Last April it was announced that Abbie Cornish (Three Billboards Outside Ebbing, Missouri) and Jack Huston (House of Gucci) were set to star in the drama I’m Beginning to See the Light. Directed by Konstantin Khudyakov (The Road to Calvary), the film follows Ezra (Huston), a grief-stricken jazz trumpeter who seeks purpose and salvation after the sudden, tragic death of his wife and daughter. When he is mistaken for the new lighthouse keeper, Ezra meets Hannah (Cornish), a local schoolteacher who, along with ethereal music, reignites his passion for life and imbues it with meaning. Now in post-production, Konstantin Kochubei served as the film’s editor. Kochubei has worked as an editing specialist on everything from music videos, cooking shows to branding campaigns for companies such as Mondelez International, Mercedes-Benz, and Audi. We spoke to Kochubei briefly about his work on the film and some of his other recent projects in the below interview.
Can you tell us how you first got into editing?
I started making videos in my school days when my parents gave me my first camera. At first I was shooting 30-second clips that didn’t require editing. Studying at university, I started traveling more often and brought back a lot of video material from my trips, mostly shot on Go-Pro – 4. So there was a need to edit the footage, which I wanted to share with my friends and acquaintances. After the first attempts to edit my videos, I realized that I wanted to learn how to do it professionally and qualitatively. My first experiments with editing did not satisfy me, and then I decided to immerse myself in this subject, to learn all the subtleties and techniques of editing. Deep knowledge of this art allowed me to transform my videos and eventually demonstrate my skills in practice. It was then that I realized that editing plays an important role in creating a quality video production. I was fascinated by the opportunity to influence what story would be told through editing and montage decisions.
I also discovered that editing is not only a technical process, but also an art form where you can express your ideas, emotions and creativity. Also, I have always aspired to be a part of the film industry and be involved in creating something meaningful. All of this eventually led me to the decision to become an editor, combining my love for film and technical skill with creative expression.
You specialize in editing music videos, commercials and more recently films, but you have also worked as a cameraman before. Are you interested in trying your hand in related areas of the same industry?
Yes, I specialize in video editing, but previously and also currently I work as a cameraman. Having experience in both fields perfectly complements my knowledge and skills in video content creation. I believe that a diverse background is very important for professional growth. Although editing and camerawork are unique and require different skills, they are closely intertwined in the filmmaking process.
As for the opportunity to try myself in other areas of video production, I also shoot commercials as a director and cameraman, develop scripts, help friends in organizing shoots as a producer, as well as collect crew for filming interviews with celebrities for YouTube shows. For example, during the shooting of the music video of V.Meladze and A.Dzhanabaeva’s song “Megapolises”, which gained more than 5 million views on YouTube, I worked as a director of the second unit, I and my team shot additional special shots necessary for the video.
I also had a tremendous experience in preparing the filming of a commercial in Miami for a mobile app that helps young musicians discover their talent and find their producer. There I acted as a director, and a creative As a producer, it has given me a broad understanding of how the entire production process works during the pre-production phase of a project!
Experiencing different areas of production can also help me become more fully involved in a movie, as well as providing a more in-depth view of the film industry as a whole. Thus, I would love to try my hand at other areas of video production in order to not only expand my professional skills, but also deepen my passion for film.
You are the co-editor of the upcoming movie I’m Beginning to See the Light. Can you tell us what you enjoyed most about working on this movie?
At the beginning of 2023, I had the unique opportunity to join the team of the world-famous film director Konstantin Khudyakov. I was invited to participate in the shooting of his new movie I’m Beginning to See the Light as an “on set” video editor, that is, I had to edit the newly filmed scenes right on the set. It was my first experience working on a project of this magnitude and it was a great inspiration for me.
What I liked about working on the movie was the collaborative and teamwork process, where everyone involved knows their roles and responsibilities and follows them clearly. Working on a movie is a creative collaboration between different professionals, from the director and actors to the writers, cameramen, artists and editors. In the process, everyone involved can reach their potential, contribute to the overall work and get the satisfaction of seeing the result of their labor on the big screen.
