Johannes Hubrich · Film editor

At home in both worlds: commercials and long-form drama. Came up cutting spots before crossing over into long-form storytelling, first with Beat, the first German Amazon Prime series, then the feature The Collini Case.

Major international break with The Lazarus Project (Joe Barton / SKY), which became one of SKY’s most successful shows and earned a BAFTA nomination for Best Editing: Fiction plus the BAFTA Cymru Award for Best Series.

Lead editor on Bodies (Marco Kreuzpaintner / Netflix UK, 2023, Worldwide Top 10) and most recently Those About to Die (Roland Emmerich / Marco Kreuzpaintner / Peacock). Currently editing Dead Point, a six-part thriller for Channel 4.

Speaks German, English and French.

Twenty years in cutting rooms taught me where the day goes. Showing a client the cut meant an export, an upload and a wait. Finding a sound I knew I owned meant twenty minutes in a file browser. Fixing a frame for a layout meant leaving the edit for Photoshop and coming back by hand.

So I started a company that builds the tools I wanted on my own timeline. They run inside Avid Media Composer, Adobe Premiere Pro, DaVinci Resolve and Final Cut Pro, they are made in Switzerland, and the footage stays in the EU.

• Cliplifter streams the timeline live into the client's browser, about a second behind, and reviews the file with frame-accurate comments.
• Soundlifter searches your own sound library by how a sound sounds, generates what is missing, and places it at the IN mark.
• Setlifter pulls the frame out of the edit, paints out, extends or makes moving picture from it, and puts the result on the track above.