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October 30, 2008, 6:36 pm
Archival footage, scenes differing in aspect ratio, a movie that tiptoes the line between documentary and fiction; for even the most established editor, these things could become a real headache in the cutting room. But for Eric Poydar, writer-director-editor of the faux-documentary Larry (the Actor), the challenge of seamlessly interweaving different forms of footage into a present day narrative about Larry (Lionel Mark Smith), an actor on the verge of giving up his livelihood, was met with...
October 28, 2008, 6:33 pm
A talented actor and an imaginative director are only part of what makes a horror movie so terrifying. Where would scary flicks be without the clever cuts and camera angles that make us jump in our seats?
October 23, 2008, 6:28 pm
His dilligence and creativity brought him to the next step of his career at RKO: assistant editor. Wise built on his knowledge of film employed as an assistant editor on the Fred Astaire-Ginger Rogers movie, CAREFREE (1938). Then, with William Hamilton and Henry Berman as his editing guides, Wise worked on Garson Kanin's BACHELOR MOTHER (1939;) the critically acclaimed and popular HUNCHBACK OF NOTRE DAME, (1939); and Mark Sandrich's THE STORY OF VERNON AND IRENE CASTLE (1939).
October 22, 2008, 6:22 pm
Back in August, the American Cinema Editors staged the first EditFest at Universal Studios. In this comprehensive event (co-sponsored by the Editors Guild and Avid), more than two dozen of the profession’s current and rising stars fanned out over four separate panels to show clips, share reminiscences, discuss the creative impact and business of editing, and offer career advice to a combined and eager audience of students and working pros. Following are some of the highlights of those panels.
October 15, 2008, 6:13 pm
Nothing speaks like experience, so DV recently caught up with six working editors. Each took time out of their busy schedules to talk about the past, present and future of their favorite non-linear editing tools.
October 11, 2008, 6:07 pm
Editing is an integral part of creating suspense in a film—anyone who has seen Alfred Hitchcock’s Psycho (1960) can attest to that. For a film like The X-Files: I Want to Believe (whose creators were so intent on producing a suspenseful aura for its audience that only a very elite group of those involved were given full scripts), having a skilled editor was crucial to its success. It made perfect sense when the moviemakers behind the film called in Richard A. Harris, an editor with plenty...
October 11, 2008, 6:05 pm
Just when we thought Premiere Pro for Mac or Windows was about as packed with features as it could get, Adobe has put even more actually useful niceties into the CS4 version of the venerable editing application. Building on its strengths of smooth interaction with other members of the Adobe club of apps, Premiere Pro included functionality and feature sets that were sorely needed in previous versions. There are also some unexpected surprises within the mix.
October 9, 2008, 5:57 pm
FORTY years ago, in the spring of 1958, Orson Welles's "Touch of Evil" was released by Universal as a B picture, the second half of a double bill. (The A picture was "Female Animal," a now-forgotten vehicle for Hedy Lamarr.) Neither picture attracted much attention, although some reviewers were intrigued by Welles's first studio work in 10 years. Unfortunately, it turned out to be a commercial and critical disappointment, and Welles -- only 43 at the time -- returned to Europe and never made...
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...
Gordon sits down with Marco Capalbo to discuss editing for Werner Herzog and crafting Fireball: Visitors from Darker Worlds. ...
Editor Mikeel Nielsen and Sound Designer Nicolas Becker discuss creating the film The Sound of Metal. We explore how to make ...
Jody McVeigh-Schultz and Lane Farnham discuss tackling HBO's documentary series McMillion$, a series that explores the f ...
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