Chris Bové is an American filmmaker and television editor, story editor, writer, and producer.
He is best known as an editor of PBS documentary films with unbiased narrative storytelling. His editorial techniques emphasize the human condition pressured by tension.
"Tension is a device - a thread weaved throughout many storytelling narratives. But it is not exclusively for "man vs machine" or "man vs nature" plots, nor is it added for its own sake.
See, documentary creates opportunities for audiences to discover meaning, and it's up to the editor to do so without coloring it with an agenda. Every editor's pursuit should be steeped in journalistic integrity, but there's a catch. Swinging that pendulum too far results in a dry, uninteresting narrative. So, the challenge is to pursue non-bias filmmaking in a way that grips the audience's eyes to the screen and the soul to the story. Nothing accomplishes this better than finding the tension in any story - or the 'intention and obstacle' as Aaron Sorkin always preaches - and pursuing it."
In that same editorial community, Chris Bové is also a customer advocate and support expert. He has spent many years supporting some of the top editors in the world on Oscar and Emmy winning films and TV shows.
"At last count, I've made over 500 hours of edited material, and have probably supported another 500. So, it's easy to represent people when you're one of the top power users out there. If your edit is halted because something isn't working, and you have your director or producer showing up in 15 minutes with guests to give a screening... I've lived that pressure. I'm not one to hate things, but that I hate... and I never want anyone to feel that. So, if I can help prevent it for others, I will."
Chris's experience using and supporting Media Composer is vast, but his support for editors and their craft is equally strong. Avid has recognized him for this by appointing him to several positions in customer advocacy, in Voice of the Customer, and in Customer Association leadership roles.
Early History
At the University at Buffalo, Chris trained in cinema under Tony Conrad, Keith Sanborn, and Alexander Kort. But he later discovered his love for documentary storytelling through professors Brian Henderson, and the wonderfully passionate Sarah Elder.
Professor Elder's films on indigenous topics like Drums of Winter made a lasting impression on him. (https://vimeo.com/ondemand/drumsofwinter)
He moved to East Hampton to work for the documentary producer Courtney Sale Ross (Listen Up! The Lives of Quincy Jones), and edited for a member of Steven Spielberg’s staff, who was working next door producing videos for Amblin Entertainment.
"While I was there, I also did some work for the Ross School and The Hamptons International Film Festival. That whole Hamptons experience was the environment where I learned the craft of making behind-the-scenes documentaries to support large-scale films and productions. "
Avid Media Composer
After a long history with film, he saw his first Avid system at the New York Film Academy in Manhattan the mid 1990's.
"To get to the back room where they kept their Avid editing computer, you needed to walk past a long row of 16mm film editing machines. That act alone held meaning. The first time I did so, a brilliant filmmaker named Elizabeth Shub was sitting there. She showed me how quickly cuts could be made in an Avid.
Remember, working with 16mm and 35mm film at the time, an editor would average 3-5 cuts per minute. In Avid, it was more like dozens. Once I was able to get into that room on my own... well, I never left. I'm still there, in a way."
When he learned that his hometown's PBS station had bought an Avid, he moved back.
He got a job at the PBS television station working as a secretary, but more importantly, he had unlimited access to the Avid. He apprenticed under Chris Thomas, one of the most experienced editors in the area. Once he proved himself with some local broadcast documentaries and TV shows, they moved him into editing, full-time.
"I'm glad they did... You couldn't find a more terrible secretary."
All documentary, all the time
PBS is a public broadcaster in the United States, and one of the most respected creators of documentary works. Most of his editorial work for PBS focused on historical, environmental, and social subjects, as well as documentaries bringing Indigenous topics into the national spotlight. He also worked on various projects for Reading Rainbow and the Mark Russell Comedy Specials.
He trained under expert programmer and producer, John Grant, for whom he edited many television programs. Grant's wisdom in operations and in efficient storytelling taught him how to run productions like a well-oiled machine. The bulk of the following feature Chris's work in some way: https://www.youtube.com/playlist?list=PLBumZ_GCKREERUXIOiSZKMRhOsHS4yIDH
His longest-running collaboration has been with documentary filmmaker Paul Lamont, focusing on the high-art of documentary cinema and pursuit of the human condition. Here's a behind the scenes example: https://youtu.be/mpYR8kP9uFU.
