Film Editor Yumeng Zhu Earns Accolades while Learning from Oscar Winners like Jennifer Lame
“Earning a best editing award, Editor Yumeng Zhu’s short film, ‘A Whim to Kill,’ shows an excellent understanding of pacing. It seamlessly keeps us engaged throughout the entire punchy story!” — Film Festival Judging Committee
Film/TV/Commercial Editor Yumeng “Judith” Zhu is already earning praise for her storytelling work in the editing booth. She earned a prestigious 2024 Telly Award for the commercial she edited called “realme 12 Series Portrait Master.” Along with her short film, A Whim to Kill, two other highly acclaimed films that she edited, The Hongfu Hotel and Deep into the Forest, have been recognized by prestigious film festivals, including Tribeca Festival, AFI FEST, and the LA Short International Film Festival, among others.
That demonstrates some serious editing chops.
Indeed, for Beijing-born and now LA-based Yumeng, editing is an invaluable adjunct to the overall storytelling of any filmed project. A big fan of Best Picture-winning movies that are driven by Best Editing talent, she offers, “For me, editing enhances the storytelling of a film by creating a cohesive narrative structure, maintaining the pacing, and emphasizing emotional beats. So that the audience can remain engaged through the whole journey.”
In fact, Yumeng has been inspired by Christopher Nolan’s multiple Oscar-winning movie, Oppenheimer, enthusing, “One of my favorite Oscar Best Editing winners is Oppenheimer edited by Jennifer Lame — I was stunned by her use of quick cuts and dynamic pacing that intensified the tension and emotional depth, allowing me to grasp the intricacies of Mr. Oppenheimer’s journey. I think Lame’s precise editing choices highlight key moments and themes, ensuring the film’s historical and scientific details remain understandable without overwhelming the audience. And, her awesome work no doubt added to Oppenheimer’s overall impact on audiences, and its Best Picture Oscar win in 2023.”
So, Yumeng, who has her sights on emulating the remarkable achievements of Oscar-winning editor Jennifer Lame, has recently been working on several feature-length miniseries that have already earned millions of views online. With a Master’s Degree in Editing from the American Film Institute Conservatory, and a BFA from the City University of Hong Kong, majoring in Creative Media, she talks about: what she brings to the table for producers and directors; what she contributed to the well-received The Hongfu Hotel and Deep into the Forest; some “Do’s and Don’ts” she’s learned; and, who she’d like to work with.
— What are your strengths, and when do you come into a project?
— As a film editor, I love crafting engaging narratives and have a good eye for visuals, making sure each film has its unique look and feel. Besides, I always aim to bring the producers’ and directors’ vision and voice to life while adding my own creative touch. I’m also good at communicating, which helps keep everything running smoothly. Last but not least, I’m proficient in editing techniques and stay updated with the latest technologies. As for coming into a project, I typically begin editing once principal photography is completed. However, for films with intricate action scenes, such as the running scenes in Deep into the Forest, I collaborate with the director and DP during the shot list design phase. This allows me to provide input from an editor’s perspective early in the process.
— What is the message of ‘The Hongfu Hotel,’ and what did you bring to the project?
— The story revolves around themes of heartfelt reconciliation and letting go of the past. As an editor, I always prioritize the emotional trajectory of the film and make sure the audience will engage with the protagonist through the whole journey. It wasn’t an easy piece to edit, but I crafted seamless pacing to enhance the narrative’s flow, emphasizing the moments of reconciliation and farewell. The director Tian Xu and I worked together through the editing process to ensure a cohesive vision and maximize the impact of key scenes.
— What was the challenge of editing around the VFX ghosts?
— Our amazing VFX team created the ghosts in the film. I have to say this is one of the most difficult projects that I’ve been working on since most of the characters were not in the footage. The ghosts were created after the editing process. However, director Tian Xu had a clear vision of the ghosts and described every detail to me, allowing me to visualize them. His guidance, combined with the voiceover, helped me make precise decisions about the cutting points.
— What is the message of Deep into the Forest, and what editing challenges did you have to overcome?
— The film follows Zijian, a gifted orienteering athlete in a small town in southern China, who struggles with the sporting and life path imposed on him. The film conveys the message that young people should live for themselves and speak up for their own desires, rather than succumbing to societal pressure and family expectations. I came on board pretty early when the director, Violet Lu, had just completed the first draft of the script. One of the main challenges I faced was editing the two important running scenes, which required the most adjustments in the editing room. It was a small-budget project and Violet wanted the film to feel like southern China, but our location options in Los Angeles were limited. Creating the feeling that the protagonist had been running through the forest for a long time with limited footage was particularly challenging.
— What are some key “Do’s and Don’ts” you’ve learned as an Editor?
— First, I would say be creative and explore every opportunity with the footage. Experimenting with different cuts could always lead to unexpected and powerful storytelling moments. Also. staying open to feedback is important. I constantly learned things from the notes of the audience that I never noticed in the editing room. Additionally, don’t become too attached to specific emotions in the film. Sometimes, removing or restructuring parts of the film is necessary for the overall narrative. Other tips include: don’t give up; trust your guts and believe in yourself and your team.
— What movies and other Editors have influenced you?
— The Darren Aronofsky directed drama, Requiem for a Dream, profoundly influenced my approach to visual storytelling and editing techniques. The ACE award-winning film editor, Jay Rabinowitz, and Aronofsky employed innovative editing styles that captivated me. Their use of rapid cuts, split screens, and time-lapse sequences to convey the characters’ psychological states inspired me to explore creative editing methods. Additionally, the collaborative efforts between Rabinowitz and Aronofsky in crafting the film’s intense and immersive narrative showed me the power of dynamic editing in enhancing a story’s emotional impact. I aspire to learn from them and use their award-winning techniques.
— You’ve earned a Telly Award, an annual award competition honoring excellence in video and television, do you aim for even bigger levels of recognition?
— Yes, definitely. First, I’d love to work with creative teams and visionary directors like Christopher Nolan, and Wong Kar Wai. And, collaborate with people who bring fresh ideas and perspectives that not only enrich a story but also foster a dynamic environment where we can all advance together. Then, I constantly dream of winning the Best Editing award at major film festivals. To fulfill that goal, I’m dedicated to improving my editing skills and am open to every opportunity that comes my way. I aspire to become as skilled as Jennifer Lame, hoping to enhance my career step by step and achieve such prestigious recognition in the future.
Drop in on Yumeng Zhu’s website, and her IMDb and Instagram pages.