Of course, I was mesmerized by Konstantin Khudyakov’s approach and professionalism, his scripted moves, artistic techniques, everything is honed to the last detail, all scenes and characters in them serve to develop the plot and tell the story.
How would you describe the look of the movie I’m Beginning to See the Light?
I’m Beginning to See the Light strikes with its visual elegance and cinematic beauty. Every frame of this picture is filled with subtle shades and deep meaning. I am sure that the visual style of the movie will capture the viewer, drawing him into the amazing story unfolding on the screen. The graphics and cinematography of the movie create a unique atmosphere, as if each frame is filled with magic and mystery. The look of the movie I’m Beginning to See the Light is a true work of art, both mystical and beautiful.
You’ve worked on commercials for brands like Audi and Magnit. When you work with Audi, do they have a certain style that they like to stick to?
The Audi brand has a certain style in their commercials that they stick to. The strategy and style of Audi’s commercials are usually premium, innovative and modern. Audi usually tries to emphasize their reputation as the epitome of high style, quality engineering and advanced technology. They always pay close attention to the details, design and high-tech features of their vehicles, aiming to convey an atmosphere of understated luxury and excellence. Audi commercials often feature a minimalistic message that emphasizes their superiority, elegance and innovative approach to the automotive industry.
You have been working with Hoodyakov Production for a long time. How did you first get in touch with it?
My first meeting with the director of Hoodyakov Production was on the set of Timati’s music video. I was invited to this project by an old friend of mine. I unexpectedly found myself on the set and was stunned by the atmosphere on the set. I plunged into the world of the professional movie industry, where every person, every movement, every sound was clearly adjusted and directed to create a great product.
It was then that I first saw the work of the Hoodyakov Production team in action, and since then they have left an indelible impression on my soul. Everything – from the process of organizing the shoot to its execution – was done at the highest level. I admired how harmoniously all the team members worked together, how everyone understood their role and put their all into it.
It was a moment of enlightenment for me. I realized that I wanted to be part of this team, to work with such experienced and talented people, to develop my skills and share my experience. Since then, I have decided that I will definitely become a member of this team.
Are there any projects you would like to work on that you haven’t worked on yet?
My experience in production and post-production spans over 10 years. During this time I have been shooting and editing music videos, commercials and also tried my hand in the movie industry. It was this experience that gave me a deeper understanding of video content creation, project management and teamwork.
I have always been interested in trying my hand at making a feature film. Working on a long meter requires a special approach and skills that I am ready to learn and apply in my work. I am convinced that my knowledge and skills accumulated over the years of working in the industry will allow me to make a significant contribution to the successful creation of a movie.
What are you watching/were you watching on TV right now? What would you recommend?
As far as movies from a professional point of view, of the recent ones, I liked the thriller Mother! by Darren Aronofsky. All the action takes place in a house. What can you shoot in one location! You’d be surprised how much you can shoot! The way the editing is done inside the frame, how the camera goes from one state to another in the house – it is very interesting to watch first of all for a specialist.
I’ll also highlight the art house film The Lobster. It’s an abstract movie which, almost entirely shot in natural light. Beautiful long shots, very atmospheric movie, it is impossible to tear yourself away until the end.
And I will also call the well-known The Grand Budapest Hotel. There is not a single superfluous frame in the movie. At the same time, everything is minimalistic – the perfect dream of a director of montage!
Anything else you would like to add that I may have forgotten?
My future plans are to strive to grow to the level of a video editing professional and get involved in large scale projects in Los Angeles. I want to develop, train, and improve in my craft so that I can work on well-known movie projects and learn from the best experts in the field. My ambitions drive me to strive for new heights, and I hope that my path in filmmaking will be full of interesting projects and achievements.
Many thanks to Konstantin Kochubei for taking the time for this interview. Learn more about Konstantin here.
