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December 10, 2018, 5:53 am
Maryann Brandon, ACE, gave a masterclass on the editing of Star Wars: Episode VII – The Force Awakens at the International Broadcasting Convention (lBC), Sept. 13-18 in Amsterdam. “We had discussions about how we would reintroduce the iconic Millennium Falcon,” she revealed, showing an extended battle sequence from the J.J. Abrams-directed film. “Should we have it draped in covers and look like sandblown junk as Finn and Rey rediscover it?
December 10, 2018, 5:53 am
ACE celebrated its annual board installation with a luau-themed celebration held Aug. 28 at the popular Toluca-Lake-based Italian Ca Del Sole. Generously hosted by Pivotal Post, guests wore leis and shell necklaces as they enjoyed Mai Tais and a range of hors d’oeuvres and spirits throughout the evening.
December 10, 2018, 5:53 am
What makes a good editor? “Listening is key. Listening to what directors and producers want and getting them there quickly,” according to Chi-Yoon Chung, a panelist at the 12th annual Prime Cuts event which celebrated the 2018 crop of Emmy®-nominated editors at the Television Academy’s Saban Media Center on Saturday, September 29.
December 8, 2018, 7:54 am
Israel has little more than eight million residents but it has a very vibrant motion picture community with professional organizations in all the major jobs of film and TV productions. One of these organizations is the Israeli Editors Guild, whose cofounder and chairman, is veteran editor Isaac Sehayek.
December 8, 2018, 7:54 am
It is more common today for editors to be working a great distance from where the production is being shot. Vancouver, Atlanta, New Orleans, Budapest – all are popular shooting locations because of subsidies and tax breaks. In the past, editors went on location. How else could anyone watch film dailies without the cutting room being close by? With digital technology, that is less necessary. Remote editing solutions will make it even less so. My first attempt at a remote editing session involved pointing my laptop at my client monitor. “Can you see anything?”
December 8, 2018, 3:33 am
Share this post with those who might want to get you a little something you'll actually enjoy and be able to make use of as a film editor.
December 7, 2018, 10:40 am
I’ve always been a fan of TV police procedurals and relish watching the evil doers reckoning with “crime doesn’t pay.”
December 6, 2018, 10:09 am
Alex Lemke started his career in visual effects in 1996. He works in many studios such as Cinesite, Framestore and Weta Digital. As a VFX Supervisor, he takes care of the effects of movies like A MOST VIOLENT YEAR, BILLY LYNN’S LONG HALFTIME WALK and PATRIOTS DAY.
December 5, 2018, 1:09 pm
In a feature on FXguide, we get a pretty insightful look into how one VFX shop was able to bring several character designs, animations and environment builds to life in Fantastic Beasts: The Crimes of Grindelwald.
December 5, 2018, 11:18 am
Max Wood began his career in visual effects in 2003 at MPC. He works on films like WATCHMEN, ROBIN HOOD, WORLD WAR Z and 300: RISE OF AN EMPIRE. As a VFX supervisor, he took care of the effects of films such as SAN ANDREAS, ZOOLANDER 2 and SUICIDE SQUAD.
Gordon Sits down with Christopher Tellefsen to discuss A Quiet Place.
Gordon sits down with Marcus Schioler, Antoine Rotondo, & Marc-André Ferguson to discuss the big announcement at A ...
Gordon sits down with Joe Walker to discuss Steve McQueen's new film Widows.
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