SOC Alumna and VFX Editor Anedra Edwards Drafted Into the Marvel Universe
When we think of superhero movies, we often think of the dazzling visual effects that suspend our disbelief and stimulate our imaginations.The average consumerprobablydoesn’tascribe the magical movie-going experience tothehardworkofpost-production staff, but behind every superhero filmare teams ofvisual effects professionals. American University School of Communication (AU SOC) alumnaand visual effects (VFX) editorAnedraEdwards(SOC/MA‘15)is among thoseranksof creators. With a degree fromSOC’sFilm andElectronicMedia MFA (now MFA in Film and Media Arts) program,Edwardshas gone on to contribute her talents tohigh-profileprojects with brands like HBO,Discovery, National Geographic, and more. Most recently, she worked onthesocially consciousCW drama“Black Lightning,”seasons one through three,before migrating to work attheMarvelCinematic Universe.She is excited to nowa VFX editor on the highly anticipated sequel to “Avengers: Endgame,”“WandaVision," which recently premieredon Disney+.As a VFX editordeparting one iconic brand for the next, Edwards seems to be living the dream of anySOC student planning to work in VFX. However, one may be surprised to know she did not foresee her career path unfolding quite the way it has.
Before graduating,Edwards said, her time at SOC really allowed her to sit and think about her plan for hernext steps before eventually moving to California. In addition to joininga union after graduation, she made connections at SOC that allowed her to getvarious post-grad positions. For example,sheworked with Discovery Channel, which hasoffices in Silver Spring,Md.,and is home to a number of AU alumni. Her stint atDiscovery led to work on several shows, includingand,and as an international editor in their operations department. “I’ve done all these things using the resources that American University providesandcontacting alumni[to makemy professional aspirations known],”she said.Inaddition to networking, a diverse array of positions equipped her for her first job in visual affects editorial.
Whenshe was a graduate student, VFX editorial was not onEdward’s radar.“Ididn’t knowabout visual effects whileIwas at AmericanUniversity,”sheconfessed.While sheregularly watchedeffects-heavy film andtelevision and"dabbled” enoughin VFX to get throughstudent projects, she said, “I never thought I would take this trajectory”in her career.VFX found its entry point to her life when she followed her career out to California,one year after graduation. Nonetheless, unbeknownstto her at the time, her coursework and subsequent job opportunities took her on the journey to where she is now.When asked what sparked her love for VFX editing, Edwards pointsto many experiences in her career that have preparedher forthis trajectory.She traces those pivotal moments of exposure back to learning about graphics when she worked in news, becoming well-versedabout green screens when she edited longform commercials, andgaining experience working as a picture editor on personal projects.
When the opportunity towork on“Black Lightning”came around, these experiencesprovided the skills she needed to succeed in the role.She describes hermost recent pastrole as “niche” in that it requires one tohave a skillset in editorial while also working with picture editors. Herpast experiencemaneuvering around editors and working with picture editor content, as well as working in large studio systems, culminated in her being the woman for the job, which she describespartly asbeing a "middle woman" at times between departments in post-production for VFX.Her job also requires strong leadership qualities and meticulous attention to detail.“VFX Editors can be in the driver's seat for a number things,” Edwards said.“Often times we are spotters for the effects that are needed for look and/or to maintain continuity. We also facilitate that process which includes being the lead on a number of technical steps in editorial.”
As a Black woman in the film and television industry,Edwardsconsiders her presence an “asset” and feels privileged to have workedonmakingBlack superheroesvisible.She said she believes that right now, “Media and TV are pushing the needle interms of how this next generation isgoing to think and how it’s going to create a difference for us, a different world, a different America.”When it comes to issues of diversity, equity, and inclusion in her industry,the SOC alumnasenses that there is a push for more sweeping changes. “I think that we’ve definitely reached a point where, not just in media, but acrosssociety in general, that diversity isn’t enough,” she said.“It’s including. You know, it’s not just being invited to the party, it’s about being asked to dance.”
Looking back on her career thus far,Edwardshasoftenbeen the only Black person, the only woman, or the only Black womanon the editorial staff for a lot of her productions.“I think studios still have a long way togoto really create an inclusive environment amongst their below-the-line employees, as well as in front of the camera,” she declared. Shethinks on-screen diversity is advancing at a faster pace than it is behind the scenes, and emphasizes the importance of having representation among post-production talent. “It helps.There are things that you can point out or can add, just by being a part of it, that somebody else may not have thought about.”
Recognizing the needfordiverse communitiesto begiven a voice in all levels of production,Edwardsisalsoencouraged by the improvements that have led to her being ableto represent her identities in her workplace, and she honors those who forged the path she now walks.“There's still a ton of work to be done,but I'm very optimistic,” she said.“I stand on the shoulders of a lot of people. The great positive about it is that I'm doing them proud, knowing that their work didn't go unnoticed.”She regularly encounters young people who, like her, simplydon’tknowthebreadth of career pathsthatare availablein the entertainment industry.By raising awarenessamong youth, Edwards hopes to plant ideas that could lead to further diversity.“There are tons of people I talk to, especially at the high school level, who never heard of [what I do],”she said.“So even learning about what I do moves the needle, [and]maybe they realize, I can have a job doing this.”She feels a personal sense of responsibility to use her position and influence to create opportunities for other individuals from underrepresented groups.“It's important for me to do the same and[extend]my hand back and make sure I pull somebody up with me,or to pull them up to go ahead of me when that time comes.”