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November 20, 2009, 4:17 am
Originally Aired: January 21, 2003 - NPR's Robert Siegel talks to University of Iowa film professor Rick Altman about filmmaker Edwin Porter. One hundred years ago today, Porter received the copyright on Life of an American Fireman, a film that's regarded, along with his other 1903 film The Great train Robbery, as the first to use the conceit of editing to compress time and space...
November 19, 2009, 4:15 am
Editor Lisa Gunning got her big break in 1998, when her affiliation with The Whitehouse in London led her into a gig working with director Anthony Minghella on a short project for Comic Relief. One thing led to another, and Gunning was eventually offered the job of cutting what would be, sadly, Minghella's final film, Breaking and Entering, in 2006. She keeps busy cutting commercials, and her most recent feature project is Nowhere Boy, which looks at the life of a teenaged John Lennon and his...
November 19, 2009, 4:15 am
I spoke at a very interesting meeting of the LA Final Cut Pro User Group last night, along with Walter Murch and Shane Ross. Walter talked about moving back to MC after years with FCP and described in fascinating detail the relative merits of each application...
November 18, 2009, 12:11 pm
The hot conspiracy theory of the time is Earth’s impending doom, which has always been a popular movie scenario. However, it’s one thing to ward off impending doom and another to be right in the centre of destruction. In any case, it’s interesting to see humanity’s obsession and awe with the concept of obliteration—hyper-real special effects movies about the apocalypse always do really well in the box office. With the recent release of <em>2012</em> the film (and what seems to be a slew of other apocalyptic-themed movies), I thought it would be appropriate to showcase the best sequences featuring the main character known as "Armageddon." Just remember that should something as catastrophic as anything in these films actually happen, there will always be at least one survivor: the earth.
November 17, 2009, 4:10 am
The new Premiere Pro CS4 4.2 and Adobe Media Encoder CS4 4.2 offer new improvements and enhancements to CS4 video workflows. With the 4.2 update, Premiere Pro now offers users of Panasonic’s AVC-Intra line of P2 cameras the chance to edit in native AVC-Intra format. This has been a longtime coming for AVC-Intra users and they can now enjoy the advantages of Adobe CS4 tapeless workflows and native editing.
Gordon sits down with Lee Percy to discuss editing The Mountain Between Us.
Lisa and Gordon discuss her career and approach to editing. ACE will have Lisa as part of their panels at the upcoming Edit ...
Sebastián Sepúlveda joins Gordon to discuss the editing of the film Jackie. They explore how structuring a real ...
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