Documentary filmmaking and TV advertising rarely occupy the same creative lane. One observes life as it unfolds, while the other breaks down ideas into seconds of visual impact. For most filmmakers and editors, the two worlds require such different creative instincts that crossing between them can be difficult. But for video editor and motion graphics designer Megan Leydon, the contrast became the foundation of her creative identity.
Leydon first trained in film and documentary. That background, she says, influences how she approaches every project today: "A documentary teaches you to observe carefully,” she says.
“To understand emotion, rhythm, and pacing. I approach commercial projects with this same mindset. It helps me think about how a story unfolds; how the images connect and ultimately how to create something that feels authentic, not manufactured."
For seven years, Leydon has built a reputation in digital advertising, becoming a trusted editor on high-profile campaigns across multiple international markets. In that time, she has contributed to global campaigns for major brands, including Coca-Cola's Santa Stories, Tanqueray, and the NHS, working across complex edits that combine narrative storytelling and motion design.
Leydon served as assistant editor on the Cannes Lions–winning NHS ‘Waiting to Live' campaign, a powerful initiative that raised awareness and increased organ donation registrations for children.
Leydon is currently the video editor at Havas Red UK. She leads the editing and post-production of campaign content for international clients, including Reckitt and Ferrero.
To understand Leydon's creative evolution from film and documentary to global advertising, we need to go back to where it all started – Ireland.
Building A Foundation in Documentary and Film
Leydon studied Film and Documentary at the Galway-Mayo Institute of Technology in Ireland, after completing a FETAC certificate in Animation & Gaming.
As a student, Leydon was already immersed in hands-on filmmaking. Several of the projects she worked on during her time at the institution went on to screen at festivals internationally, with some receiving awards.
Leydon credits this period with shaping her understanding of visual storytelling not only in film but also in digital advertising: "My foundation in documentary and film has become the foundation of my commercial precision,” she says.
“The processes of creating and editing a film teach you patience with a story and respect for the footage. You learn that editing requires more than putting clips together; editing is where the story really comes to life. As the editor, you are deciding what people feel and how the message stays with them after the video ends."
This perspective helps her elevate commercial projects by ensuring edits feel authentic and engaging, rather than purely stylistic.
Leydon adds: “Looking back, that period slowed me down in the best way. It taught me to sit with the footage; to really listen to it and not rush into making something just for the sake of it.”
Early Work: Sports Content and Production in New York
Early-career breaks in most industries, including the creative industry, rarely begin abroad, but Leydon's did. Leydon's first professional opportunity took her across the Atlantic.
Shortly after graduation, she moved to New York on a J-1 graduate visa to intern with sports production company Rooftop2 Productions. The internship later expanded into remote freelance roles when she returned to Ireland, as the company was not yet ready to let her go.
One of her top projects while working at Rooftop2 was creating sports content for New York City FC (NYCFC) at Yankee Stadium. Leydon created and edited two full seasons of visuals seen by thousands of fans. At the time, Leydon was only a few months into sports production.
But she didn't let this hold her back. In fact, she says it gave her more motivation to push harder and explore different disciplines in video production: "That was a fun start to my career,” she recalls.
“Seeing your work on those stadium screens is a powerful moment. You realize how important and powerful good editing is. It definitely gave me the drive to expand into other areas as well. "
Leydon's responsibilities at Rooftop2 extended beyond editing. She was involved in the practical side of production; coordinating shoot schedules, organizing footage, setting up projects, and managing archives.
On set, Leydon worked as both a production assistant and videographer. This gave her firsthand knowledge of how footage is captured before it reaches the edit suite. Leydon also worked on other projects for major clients, including Madison Square Garden, Metro by T-Mobile, professional golfer Phil Mickelson, and Evian.
These experiences in New York also laid the groundwork for the next stage of her career: "New York pushed me to be adaptable,” she explains.
“You're learning new things every day. And you don't have the option to hesitate."
Transition to London: Social and Branded Content
Determined to expand beyond sports production, Leydon relocated to one of Europe's busiest creative hubs: London.
She says: “It felt like the next natural step. It’s fast-paced, competitive, and full of opportunity, which is exactly what I was looking for at that point.”
After COVID began to die down and borders started opening, she applied to and joined sports marketing agency Two Circles. While at the company,, Leydon created social media content for clients, including Amazon, British Cycling, Eurosport, Wimbledon, Formula 1, World Rugby, and the Premier League, distributed to large-scale digital audiences.
