CBS Studios’ recent revival/sequel of Frasier brought the iconic psychiatrist back to television with a fresh ensemble cast, a new city (Boston) and a refined multi-cam format that pays homage to its predecessor. But behind the scenes, the heartbeat of the show lies in the editing room, where Russell Griffin, ACE, weaves together a combination of performance, timing and story.
Griffin, who earned an ACE Eddie Award for Best Edited Multi-Camera Comedy Series in 2025 for the standout episode “My Brilliant Sister,” describes working on the Frasier reboot as a career milestone.
“Frasier has such a legacy,” he says. “You’re not just editing scenes, you’re upholding a rhythm, a tone and a sharpness that audiences fell in love with decades ago. But you’re also helping reintroduce him to a new world.”
New cast, familiar feel
While Kelsey Grammer reprises his legendary role as Dr. Frasier Crane, the revival surrounds him with a dynamic new supporting cast. Jack Cutmore-Scott steps into the role of Freddy Crane, Frasier’s now-adult son, a Boston firefighter with a grounded, blue-collar charm that contrasts perfectly with Frasier’s upper-crust sensibilities. Anders Keith plays Frasier’s quirky nephew, David (son of Niles and Daphne), while Nicholas Lyndhurst (a longtime colleague of Grammer’s from their London stage days) brings dry wit to the role of Alan Cornwall, Frasier’s old college friend turned Harvard professor. Toks Olagundoye rounds out the ensemble as Olivia Finch, the ambitious and fast-talking head of Harvard’s psychology department, offering a sharp comedic foil to Frasier’s more meandering charm.
“The chemistry between this cast is electric,” says Griffin. “But in a multi-cam show, it’s all about pacing. A joke can live or die in a frame. What we’re doing in post is protecting the comedy while enhancing the rhythm of the performances. That’s the dance of editing sitcoms.”
Multi-cam comedy, refined
Shot in front of a massive studio audience (the largest for any sitcom), the Frasier revival maintains the classic multi-cam sitcom format - a rarity in today’s single-cam comedy landscape. Griffin, who has cut multi-cam shows for over a decade, says editing this type of comedy requires a precise ear as much as a keen eye.
“With multi-cam, you’re not just cutting for picture. You’re cutting for the music of the scene,” he explains. “Laughter, dialogue, reactions… it all plays together like a score. There’s no faking it. The timing has to be spot on for each moment.”
In “My Brilliant Sister,” the episode that earned Griffin his ACE Eddie, Frasier pursues a reclusive author at his Harvard/Yale tailgate party, while Olivia employs Freddy & Eve in a desperate deception to impress her sister, introducing a layered emotional arc amidst classic farce.
“That episode was about performance and space, letting emotional beats breathe while keeping the momentum,” Griffin reveals. “It’s definitely a balancing act. You can’t push comedy too fast or let it stall.”
Workflow
Editing on Frasier is performed using Avid systems, while Blackmagic Design's DaVinci Resolve is used for transcoding.
"Work is almost entirely on the Paramount lot in order for me to be on-set often and work in the edit bay with showrunners Chris Harris and Joe Cristalli," Griffin notes. "But, I do have the ability to work remotely via Jump, should the need arise. We’re shooting in 4K - Sony Venice cameras with ASXM cards. We edit in DNx175 and dailies are about 3TB per show."
Frasier's episodes run rather long for a sitcom, anywhere between 27 and 31 minutes, Griffin reveals. Paramount provides secure storage on their lot.
The art of sitcom editing
For Griffin, sitcom editing is an under-appreciated art form.
“People assume sitcoms are easy because of the humor,” he says. “But editing comedy is as technical and emotional as any drama. The biggest laughs come when you’ve built up to them. That’s structure, that’s pacing and that’s the editor’s invisible touch.”
Griffin worked closely with the show’s showrunners and directors to shape each episode’s rhythm, often reviewing multiple takes from different camera angles to select not only the best performance, but the one that aligned most organically with audience energy.
“You’re building a visual and emotional blueprint from moment to moment,” he explains. “It’s not just about cutting. It’s about making the viewer feel like they’re in the room; like they’re part of that laughter, part of that world.”
Nostalgia meets new ground
While nods to the original series abound (from subtle cameos to clever callbacks) the revival/sequel doesn’t lean on nostalgia.
“There’s a richness to this new version,” says Griffin. “We’re seeing Frasier not just as a dad or a therapist, but as a man redefining purpose. It’s a joy to help shape that.”
With Frasier finding its rhythm in this new era, Griffin’s work ensures that the show feels both comfortingly familiar and refreshingly modern. As sitcoms continue to evolve, Griffin remains a passionate advocate for the multi-cam format and the editors who bring them to life.
“Comedy is human,” he sums up. “It’s timing, it’s truth, and it’s instinct. As editors, we sculpt that. We bring heart to the humor.”