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February 10, 2010, 8:33 am
Really, any play written for theatre is extremely hard to translate to film and make it filmic. This is especially true for particularly wordy plays, such as anything written by Shakespeare. The number one rule "show not tell" has to be creatively re-thought to make it work in order to translate to screen, and to do that is more easily said than done.
August 5, 2009, 12:24 pm
To kick off the first post for the Edit Decision List, I thought it would be fitting to choose a topic that relies on one of the most fundamental techniques in editing film: building tension. There are many places for using this technique, but it is in its most blatant use in the Western Standoff. Therefore here is The Top 5 American Western Standoffs based on editing.
July 17, 2009, 12:32 pm
I just recently finished compositing some shots for a live-action Disney DVD film (soon to come) involving talking animals. This is the first time that I’ve really done anything like that, and although I wasn’t editing, I could appreciate how difficult it can be to edit a film with animal actors as I saw the shots come in. And it’s difficult regardless of if they have moving mouths or not. Animals aren’t really "acting" on their free will as humans do, so discerning which take is the best has to with a mixture of the action being performed properly (pun intended) as well as juxtaposing the action with another action to convey an accurate sense of emotion, which 95% of animals (arguably) don’t naturally exhibit.
Celia Haining, editor of The Crown, joins Gordon Burkell to discuss editing for story.
The filmmakeru.com team explores the history of color in film in our series Birth of an Art. From coloring in single frames ...
Gordon sits down with Ivan Victor to discuss his work editing 68 Whiskey.
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