Leydon left Two Circles in 2023 for VML. This transition dramatically widened the scope of her work. She was now editing global campaigns across social, web, and broadcast platforms for Tanqueray, Duracell, HSBC, Coca-Cola, KitKat, Avon, and Costa Coffee. She also contributed to the Cannes Lions-winning NHS ‘Waiting to Live’ campaign. Here, she helped organize footage and was part of the team that structured and refined the final edit, ensuring the narrative remained clear and emotionally impactful across sensitive real-life stories.
The campaign was a huge success, helping more than 50% of the 233 featured children receive their life-saving transplants.
She says this was a defining moment in her career: "To see so many kids get a second chance at life was really great. We saw the power of great video editing at play.”
Leydon was also a video editor for Canon's "World Unseen" initiative, which made photography exhibitions accessible to the blind and partially sighted through braille and emotional storytelling.
Havas and Beyond
Leydon currently works at Havas Red UK as a full-time editor, where she leads editing and production for major global clients like Reckitt and Ferrero. In day-to-day life, Leydon handles end-to-end post-production for TV commercials destined for video-on-demand (VOD) platforms. She ensures that videos are tailored to platform-specific trends and that audience engagement strategies are set. She also develops creative concepts, mood boards, and sample reports to support client pitches and new business development. It's meticulous work, but anyone who has worked with Leydon says that is where her strength lies.
According to Daryl Yeoman, Lead Video Editor at VML's UK Group, who worked closely with Leydon between May 2023 and July 2025, her technical ability is matched by an unusually strong instinct for storytelling, attention to detail, and an admirable can-do attitude: "Her portfolio immediately stood out,” he recalls.
“Video editors often overlook branding, and Leydon's expertly designed website caught everyone's attention. But what really convinced us was her great sense of craft.
“You could tell she knows what she is doing. During her time at the agency, Leydon quickly became known for her hybrid skill set; her ability to comfortably move between narrative editing and motion design using tools such as After Effects to enhance edits when necessary. She also knows when restraint serves the story better.”
Yeoman continues: "Another super notable skill is her speed. If you have done advertising, you know how compressed the timelines are, with edits changing quickly as campaigns evolve. Normally, speed comes at the cost of detail; Leydon somehow manages both. She can move quickly, but the work remains thoughtful, precise, and optimised for the platform it's going to. Leydon can shift gears instantly when deadlines change, without losing sight of the storytelling. And that's rare."
Leydon says she hopes her work continues to grow in both scale and impact: "The goal is to create something that stays with the audience after they've watched it. I would love to keep contributing to campaigns that people actually connect with. I want to be remembered as someone who wasn't afraid to think differently. Someone reliable, creative, and always willing to push the story a little further."
Adapting to Industry Changes
As advertising production continues to evolve, editors are tasked with staying on top of trends. What are the new tools? What can they do differently? How can they incorporate these tools into their work?
Leydon explains how she stays ahead, especially now with AI majorly disrupting video editing and creation: "AI tools are having a big impact on the creative industry. I see them as support rather than replacement. It expands my toolkit while I keep my own creative voice and emotionally driven style.
“The core editing - emotion, timing, and storytelling- still comes from the editor. That said, I stay ahead by putting myself out there and keeping up to date with new applications. When I was at VML, I co-created Edit-Enclave, a global editors' community where we shared software strengths, showcased market-specific work, and built valuable connections. "
As a result, Leydon has been exploring emerging creative technologies, including Runway AI, LALAL.AI, ElevenLabs, and Gemini. Her technical stack includes Adobe Premiere Pro, Adobe After Effects, Adobe Photoshop, Adobe Illustrator, Avid Media Composer, and collaborative platforms such as Frame.io.
Leydon's career is defined by a dynamic range of work. Her work reflects a continued focus on storytelling, evolving from early screenwriting into contributing to award-winning global campaigns.
She has impressively bridged the gap between two disciplines that are almost similar yet quite different by borrowing from each to improve the other.
Leydon explains that editing appeals to her because that's where the story comes together: "For me, it's not just about stunning visuals; the edit has to carry emotional weight through pacing, structure, and sound.”
She adds: “I always start with the question: What is this campaign communicating, and how best can I tell the story? What would I want to feel as a viewer seeing this?" This perspective has guided her work across several countries and industries.
Leydon concludes: “At the end of the day, I just want the work to feel honest. If it connects with people, then I know I have done my job.”
Her career has been far from predictable. Leydon’s goal was always evolution, and she has evolved through opportunities, challenges, and a willingness to keep learning new tools and creative approaches. Her journey serves as a reminder that there's more to life than just following the path of less resistance.
