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October 9, 2008, 5:56 pm
One part painter, two parts prestidigitator, Walter Murch is, quite simply, one of our greatest living motion picture editors. He has a long and storied career as both a picture and sound editor, and has authored one of the most insightful little volumes on film editing ever published. "Blink of an Eye" should be required reading for every film student.
October 9, 2008, 5:55 pm
The best editing does not call attention to itself and neither does Walter Murch. Soft-spoken and deeply philosophical, the renowned sound and picture editor could shamelessly flout credits that include "American Graffiti" and "The Godfather," for which he edited sound, "Apocalypse Now" and "The Conversation," for which he edited both picture and sound, and "The English Patient," for which he earned Oscars for sound and picture work. Instead, Murch keeps a low profile, operating from the...
October 9, 2008, 5:54 pm
It is often said that a movie is written three times: once, when the screenwriter commits the story to paper; again, when the director and actors commit the story to film; and finally, when the editor constructs the story in time. This crucial final telling of the story—the editing—is no less important than the other two, but is often the least discussed. As an independent moviemaker, I edited my own first feature film. As I prepare to direct my second feature, one in which I will be working...
October 9, 2008, 5:53 pm
Anne V. Coates has edited 48 films in as many years. Her first love was horses; as a girl, she thought she'd be a race-horse trainer. As a teenager, an introduction to classic literature on film, such as "Jane Eyre" and "Wuthering Heights," changed her mind. She took a job with a small non-union house, Religious Films, which led to her joining the union and working as a second assistant at Pinewood Studios. The first film she cut was "The Pickwick Papers." A self-described intuitive editor...
October 6, 2008, 5:50 pm
MICHAEL ONDAATJE IS THE AUTHOR OF EIGHT BOOKS, INCLUDING the novels In the Skin of a Lion, The English Patientand Anil's Ghost. During the filming of The English Patient, he came to know the film's editor, Walter Murch, and soon thereafter they began a mutual exploration of editing -- a series of conversations leading to The Conversations: Walter Murch and the Art of Editing Film, a book to be published by Knopf next month, and from which this article is freely adapted.
October 6, 2008, 5:48 pm
Walter Murch (WM): At the basic level, a transition is simply the process of changing from some state A to another state, B. What we should examine carefully is the degree of change, and our awareness of it. Change is happening all the time, though we are not always conscious of it. But without change there is no perception. This is somewhat of a paradox.
October 4, 2008, 5:47 pm
As the world turns to HD - the government mandate kicks in next year - we find that television post production pros are all over it, offering HD services to all comers. And on the front end, episodic producers have shown leadership, or at least intense curiosity, in acquiring on an HD format. Shows shooting on traditional 35mm or Super 16 have made the move to HD post production cycles that have proven to be stable and reliable...
September 26, 2008, 3:37 pm
Avid has "New Thinking," Final Cut Pro has "Editing Unleashed." Now, with the major release September 23 of its Creative Suite 4 Production Premium, Adobe’s watchword is "Product Intelligence." But is it change we can believe in? The short answer is a resounding (though early) yes, as Adobe representatives explained in a recent media conference call. The company is rolling out new full versions of After Effects, Premiere Pro, Photoshop Extended, Illustrator, Flash Professional, Soundbooth...
September 13, 2008, 3:05 pm
We’ve seen the remarkable ability of the RED ONE camera to draw crowds at conventions and to tease our imaginations with the promise of recording digital cinema quality 4K images (4096x2304) at half the price of high-end HD cameras. But amidst the buzz we haven’t seen much proof of its production on the big screen—until now. Digital cinema projects shot with the RED ONE are finally making their way through postproduction, answering whether digital systems can wrestle with these massive files.
September 12, 2008, 3:04 pm
Apparently, the truth is still out there. And Fringe, the new one-hour drama from Bad Robot Productions’ J.J. Abrams, Roberto Orci and Alex Kurtzman (Alias, Mission Impossible III, Star Trek) that premieres in September, is determined to find it. Or at least to garner good ratings trying.
Gordon sits down with Wyatt Smith to discuss the editing of Mary Poppins Returns and the challenges the film presented him in ...
Gordon sits down with Chayse Irvin to discuss his approach to shooting BlacKkKlansman and his theories about cinematography.
Bill Curso is a makeup artist with thirty plus years under his belt, he’s got three Oscar nominations with one win, fiv ...
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