Collaborations with other top documentary filmmakers include Jack Cummings, Scott Sackett, Miles Saunders, Regina Ticco, Chris Thomas, Andy Grant, and James P. Gribbins.
Chris has also edited content for American Public Television, Vision Maker Media, and the Center for Independent Documentary.
Due to PBS budget constraints, there was usually no money for writers, associate producers, assistant editors, or VFX editors.
"Projects could rarely afford any of that. I was sometimes the sound mixer too. I suppose I could've been lazy but that's not me. I needed to deliver projects that looked, sounded, and felt like they had all of those people working on it.
They just let me run with it. I even wrote and rewrote scripts. I kept consuming more responsibilities. By standing up and taking ownership of the content, you truly do elevate a production to new heights."
During this time, he also edited a number of independent short fiction films. He had a number of collaborations with filmmaker turned author, Soman Chainini.
"Yes, outside of documentary, Soman was by far my favorite filmmaker to work with. His attention to every drop of storytelling was always in hyper-focus, right down to the tiniest details that reveal the human condition. He's a craftsman. I'm so thrilled for the successes he's found today, certainly well-earned."
At the time, there was a growing demand for industry learning, and a yearning for collaboration. So, with editor Chris Thomas, he co-created one of the largest Avid User Groups at the time, bringing in members from three upstate New York cities plus Toronto. They created curriculum, coordinated sessions with Avid engineering staff, and presented on Avid's workflows, features and updates.
"Everyone in these cities were editing on Avid, and everyone was doing relatively the same thing... but nobody knew each other because of the competitiveness of their bosses. The editors at the NBC station wouldn't be allowed into the CBS station, or vice versa. But, since we were at PBS, we were neutral territory. At PBS everyone was welcome. So, everyone came. It was a fantastic way to tear-down the unnecessary walls between people in the same industry."
Chris frequented the Avid Communities. Avid's own staff began reaching out to Chris to learn his workflows. He became an advisor for various members of the Media Composer design and engineering teams.
He became an Avid ACA Leader and a Master Class Instructor, representing Avid Media Composer and its workflows at various venues.
Chris Bové met Avid's Jeff Rosica in 2014 at the first Avid Connect. Over the next few years, they often discussed Media Composer's future and the long-term needs of independent creatives. Eventually, Jeff was promoted to Avid's President & CEO.
Jeff invited Chris to Avid Connect in Las Vegas. He co-presented a masterclass on editorial workflows with longtime friend, Steve Audette ACE, Senior Documentary Editor for PBS Frontline.
Jeff invited Chris to attend Avid's Vision Strategy event at Avid's Headquarters.
Chris brought an agenda of pain points to be discussed in front of Avid's Board of Directors and business partners. Over the following two years, Jeff enacted changes within the company that allowed Chris's entire list to get completed.
In 2021, with over 15 years of experience helping and supporting the Avid Communities, Chris was headhunted by Marianna Montague to run them. This grew into other support-based leadership positions at Avid. He is currently managing Customer Success teams, running human and digital workflows. The teams proactively identify customers in need and reach out to them to assist.
In his new role at Avid, he is creating new ways for users to learn the apps quickly so they can onboard into new jobs ASAP.
"The faster I can help make that happen, the faster we can see this new generation's creativity injected into the content we all stream."
History as a Television Writer
Chris has worked as a writer, co-writer, story editor, or ghost writer for hundreds of scripts for television programs, documentaries, and digital stories.
"Editing is simply another step in the overall writing process. So, making the leap from one to the other becomes seamless."
Lots of people had time on their hands during the COVID-19 pandemic. Chris took that time to write a reboot for the 1990's television series, Northern Exposure.
"I guess these days it qualifies more as fan fiction, but sometimes you just have to throw a pencil on some paper."
Musician
A musician and songwriter for over 40 years, he scores much of his own documentary work.
"I can't remember a time when I wasn't writing or playing something, somewhere, for somebody."
Shihan Chris
Chris is a Shihan (teacher of other teachers) and Master Instructor at a self defense school. The school teaches practical defenses for real world situations. They cover theories and techniques from multiple self defense styles including Modern Kenpo, Commando Krav Maga, Japanese Jujutsu, Combat Jiu Jitsu, Kenpo-JiuJitsu, Judo, Kapop, Kali, and many others.