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January 15, 2011, 11:13 am
LONDON — What if Ridley Scott and Kevin Macdonald, each armed with directing Oscars, entrusted shooting their new film to literally thousands of unknowns? And what if they also distributed hundreds of cameras to people around the world who lacked computers and Internet access? The result could be, no, should be total chaos.
August 14, 2008, 2:01 pm
Assistant editor Kyle Gilman’s career path has forked in many directions, including a series of roads less traveled, as he works his way toward his first, inevitable, full editor position. Following his unconventional path, this past year the 28-year-old served as assistant on three features––all of them due for release this year: Choke (September) and Blind Date (TBA), both of which premiered at the Sundance Film Festival in January, and Lake City (TBA), which had its first screening...
August 12, 2008, 1:59 pm
The Austrailian Screen Editors Guild is calling for entries in its annual ASE "Elephant Stamp" Awards The categories include: Short Film, Television Dramea, Television Non-Drama, Documentary, Commercial and Feature Film.
August 9, 2008, 2:54 pm
James Haygood got his big break back in the mid-1980s, when he connected with a young music-video director named David Fincher. The happy collaboration led to A-list editorial credits for Haygood, including Madonna's "Vogue" and The Rolling Stones' "Love Is Strong," a number of TV commercials, and eventually feature-film work — The Game, Fight Club, and Panic Room. More recently, he worked as co-editor (with Spike Jonze regular Eric Zumbrunnen) on Where the Wild Things Are, and took up...
August 8, 2008, 2:56 pm
They say everything comes in threes. On September 9, Warner Home Video releases three home entertainment packages—a high-definition Blu-ray and two standard-definition boxed sets––of the restored How the West Was Won, MGM’s 1962 all-star Western epic that was one of only two narrative features shot entirely in the original Cinerama three-panel widescreen process (The Wonderful World of the Brothers Grimm was the other). The film won three Academy Awards––Best Screenplay (James R. Webb)...
August 5, 2008, 1:43 pm
Seminar One: Moderated by Randy Roberts A.C.E. with panelists, Tina Hirsch A.C.E., Maysie Hoy A.C.E., Bonnie Koehler A.C.E., Carol Littleton A.C.E., Stephen Lovejoy A.C.E., and Michael Tronick. This Panel discusses how each of the panelists got their break in film editing. (Edit Fest 2008)
August 5, 2008, 9:42 am
In this segment Dan gives us some great insights into the feature film editorial process. We discuss topics such as what it’s like screening the "first cut" with the director and starting out on the directors cut, bringing the length of IRON MAN down from 3.5 to it’s final running time of 2 hours, exploring variations of the film and reinventing scenes, and something he fondly refers to as "index card death row".
August 3, 2008, 9:39 am
Today we present Part II of my interview with Dan Lebental, film editor of Paramount Pictures and Marvel Entertainment’s, IRON MAN. In this segment Dan talks about his experience cutting on the Avid Media Composer, working with the visual effects team (upwards of 800 people) at ILM and the economics and intricacies of cutting a film with nearly 1000 visual effects shots. We go on to discuss the state of, and need for, industry accepted digital post production workflows. Finally, we talk...
Gordon Burkell sits down with Tristan Oliver to discuss his work on Isle of Dogs for Wes Anderson.
Gordon Burkell sits down with Joe Letteri to discuss his Oscar-nominated work on War for the Planet of the Apes.
Gordon Burkell sits down with Nathan Robitaille and Nelson Ferreira to discuss the sound design of The Shape of Water, for wh ...
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