As post production technology gets smarter, faster, and more portable, on-set editing is becoming more common on commercial production shoots. In a recent conversation, Dubai-based Freelance Editor Nikolay Ivanov said that once directors and DPs get a taste of on-set editing and its benefits, it’s hard for them to turn back. An on-set editing expert, he’s built a simple but powerful mobile editing fly pack with an AJA Io 4K Plus that helps him deliver results every time. Explore key takeaways from our conversation below.

Tell us more about your career and journey to it. 
I started dabbling in editing in 2005 at university. A group of friends and I shot and edited snowboarding videos for fun. Then, one of my friends asked me to join her at a music TV channel as a runner. So, after school, I transcoded MiniDV tapes and wrangled and facilitated interviews. I asked our editor to show me a few key buttons so I could edit myself, and I haven’t stopped.

Out of university, I edited for TV stations, and in 2008, I moved into freelance commercial editing, where I began specializing in on-set editing, which I still do today. At its core, my job as a film editor is about shaping the story - crafting rhythm, pacing, and emotion through the edit. On set, that expands to working closely with the Director and Director of Photography to capture and edit a live feed in real time, while also making creative decisions on the spot. I work on projects across Dubai and Europe and have collaborated with brands like BMW, Mercedes, Tesla, Red Bull, IKEA, Renault, Toyota, Mazda, VW, KIA, Chevrolet, Coca-Cola, Google, McDonald’s, and Visa.  

Where do you source jobs? 
A lot of jobs come through word of mouth, recommendations based on previous projects I’ve done. Directors I’ve collaborated with often recommend me to production houses. I also get a lot of leads through my Instagram and Vimeo channels - they’ve become a great tool for promoting my work. Once people understand what I’m doing, they tend to take an interest, as on-set editing isn’t all that standard yet in many parts of the world. 

How would you describe on-set editing and its production advantages?
It’s a very collaborative process. I work side by side with the Director and Director of Photography, shaping scenes as they're being shot - not just technically, but emotionally and rhythmically. This allows us to immediately evaluate how a sequence plays, spot performance nuances, and make informed decisions about pacing, coverage, or camera moves while still on location.

From a production standpoint, it’s a massive advantage. We can catch continuity issues and color or lighting inconsistencies, especially in complex transitions like indoor to outdoor scenes, and address them on the spot, avoiding costly reshoots. I also absorb all the context around the shoot: the director’s vision, the client’s expectations, and the narrative intent. That means by the time we wrap, the edit is already in motion. It streamlines approvals, saves time in post, and gives everyone, from the agency to the client, more confidence in what we’re capturing.

What challenges do you face in the field? 
When you're on set, there’s always a chance the signal can be compromised, in which case I must do whatever I can to adapt. It’s often a matter of moving closer to the wireless transmitter or switching to a cable instead. Then, juggling the Director's demands and getting the various pieces of technology to work together can be challenging. The main challenges, however, are the creative ones and figuring out the best hardware to help you solve them. I can’t underscore enough the importance of having a good set of hardware on-site to reduce technical complexities.   

How would you describe your on-set setup? 
It all fits in a Pelican case that I take to every shoot. I worked with a friend to create a 3D-printed mount that houses my Io 4K Plus. I quickly connect my wireless video transmitters and receivers to the system to get the camera signals to the SDI input of my Io 4K Plus and AJA’s Control Room software, which are connected to my laptop and allow me to capture Apple Pro Res 422 proxies. Then, I access the proxies in Avid or Premiere Pro and pass that feed to the client’s and director’s monitors. 

The AJA Io 4K Plus and AJA Control Room offer a stable and reliable solution for on-set video playback and capture. One of the key advantages is that the Io 4K Plus can be powered via an XLR connector using standard V-mount batteries, which is especially useful in remote locations where access to mains power is limited. That flexibility makes a big difference when working on location shoots across Europe and beyond. I just plug in the battery, and off I go. Plus, I never worry about the unit overheating. Here in Dubai, I do a lot of outdoor shoots. The AJA unit never overheats, even when shooting out in the desert. It’s rock solid in all conditions. 

Which technology trends are you paying attention to, and why?
AI is huge, so now is the time to start exploring it. Right now, a lot of the AI experimentation I’m seeing in editorial workflows is coming out of the commercial world. I think it will help automate some of the more tedious aspects of the job, such as extending a background in the shot or replacing a few things here and there. It helps to make those things super-fast to do, so you can focus on the more important things and deliver a really nice result. 

Outside of AI, trends are changing all the time, so I constantly read up on and try to implement new tools. 4K is quickly going to become more normal on set, so I’m working to better understand all the 4K cameras and how I can efficiently get a high-quality output to my workstation. Right now, it’s more a matter of how available 4K monitoring systems are and how soon they’ll become standard rental house kit, but I’m sure we’ll see this shift soon. 

Do you have any advice for aspiring on-set editors? 
Understand what you are doing first. To solve problems, you need to understand how on-site editing works, from the rhythm to the blocking and the cuts. It also helps to learn as much as you can about cinematography and how Directors and DPs work. Finally, remember not to get overwhelmed; it’s not as complex as you’d think, especially if you already have an editing background. It just becomes a matter of capturing the signal on site and assembling it as you usually do. Then, you just need to understand how to output your feed. All that said, you must be fast, efficient, and on point because if you’re not, you’re slowing everyone down. 

Where do you see yourself in the next decade? 
I’m happy where I am at the moment, but I’m always interested in exploring new markets. Right now, I’m focused on growing my footprint in the US by securing more work in the region. I’m also keen to take on bigger, more diverse projects and work with as many directors and cinematographers as possible. I’m excited to see where life takes me next, as it’s been an incredible ride so far. 

About Io 4K Plus
Io 4K Plus is a cutting-edge capture and output solution available over Thunderbolt 3, offering a full set of professional video and audio connectivity with support for the latest 4K/UltraHD devices, High Frame Rate, High Dynamic Range and deep color workflows. Thunderbolt 3 connectivity enables Io 4K Plus to handle various formats from SD to HD, UltraHD and full 4K with frame rates up to 60p over both 12G-SDI and HDMI 2.0 via a single cable, plus HDR support over HDMI and SDI for the latest HDR workflows. Complementary AJA Desktop software releases are optimized for Apple silicon-based systems. www.aja.com/io-4k-plus

About AJA Video Systems 
Since 1993, AJA Video Systems has been a leading manufacturer of cutting-edge technology for the broadcast, cinema, proAV, and post production markets. The company develops a range of powerful, flexible video interface and conversion technologies, digital video recording solutions, and color management, streaming, and remote production tools. All AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com. 

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Media Contact:
Katie Weinberg
Raz Public Relations, LLC 
310-450-1482, aja@razpr.com