learn through experience, and it’s been one of the most valuable lessons I’ve picked up along the way.
The other thing that you don’t realize when you just in the early stages of your career is how much footage is shot for a single spot and the millions of ways a spot could be cut. An editor can make or break a project. The realization of how much responsibility and creative input an editor holds has been eye-opening and deeply rewarding.
Besides length, what’s the biggest difference between working on a docuseries vs. a music video?
Beyond the obvious difference in length, the mindset and approach are very different. A documentary type project is all about building a slow-burn narrative over time. As you’re telling stories based on actual facts, you have a responsibility to the truth.
It’s a deep dive with lots of preparation in preproduction, reading the scripts and adapting on the go.
You also need to structure it in a way to keep the audience engaged episode after episode. It’s a very methodical process.
I usually start by organizing the footage, researching relevant media archives, building blocks from interviews according to the script. Once that’s done, it’s about finding the emotional core of the story and letting that guide the edit.
Music videos, on the other hand, are often more about mood, rhythm, and visual experimentation. There is more self-expression in the editing process, you are always on a look out for new visual tricks, styles, transitions. You have a very short window to make an impact, so every cut needs to pack a punch.
But overall, our craft isn’t about just cutting two beautiful shots together. The task of a film editor always boils down to one thing — telling a story in an interesting and engaging way.
What has been the most challenging project for you to work on? Why?
After so many years in the field, working on sets and editing suites across the globe and in different environments, I find that the most challenging projects now are the ones that deeply connect with emotions. One project that stands out in this regard is the Dolphin – Palms music video, directed by Petr Antokhin, which I had the privilege of editing. It was made in memory of healthcare workers who lost their lives to COVID-19, and the emotional weight of the project made it both difficult and rewarding.
What made this project so special, and also so demanding, was the level of passion everyone brought to it. We had an incredible team working together, driven not only by deadlines or logistics, but by a shared belief in the story we were telling. Diana Pozharskaya, our lead actress, managed to carve out two full days from her packed schedule just for this project. Andrey (the musician Dolphin) had a concert in another city immediately after our night shoot, but he stayed fully committed until we wrapped. Our cinematographer Fedor Lyass, who had just been sitting on the jury for “Kinotavr” that morning, jumped right into color correction with us that evening.
There were countless people, from visual effects artists to sound designers, all contributing their talents because they believed in the message. The visual effects team worked tirelessly through the nights to create the cosmic imagery, while our sound designer searched for “intergalactic” sounds to complement the ethereal tone of the video. I, as the editor, worked closely with the director to fine-tune the final versions, ensuring that the emotional beats hit just the right notes.
All of these contributions made the project incredibly challenging, but it was also a reminder of how crucial a strong team is. Editing on this project was about crafting not just visuals but a story that honored the lives lost. And that emotional weight elevated the stakes—it wasn’t just another job, but a tribute. The media attention and awards at prestigious festivals, including Silver Mercury, MIXX Russia Awards, ADCR Awards, and the International Advertising Festival Red Apple, highlighted how deeply the project resonated with audiences. However, for us, the real success was in creating something truly meaningful.
Can you talk about how the industry has changed in the last 15 years?
The industry has changed dramatically, especially with the rise of digital workflows and remote collaboration. When I first started, most projects were still shot on film, and the editing process was much slower. Now, everything is digital, which means faster turnarounds, but also higher expectations. Clients expect more revisions and more iterations in a shorter time frame. But with that has come incredible technological advancements.
Remote workflows, like the one we used on the Adrenaline Rush project, have become almost standard. During the pandemic, we were all forced to adapt, and now it’s a regular part of the industry. I’ve worked on projects where I was editing in one part of the world while the director was in another, and we were able to collaborate as if we were in the same room. Technology has made that possible, and it’s completely transformed how we work.
Is there a feature film genre you would like to work on one day?
Absolutely, I’ve always been drawn to the psychological thriller genre. There’s something about the pacing, tension, and intricate character dynamics that really allows for creative freedom in editing. I love the idea of using editing techniques to manipulate the audience’s emotions—playing with suspense, timing, and even misdirection to keep them on edge.
It’s also a genre where the editor’s role can truly shine because so much of the story’s impact comes from how the scenes are cut together.
Check out more of Nikolay’s work on his Vimeo channel and Instagram.
