Category Archives: Editing
572 articles found
Editor Robin Burchill has made a career cutting spots, music videos, and the occasional feature film. She got her start at New York's Consulate in 1992, and later moved to Chemistri, where she cut spots for Old Spice, Lean Cuisine, …
The Surrogate was shot on the Red One MX and edited on a software-only Avid Media Composer system by Lisa Bromwell, an Avid veteran who took on the film as a rare unpaid gig because she believed in the material. When we spoke to her this week, she had just returned from the film's world premiere in the cavernous Eccles Theater in Park City and was already back at work cutting two episodes of Criminal Minds, but she said The Surrogate represented a satisfying departure from her normal mix of editorial jobs.
Wiseman may be best known as a pioneer of the cinema và©rità© school of documentary, which minimizes the director's presence, but here, he comes close to Busby Berkeley territory, as he acknowledges in the following interview. Working for the first time in HD, he shows new possibilities in the medium, asCrazy Horse matches the color and beauty of 35mm.
2011 was a big year for new products and Apple and Canon certainly hogged the spotlight with their respective releases. But that wasn't the whole story. Not so surprisingly our readers-who span many craft categories-were drawn in the largest numbers to camera and software reviews and news, as well as high-profile project stories, that told them something they didn't know before.
Extremely Loud and Incredibly Close deals with one of the most fraught subjects that can be tackled by a filmmaker - the September 11 attacks on the World Trade Center. Set in New York City between 2001 and 2003, the film sees the events through the eyes of a child who lived them. The subject matter complicated things for the editorial team, which was tasked not just with handling the material with appropriate sensitivity, but with organizing a significant amount of VFX work depicting the New York City of 10 years ago, all with an end-of-year release date looming ever closer. Film & Video spoke with associate editor David A. Smith about the special challenges of the project.
For dailies screenings and color-correction on TNT's Dallas, a relaunch of the classic TV franchise that's slated to debut next summer, MTI Film in Los Angeles is turning to IP networks to move footage between Texas and Hollywood in real time. Producers in Dallas, Texas, will screen and approve dailies using MTI's Remote Control Dailies, and MTI staff colorists will correct the footage in L.A.
Still frustrated by the introduction of Final Cut Pro X? Baffled by the trackless timeline? Flummoxed by the lack of support for XML and EDLs? Irritated by the missing pro features? Evan Schechtman feels your pain. The founder of Outpost Digital and CTO of @Radical Media in New York doesn't think FCPX is ready for prime time, either. But if the widely perceived failings of FCPX are making you consider abandoning Final Cut completely as an editorial platform, he has some advice: "Everybody just breathe. Just chill."
Editors on a Transformers movie use the script and previsualizations as starting points, then build the picture scene by scene - even as the evolution of VFX shots opens new directions in storytelling and the effects of 3D help dictate the editing rhythms.