What does it take to build a successful career in video production? For Emily McKay, executive producer at Saints Editorial in Toronto, it all started with a curiosity about movie magic.
In this interview, Emily reflects on the moments that shaped her career, from analyzing the iconic Steadicam shot in Goodfellas to working on high-profile campaigns for brands like Chevrolet and Mount Sinai Hospital. She shares her favorite part of the production process, how she balances creativity with client expectations, and the strategies she uses to handle tight deadlines.
Dive into Emily’s story for a behind-the-scenes look at the art and business of video production.
FILMSUPPLY What initially sparked your interest in video production?
Emily McKay: I’m sure there are lots of moments, but there are two I can point to. One of them is the iconic Steadicam shot in Goodfellas—when Henry and Karen are walking into and through the Copa.
It’s just so cool and interesting, and I wanted to know how and why they did it. A scene like that made me want to pull the curtain back and not just marvel at it.
The other is my internship at MuchMusic (which is basically Canada’s MTV). I got to be part of the process of bringing two weekly television shows to life. It was super informative to see everyone’s function in that process, and it gave me a taste of what it would be like to produce in that capacity.
Ultimately, my favorite part wasn’t the live shows; it was working with the editors on segments. Going through the footage and stitching together a story was what interested me the most.
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You’ve worked on numerous commercial projects for some pretty iconic brands. What are some of the most memorable projects you’ve worked on?
Emily McKay: Working on Chevrolet at McCann was formative for me as a producer. In 2018, I was on a production that was a 27-day road trip across Canada to capture what they called the “Canadian Dream.”
It was essentially a documentary: we went out to find people and places that make up Canada’s landscape. There was a ton of footage, and it was a real exercise to distill 27 days of footage into a :60 ad.
It’s a project that’s really special to me, not only because of the life and work experience it gave me but also because of the colleagues and friends I met along the way.
Emily McKay: A recent project I’m particularly proud of is “Hot & Bothered” for Mount Sinai Hospital. It was a campaign to raise awareness for menopause and women’s health.
When it first launched, I overheard a few conversations at the gym and the coffee shop about how meaningful it was to these women. It’s particularly fulfilling to work on projects that can make a real-world impact and hopefully play a part in solving an important problem.
Is there a part of the production process you love the most?
Emily McKay: I have so much respect for color, online/VFX, and audio, but offline is my favorite part. I used to be an agency producer, and I learned pretty quickly that being on set was not for me. Being in the edit suite and carrying the post-production process was what excited me.
Producers have a fun dance of managing people, budgets, timelines, and expectations. And if you can do that AND your creative team values your instincts and asks for your POV, that’s special. The edit suite is an intimate space where strong work relationships and real friendships are fostered.
How do you manage client expectations while pushing the creative boundaries?
Emily McKay: This is an interesting question. The short answer is to bring us in early! Budgets are shrinking, and timelines are tightening, so these don’t always lend themselves to pushing creative boundaries.
However, I represent artists who love opportunities to use new techniques or tools to make something impactful. So, I would say bringing us into the process earlier to start the ideation is great.
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I love it when we go beyond the script. Take us through the original client brief. That gives us insight as to why we’re doing this and how we’re solving the brand’s problem. Then, it becomes a collaborative process of us pushing boundaries together while still aligning with the client’s budget and agency vision.
If a client requests something ambitious, we try to offer solutions that can achieve the same emotional or visual impact but in a more time- or cost-effective way. This lets us go beyond saying “yes” or “no” to questions of time or budget. We become partners in finding the creative solution that ladders back to the client’s goal while pushing boundaries.
Everyone wants something for the reel, and hopefully, we all get it.
How do you handle tight deadlines and high-pressure situations?
Emily McKay: I make sure to pull in as many highly skilled and collaborative professionals as possible on a project (from editor to colorist to flame artist). I’ve been that young producer who felt the pressure to not only do things fast but cheaply and prioritize keeping projects in-house for reasons that aren’t about making the best creative product.
These things often just mean delays, errors, and stress down the line. Having consummate professionals on your team makes tight deadlines more achievable and relieves the pressure on the job.
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What advice would you give to aspiring editors who are working their way up the ranks?
Emily McKay: One: cut as much as you can across as many genres as possible. It makes you faster, gives you better instincts, and you learn fun techniques that will help later on. The result is you’ll have a well-rounded reel, and you’ll have worked with a lot of different people. Essentially, just clock your 10,000 hours.
Two: make relationships. Getting a project into production is hard, and at that point, creatives/directors often want to work with editors they like and they trust to be that bonus creative on the project.
Cut a boardomatic for the director. It’s an extra step that helps them see what shots they need or don’t need. Cut the storyboarded script and make it great, and then go back and try something different that the creatives might not have thought of.
Clients often challenge the decisions in an edit; be ready to support your copywriters and art directors with a rationale of why it works and makes sense. That makes you valuable.
It’s a constant cycle of making relationships, building trust, and honing your craft.
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Why do you recommend Filmsupply as a resource for editors, agencies, and post houses?
Emily McKay: We have a team of assistant editors that scour the internet for the best stock footage, and there’s a lot of really great stuff out there. But the proof is seeing the edit, pulling the stock report, and discovering that almost all of the pieces are from Filmsupply.
Filmsupply offers high-quality, cinematic footage that’s thoughtfully produced. A lot of clips have whole/extensive shoot options, so it’s convenient if you need to build out a storyline.
Most footage is 4K, which makes it flexible for color grading, so that you’re not locked into a look. It’s a great tool for enhancing your edits without sacrificing quality, and it can really elevate the final product.
When judging Editfest submissions, what’s the one thing you look for that will set great edits apart from the rest?
Emily McKay: Ingenuity is probably too broad and subjective, so maybe some restraint. I see a lot of cutty pieces by younger editors, but sometimes the footage just needs to breathe. I would love to see really thoughtful music and sound design.
The marriage between the visuals and audio is so important, and it can really elevate an edit from good to great.
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This was written as a part of Filmsupply Editfest 2025. Want to learn more?
