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March 27, 2012, 10:02 pm
This film has a lot of Aardman firsts – it's the first stop-motion feature for which they've used previs to guide the floor when setting their shots up. It's the first time they’ve managed their VFX in-house, with a team of around 100 VFX artists up in Bristol working on the 1500+ shots which are in the film.
July 17, 2018, 9:22 am
This was a piece written for the magazine distributed by the Guild of British Film and Television Editors, with my former trainee Mary.A VIEW TO A SKILLA Year on the Skillset Trainee Finder Schemeby Judith Allen Trainee Finder is a service that matches trainees with companies across the UK’s animation, film, games, highend and children’s TV and VFX industries. The scheme is supported by Creative Skillset’s Skills Investment Fund which encourages co-investment in skills and training to...
April 19, 2016, 7:18 am
For several years now, the Twitter editing community have been doing #TimelineTuesday - in which you screengrab the timeline of the project you're currently working on, and share it with the other editors. To us, it's an interesting look at the way other people set up their timelines, and some pretty big editors have joined in in the past, sharing various reels of major feature films with varying degrees of VFX and sound work.I appear to be one of the few people sharing animation timelines...
April 6, 2016, 5:33 am
Excerpt: In live action filming, every action on set is accompanied by the corresponding sound. Often these are replaced or enhanced, but the sound is there and used within the rhythm of the cut whether consciously or unconsciously. In animation, every single sound needs to be purposefully placed – and often created from scratch by a foley team. It’s often a delicate balance between knowing which temp sound effects are best to place during the animatic to help tell the story and do th...
September 2, 2015, 9:22 am
I put this together pretty quickly for the internal project wiki at work as a basic overview of what goes in and out of my remit as editor on a 52 x 11 min animated series, where within the process sequence reviews typically happen, and where things come from/ go to. It's not as entirely linear as this in practice (locks happen before all of the animation is done, for example - so that any extensions can be accommodated), a lot of things end up happening as simultaneously, and I'm typic...
August 24, 2015, 9:14 am
4DX cinema is programmed by a South Korean company, building on the older theme-park style immersive experience (I have memories of an Alien 4D experience at a Disney park in which you could feel the simulated breath on the back of your neck as the speakers in the chair implied it was right behind you), but expanded out to mainstream feature films. The chairs move, and various effects of light, water, fragrance, and air surround the audience in complement to the on-screen action. Having r...
August 12, 2015, 5:39 am
Q Pootle 5 was the animated television series I worked on over 2012-13. This 'making of' video was released on one of the series DVDs, and gives a basic overview of the process of creating an animated series: from concept art to foley and compositing. For additional information on the editing side of things running through animatic, animation, and delivery, I wrote a series of blog posts while working on this series, which are linked to from a roundup post which includes examples of...
July 19, 2015, 7:09 am
I recently had the opportunity to be on an awards jury, for the Royal Television Society's student awards. I had some experience of the awards themselves, having had films from my studies at the NFTS nominated the 2009 awards in the drama, animation, and entertainment categories of the postgraduate section.
February 9, 2015, 10:11 am
I was asked to write something for "First Frame", the magazine of the Guild of British Film and Television Editors about Adobe Premiere; who are one of the Guild's sponsors. The article was aimed at editors who were not already users of the software, and it was published in the Spring 2014 issue. N.B. Pricing information was correct at time of publication, check the Adobe website for the latest pricing.
November 18, 2014, 8:12 am
The film slate. It's one of the big symbols of film-making. But... there's a point to it. And that point is understood to a greater or lesser degree throughout the industry.But for an editor, it can be essential communication. We're usually not on set (we're editing the previous day's shots), and the less time we need to spend figuring information out, the more time we can spend being creative. Here are some notes based on some past difficulties I've encountered when syncing video a...
Gordon Burkell sits down to discuss Selina MacArthur's Emmy nominated work on Black Mirror's USS Callister.
Gordon Burkell sits down with Beth Morgan to discuss the costume design for GLOW.
Gordon Burkell sits down with Tanya Swerling to discuss her work on the show GLOW.
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