Wheelhouse welcomes our new star senior editor – Sheryl Haley!

This week we’re profiling Sheryl Haley, Wheelhouse’s new senior editor. A twenty-year veteran of some of the biggest vendors in the trailer business, Sheryl joined Team Wheelhouse with a star-studded resume, having worked on campaigns such as “Silver Linings Playbook”, “Inception” and “The Royal Tenenbaums”. Now she’s bringing some of that vast experience and know-how to Wheelhouse’s indie clients.

What do you do at Wheelhouse?

I’m a senior editor and producer.  I’m working day-to-day on all of our trailer campaigns.

You’ve been an editor for a long time and have an extensive background. Tell us a little about your history and how you got started.

I got my start at Aspect Ratio in LA – I wasn’t having much luck finding my niche in the film industry, but when I found trailers, I finally found a home. I traveled from Aspect Ratio to Giaronomo Productions in NY (following in Jeremy’s footsteps). I stayed there for many years and credit them for making me the editor I am today. After that I went back to LA to work for Trailer Park. Soon after, I was sought-after by some of the biggest and most innovative trailer houses in the industry.

I started freelancing for Wheelhouse a year ago and found a new lease on a job that I’ve been doing a LONG time and was feeling stale for me.  They reignited my passion for the craft. I feel in sync with the Wheelhouse vision and I connect with the films we work on. I have the utmost respect for Jeremy and Rob and their commitment to quality.

Editing is a massive undertaking – long hours, exacting detail. What’s your process like?

Editing is the only place I feel completely at home. It’s what I know best when other things in life feel uncertain. I like to watch a film as a viewer before an editor, I let ideas flow. Then I determine which ones will actually work and go from there.   Sometimes it’s a piece of music that inspires me or a particular scene I connect to.  Sometimes it’s simply an emotion.

Trends in trailers seem to come and go. How have you seen styles change?

Styles change. Particular devices become popular, but the one thing that never changes is the need for good storytelling and the need for translation of a director’s vision into a short form that will best represent the film.  

What advice would you give an up and coming editor?

Be tenacious. Prepare to work all night long if need be. Put in the hours. Find a mentor.  And if you aren’t passionate about it, you won’t succeed.

Wheelhouse Profile: Zac – our ace post supervisor!


This month we’re profiling Zac Castellano, Wheelhouse’s newest Assistant Editor and post-production supervisor. After starting his career at Showtime, Zac’s joined Team Wheelhouse as a specialized uber-tech who’s all about getting the final product perfect!

Tell us a little aboIMG_6151ut you and your background. How’d you get your start?

I grew up here in New York. I got my start working in television at Showtime as a media manager. I’ve also worked in music production, composition and mixing.

What do you do at Wheelhouse?

I’m an Assistant Editor at Wheelhouse. I’m building on a lot of the things I learned at Showtime, but doing a lot more “post-post” work, so to speak. I handle trailer finishes, QC, and final delivery. There’s awesome creative work for me here too – in the time I’ve been here I’ve already been given an opportunity to cut a short film that Wheelhouse is involved with.

What was your experience like at Showtime?

I had several responsibilities in their post-production department, where I was in charge of organizing all media before it was made available to the editors and producers to cut with. This included show dailies, cast interviews, and behind the scenes footage. I also handled the daily archival and media management of all our projects which were backed up to a project server, and backed up again to a RAID every night. Our editors used Final Cut, Premiere and Avid, so I was constantly working in all three platforms while performing my work. I learned a ton about project workflow, how to manage terabytes of footage, encoding and quality control.

What’s your approach to maintaining quality control in your work, and how has your past experience prepared you for Wheelhouse?

Staying extremely organized in my projects is crucial. Organization also helps my workflow, and gives me time to focus on the little details that need more careful attention.

Showtime’s margin for error was very low, which really helped me at Wheelhouse and has strengthened my attention to detail as an editor. During QC, you’ve got to watch something down maybe 10-15 times throughout the process. It can get repetitive but you can’t make the same mistake twice. It’s too important.

What’s it like going from a large broadcast network to a specialized vendor like Wheelhouse?

The vibe in our office here is great. Where Showtime was more of a traditional corporate setting, Wheelhouse is more of an open floor. I’m involved in the business and creative discussions, and I get a full view of how a company like ours runs day-to-day.

Okay, one more thing: Give us a fun fact.

The “bald eagle” sound from films and TV is actually the cry of a red-tailed hawk. Bald eagles don’t sound cool at all.