Ashish Raisinghani is head of editorial at Barnstorm VFX (www.barnstormvfx.com), and former lead VFX editor at Ingenuity Studios. Barnstorm VFX has locations in Los Angeles, New York, Atlanta, Montreal, Vancouver and London. At Barnstorm VFX, he’s overseen editorial operations for Marvel’s blockbusters Thor: Love and Thunder,
Black Panther: Wakanda Forever — which earned an Oscar nomination and 156 award nods — and
Ant-Man and the Wasp: Quantumania. He designed the studio’s editorial workflow and daily color pipelines, implementing tools such as Foundry’s Hiero, Blackmagic Design’s Resolve, Adobe Premiere Pro and Avid.
At Ingenuity Studios, he helped the team deliver music videos such as Billie Eilish’s Bad Guy, which won multiple MTV VMAs and amassed over a billion views, as well as Taylor Swift’s
You Need to Calm Down, which dominated the 2019 VMAs with nine nominations and two wins, including “Video of the Year.”
Beyond his pipeline work, Raisinghani also serves as a mentor and educator, helping to shape the next generation of film editors. He was a jury member at the 2023 SCAD Atlanta Spotlight Film Showcase, where he judged graduate thesis films based on story, editing and production value.
For Seasons 2 and 3 of the popular Apple TV+ series Ted Lasso, he constructed an editorial pipeline/workflow that was both new and experimental. The idea was to generate plates from Foundry Hiero, and make and conform entire timelines in the software to create plate versions and references for compositors to work on. While plates were initially made in the original source color space that was turned over as the pipeline in Hiero evolved and the project’s needs evolved, he later decided to use a universal ACES CG pipeline internally for all feature-length movies and shows.
The first test of this pipeline was created while working on the first season of the Netflix series Forever and Amazon’s
The Terminal List: Dark Wolf. While implementing this pipeline, he was able to also incorporate a cuts system using Flow from Autodesk so that teams from various shows could watch dallies in context.
The implementation of this editorial pipeline involved the challenge of figuring out a color pipeline that would work in tandem to create a .cube file (ie. LUTs ) that could help compositing artists preview shots and their renders with the correct color space. With the help of his second in command, Chris Martinez, Raisinghani was able to figure out a DaVinci Resolve pipeline to generate LUT to use in Nuke. With this pipeline, Raisinghani was able to use the tools in Foundry’s Hiero and DaVinci Resolve to output a robust editorial pipeline that is currently being used and integrated in the Barnstorm VFX pipeline today.