# S25 - Ep 5 - Wicked: For Good - Film Editing and Visual Effects

Page: https://stenobird.com/podcast/below-the-line-podcast-812194/s25-ep-5-wicked-for-good-film-editing-and-visual-effects
Text version: https://stenobird.com/podcast/below-the-line-podcast-812194/s25-ep-5-wicked-for-good-film-editing-and-visual-effects.md
Podcast: [BELOW THE LINE PODCAST](https://stenobird.com/podcast/below-the-line-podcast-812194)
Published: 2025-11-30T14:09:22+00:00
Episode link: https://www.belowtheline.biz/e/s25-ep-5-wicked-for-good-film-editing-and-visual-effects/
Audio file: https://dts.podtrac.com/redirect.mp3/mcdn.podbean.com/mf/web/55pxs7grcfs8pdvt/S25Ep5WickedForGood.mp3
Processing state: not_requested
JSON: https://stenobird.com/v1/public/podcasts/below-the-line-podcast-812194/episodes/s25-ep-5-wicked-for-good-film-editing-and-visual-effects
Duration seconds: 3625

## Resource

What happens when filmmaking becomes a marathon of collaboration — spanning years, thousands of shots, and the world of Oz itself? For Wicked: For Good, that was the daily reality for Film Editor Myron Kerstein and Visual Effects Supervisor Pablo Helman. This week on Below the Line, Skid welcomes back Myron Kerstein and introduces Pablo Helman, who makes his Below the Line debut to discuss their shared journey on Wicked: For Good, the sequel to Jon M. Chu’s Wicked. Together, they reflect on what it means to sustain creative momentum through two interconnected films and the largest project of their careers. This episode unpacks: Building a years-long partnership between editorial and visual effects — and learning to “finish each other’s sentences” after thousands of hours together Integrating production, post, and VFX pipelines from the earliest days of Wicked through the sequel’s final render Designing the epic opening battle on the Yellow Brick Road, where performance, camera, and creature animation all converge Navigating Jon M. Chu’s collaborative process — a director who, as Myron puts it, is “a collector of people” and thrives on creative dialogue Crafting the technically complex “Girl in the Bubble” sequence — eight stitched plates, multiple reflections, and a seamless illusion that tested every department’s trust Refining the “No Good Deed” sequence — balancing raw emotion, musical rhythm, and visual effects spectacle Intercutting Glinda’s wedding with the imprisoned creatures to heighten tension and emotional contrast across parallel storylines How small creative choices — like a cape’s weight, a confetti storm, or a single flash of red sky — became storytelling tools in the hands of two artists who speak the same cinematic language What emerges is a portrait o…

## Actions

- request_transcript: `POST https://stenobird.com/v1/public/podcasts/below-the-line-podcast-812194/episodes/s25-ep-5-wicked-for-good-film-editing-and-visual-effects/transcription-requests` — Idempotently request low-priority transcript generation for this episode.
- read_markdown: `GET https://stenobird.com/podcast/below-the-line-podcast-812194/s25-ep-5-wicked-for-good-film-editing-and-visual-effects.md` — Read the agent-friendly Markdown representation of this episode resource.

A page view does not enqueue transcription. Agents should invoke `request_transcript` explicitly when they need this episode processed.

## Transcript

Full transcripts are not published on public pages unless there is a clear rights basis.