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March 24, 2007, 10:26 pm
Nina is an editor from San Francisco who now works out of Vancouver. She won a NAFTA Student Emmy in High School and ever since she has been working towards a non-student major award.
If you have a topic idea, movie suggestion, or want to disagree with Nina, then she wants to hear it! Email Nina at: firstname.lastname@example.org
August 26, 2009, 4:09 pm
The tires of the Mustang squeal as the car drifts around a corner. Our hero is holding onto the steering wheel for dear life as he attempts to get away from the evil bad guy. The suspense continues to build in the audience as they hold their breath. Will he get away? Will he crash? This weeks Edit Decision List covers the top five car chase scenes based on editing.
August 19, 2009, 3:47 pm
The protagonist walks into a room, ready to pick a fight with the bad guy and save the world (or some damsel in distress). The moment is akin to the last level of an old video game, where the mega-boss stands 5 inches in front of your character on the screen then laughs as the controller freezes— preventing you from moving your character to attack the boss. Suddenly, the rest of the boss’ lackeys pour out from every orifice in the room and threaten to take our hero out. He’s outnumbered 20 to 1... how is he going to get out of this one? Well, thanks to the magic of movie editing (and some nice choreography) he can beat an impossible amount of attackers all by himself!
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.
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