Category Archives: Editing
596 articles found
Historical recreations are expensive. That's why director Robert Child determined that he would shoot footage for The Wereth 11 one little piece at a time - he was getting elements in the can, not full scene tableaux. StudioDaily asked Frederic Lumiere of Lumiere Media to describe the challenge of editing a project that's made up of tiny bits and pieces, rather than coherent shots and scenes.
Avid today underscored its leadership position in open media production solutions with the introduction of new versions of its flagship editing systems-Media Composer version 5.5, NewsCutter version 9.5 and Symphony version 5.5-in response to customer requests for increased third-party hardware support, enhanced "in the box" functionality, and more open, collaborative workflows with added control integration and format flexibility.
Film & Video got editors Angus Wall and Kirk Baxter to take a break from their work on Fincher's The Girl with the Dragon Tattoo - which is, like The Social Network, being edited with Final Cut Pro - and talk about bringing Fincher's and Sorkin's vision of Business 3.0 (and a bit of old-fashioned loneliness) to bracing life.
AIX Media Group founder Mark Waldrep knew he wanted to work in 3D, directing and editing a series of seven "3D Music Albums" for Blu-ray Disc that would give the impression of a live performance in your home theater. What he didn't know until he really dug in on the project was how he would capture his stereo imagery.
The new music video for MGMT's "Congratulations" is striking and unusual. Framed in widescreen as it chronicles the slow decay of a strange (pet?) animal against a desert landscape, the carefully assembled story ends on a note that may be depressing, baffling or uplifting, depending on your point of view.
One of the more powerful secret weapons for NLEs is Avid Media Composer's ScriptSync feature, which uses speech-recognition algorithms to organize footage. Editor David Helfand told us how he uses it on Weeds.
Cameras were tearing through 35mm scope, 35mm VistaVision and 65mm (five-perf) stock, and super-high-speed footage was being captured with cameras from Vision Research (Phantom digital cameras) and Photo-Sonics (35mm flat film). As usual with Nolan's projects, the film did not get digital dailies or go through a digital intermediate. Film & Video got on the phone with editor Lee Smith and additional editor John Lee to learn about a workflow that mixes the best of digital and analog technologies.
F&V took a look inside post-production on Predators by talking to editor Dan Zimmerman and re-recording mixer/dialogue editor Brad Engleking about living up to Robert Rodriguez's mantra - at Troublemaker, filmmaking takes place "at the speed of thought."