From Sports Documentaries to Scripted Thrillers: Corey Frost on High-Stakes Editing, Fast Turnarounds, and Navigating New Storytelling Formats

PH: You’ve built a career in sports documentaries, working on fast-paced, high-energy projects. What was the biggest shift in your workflow when transitioning to a scripted action thriller like Grace Point?

Corey Frost: The biggest shift for me came in how I think about cutting. In fast-paced sports projects, you instinctively push the edit—much like cutting an action scene—keeping the energy high. But with Grace Point, even though it’s an action thriller, I learned to approach it more subtly. Letting shots and moments breathe. Cutting less.

Every cut needs a why. You’re making intentional choices, not just reacting to the footage. In docs, your reasoning is often predetermined by what you have—you don’t always get that luxury. 

PH: Sports docs often require quick turnarounds and real-time storytelling. Did any of those high-pressure editing skills help in the structured world of scripted filmmaking?

Corey Frost: Absolutely! My time in live sports broadcast with Speed/FS1/NBC Sports probably took years off my life—ha! The pressure of cutting short docs for a live show the same day is an experience that shapes you.

For NBC Sports' NASCAR live show, I’d fly from Charlotte to LaGuardia on Monday at 6am, rent a car, drive to Stamford, and start my edit by 11am. I’d cut all day and into the night, grab a few hours of rest, then wake up early to finish the edit before flying home Tuesday—usually watching the show air on the plane or at my gate.

When I think about it, are there many other storytelling jobs with constraints like that? There was no time to second-guess. I had to know what I wanted and trust my instincts, shaping the story as fast and creatively as possible to hit my deadline.

That experience taught me the power of getting a first assembly done fast. You can’t truly assess what's missing or weak until you see it as a whole. I applied that same approach to Grace Point—assembling every scene as quickly as possible, then shaping from there.

That pressure, that speed—it forces you to become a sharper storyteller. At first, it’s all about survival. But as it starts to slow down in your head, you begin to see the story more clearly. The instincts take over, and suddenly, you're not just keeping up—you’re shaping the narrative with intention. 

PH: Was there a moment during the edit of Grace Point where you felt your sports doc background gave you a unique edge in shaping the story?

Corey Frost: There are a few really fun action scenes in Grace Point. The first is when our lead, Brandon (John Owen Lowe), witnesses his dad getting shot and takes off through the woods. The other comes in the final climax, as Brandon tries to escape from the goons on an ATV.

I started editing these scenes first—they felt the most natural to my style coming from sports, and since they were shot early on, I knew I’d cruise through them. In fact, the way they appear in the final cut is almost exactly how I cut them in my Editor’s Cut.

One thing I’ve learned through my editing journey—especially working with directors with strong instincts like Rory Karpf—is that the beginning and ending are crucial. Audiences are unforgiving if you don’t stick the landing. That was my bread and butter in sports: I built the endings of every project with energy, emotion, and an unforgettable final impression.

PH: You’ve been called a “Swiss Army Knife” in the editing room, known for turning projects around in under 24 hours. Can you break down your approach to working efficiently under tight deadlines?

Corey Frost: You have to start with a clear mind. Zero distractions. Getting into a flow state early is everything. If I know I’m on a tight deadline, I’m up before the sun—no interruptions, no noise, just focus. You’d be surprised how efficient you can be without even needing coffee, just by hitting the ground running first thing in the morning. Sometimes, even your own routine can slow you down. I usually just start.

Then, it’s about laying everything out as quickly as possible. What are the key ingredients of the story? In sports, there’s a built-in three-act structure—beginning, middle, and end. So, I always start with the ending. Make it as strong as possible, because that’s the audience’s final impression. That becomes my guide for the rest of the piece. Next, I build the opening—same approach. Whatever time is left over goes to Act II. Unscripted and non-sports stories are more opaque, but my approach stays the same:

• How do I end in a way that leaves audiences wanting more?
• How do I open in a way that makes them curious?
• How do I keep them engaged, asking the right questions—without letting them get too far ahead?

That’s the challenge. And when you’re under tight deadlines, you can’t afford to go off the rails—you need a strategy to keep the train moving. Every decision has to serve the bigger picture. Stay focused, trust your instincts, and keep pushing forward.

PH: How do you balance speed with quality when working on projects that demand both a fast turnaround and high production value?

Corey Frost: This is THE challenge. Speed is essential, but quality can suffer if you’re not careful. And this is where personal taste can make or break an editor—or an entire project.

After cutting any piece, especially under tight deadlines, I make it a point to step away. When I keep my head down too long, I can lose perspective—and production value goes out the window. So, I take a walk. Grab a coffee. Clear my head. Then, when I feel ready to watch with fresh eyes (or when my producer/director is asking “Where is it?”), I get back to work.

Now comes the real assessment. Is this the best shot? Is there a soundbite that makes the moment clearer? Do I really need five camera angles here, or does it play better in one? Does the story make sense? Do I really need these 10 frames of a camera trying to find the focus before landing on our subject?

These questions shape the final piece. And in the end, taste is what elevates that production value.

PH: What tools or workflows do you swear by to stay organized and adaptable when shifting between multiple roles like editor, producer, and colorist?

