Johnny Wohlman — Creative Editor
Creative editing and post-production for documentary, brand films and ongoing video work — cut with a point of view.
01 Selected work
16 more films in the archive: brand promos, explainers, video essays and personal work.
Browse all work01b Personal work
Two short experiments with family memory: a toddler's breakfast double-exposed with old black-and-white film, and a scrapbook of clippings, flyers and paper butterflies.
Open the archive02 The cutting room
A film is shaped by what stays, what changes, and what the audience notices without knowing why. Here are three editorial decisions, taken from real project files and shown in context.
A Versions of a cut
A DiploAct documentary about a training space for wounded soldiers. Between the editor’s cut (2:46) and the final (2:53), the export history records iPhone B-roll and a new line being added. Switch cuts at any point. The player stays near the same moment, though the added material shifts later timings slightly.
B Frame to motion
For El Barrio, a single 4K still taken from the Smash Burger edit (at 00:00:18:12) became the first frame of an AI-generated shot. Drag across the image to compare the camera frame with what the generated shot does with it: the burger lifts apart, then settles back under the hand.
Image comparison: the original camera still of a smash burger with a hand behind it, and the AI-generated shot in which the burger lifts apart and settles back. Use the wipe slider or the buttons to compare.
C Two treatments
The same restaurant, ‘a’, filmed six months apart. Distance, light and grade do most of the work: one feels like being at the pass, the other like watching a performance.
03 Working together
I work as an independent editor — on my own or alongside a director, producer or in-house team — from the first look at the material to delivery.
01
Turning interviews, footage, a script or an early idea into a film with a clear shape — what it's about, where it starts, what it leaves out.
See: 24 — Part Two02
Launches, product and event films where tone, pacing, type and sound do the selling, without sounding like selling.
See: It's Roquefort03
Structuring testimony, interviews, photographs, documents and found footage into a narrative that keeps the speaker's perspective.
See: The Lost Archive04
Consistent editing across a recurring series or a brand's monthly content — different formats, one recognisable look.
See: El BarrioWhat the film is for, who it's for, what material exists and what the limits are — time, length, formats, budget.
A first cut that commits to a structure, tone and pace, so there's something concrete to react to.
Rounds of feedback and revision until it's ready, then delivery in the formats you need.
Early-stage ideas are welcome — you don’t need a finished brief to start the conversation.
Start a project04 About
I'm an editor working across documentary testimony, archive-led series and brand films — usually from the raw material up.
I learned the job end to end in the IDF Spokesperson's Unit, writing, filming and editing content and later guiding a small team of editors. Since then I've edited documentary testimony and archival series for DiploAct, and a recurring stream of films for the restaurant El Barrio.
What I pay most attention to is what an audience feels without noticing: where a sentence lands, how long a face stays on screen, when a caption should become the image.
05 Start a project
Tell me what you’re making — a finished brief or just footage and a hunch. I’ll reply with questions, thoughts and how I’d approach it.