Corey Frost: The ultimate tool isn’t software—it’s knowing how to tell a story. Every role—editor, producer, colorist—is just a variation of the same goal: telling the best story possible. In the edit, how do I tell this story using sound, pictures, and music? If I’m doing my color, how do I tell this story with color? If I’m giving notes to a colorist with a producer or director’s mindset, how can I explain the tone visually to help them tell the story as best as possible? It all just comes right back to the basics of storytelling. You have to know how to tell a story, period. 

Beyond that, adaptability comes down to being open to discovery. Early on, I had rigid ideas of how things should be. But I realized I wasn’t opening my mind to those magical moments in filmmaking – the moments that just happen when you least expect them or juxtapose two shots in an edit that create this powerful connection.

PH: Many agencies and production companies need editors who can work across different formats—sports, branded content, and features. How can an editor build a reputation as a multi-format specialist like you?

Corey Frost: I think it starts with having experience working on a wide range of diverse projects. That takes time, relationships, practice, and patience. Also an open mind. 

Be open to opportunities, not just gigs. I’ll say it again: Be open to opportunities, NOT just gigs.

That doesn’t mean being a yes person, but it does mean saying yes—a lot. I could’ve turned down projects because of pay, because I wanted my weekends free, or because they didn’t seem like the “right” fit. But instead, I said yes to projects that were unique, intriguing, and would push me creatively.

In 2017, NBC Sports offered me a very competitive salary job with benefits and overtime. I loved the people there, and it was an amazing offer. At the same time, Grace Point director Rory Karpf—who I had just met—offered me an opportunity to work on a variety of projects, but with no guarantees. I respectfully turned down the NBC offer because I wanted to push myself and take risks as a storyteller.

That decision shaped everything that followed. I kept that same mindset, saying yes to a wild range of projects. Taking the opportunity with Rory wasn’t about stability—it was about growth. It felt like the right challenge to push my limits as an editor, to step outside my comfort zone, and to evolve as a storyteller. And because of that, I’ve built a skill set and relationships I never would have otherwise.

PH: What should agencies or brands look for when hiring an editor for fast-paced, unscripted storytelling versus a structured narrative project?

Corey Frost: Versatility. The best editors out there can do it all. But brands and agencies shouldn’t confuse that with hiring an editor who can do everything and only compensating them for one role. Versatility is a valuable asset, and companies need to recognize that it’s not the norm. Versatility should be a differentiator, not an expectation.

When you find an editor who understands and can execute across multiple areas of post-production—whether it’s storytelling, sound design, color, or finishing—it’s like hitting the editor lottery. But that level of skill and adaptability should be respected, not exploited.

PH: Having worked on large-scale productions with major platforms (Netflix, Amazon Prime, TNT), what advice do you have for freelancers or production teams looking to break into high-profile content editing?

Corey Frost: Meet as many people as you can doing the work you want to be doing and build genuine relationships. This business is about who you know—it’s a cliché, but it’s true. Cast a wide net, make friends, and don’t fall into the trap of networking just for the sake of it. Jobs come from trust, and trust is built over time. People recommend you because they like you, not just because of your resume. You can’t just show up and say, “I’m an editor, do you have a job for me?”—people see right through that. No one wants to feel like they’re being used. I’ve built a reputation for being great to work with and real. I’ve recommended people simply because I connected with them, and I’ve had opportunities come my way from people who heard I was easy to collaborate with. At the end of the day, it’s about genuine relationships. Be someone people want to work with, and the opportunities will follow.  

PH: Your latest documentary New Here tackles the rise of NFTs—what excites you most about how technology is shaping the future of documentary filmmaking?

Corey Frost: New Here and director Dan Sickles introduced me to the world of crypto and blockchain culture – the rise of AI, the tech behind it all, and also the chaos that some of this technology can bring to the creative process.

What excites me most about current technology like AI for example, is its ability to remove tedious tasks from creatives and let them focus on what they were born to do—make art, tell stories, express themselves. AI is helping with that, but so are companies like AVID, Adobe, and Blackmagic. They’re building tech that helps editors like me work faster, freeing up time to focus on storytelling.

That said, the push to make things “faster” has also led to editors taking on more roles—jobs that were meant for teams—because there’s this idea that AI and automation can replace people and cut costs. That’s where the debate lies. There are still kinks to work out because you’ll never be able to replace humans in creative endeavors, but overall, I’m excited to see filmmakers get more tools to be more efficient in making art, not just faster. The key is using tech to empower creativity, not reduce it.

PH: Given your experience in both fast-paced sports storytelling and more deliberate scripted narratives, where do you see the industry heading in terms of editing demands and styles?

Corey Frost: The demand for editors will always exist. I believe that a jack-of-all-trades editor will be more valuable than ever in this next phase of the industry. We’re on the heels of a major shift—post-COVID, multiple strikes, and disruptions like the devastating wildfires in Los Angeles. So many people are out of work, and now we’re all competing with the best of the best.

To stand out, you have to differentiate yourself. What do you bring to a team that no one else does? Because the reality is, many of the people you’re competing with have more credits, more experience, and deeper resumes. The key is finding what sets you apart and leaning into it.

PH: With AI tools and automation becoming more prevalent in post-production, what skills do you think will always remain essential for human editors?

Corey Frost: Taste. Empathy. Kindness. Love. These are what make us human. They give us identity, they separate us from our robot counterparts, and they allow us to tell rich, emotional stories—ones that make us cry, laugh, and give us goosebumps. Companies can build all the tech in the world, but they can’t build what makes us truly human. That’s our superpower.