What was your last interaction with the Editors Guild? If your answer is “paying my dues” or “attending orientation,” this article is for you. Actually, it’s not; it’s for every member. But if those were your answers, I implore you to read on. […]
Given the veritable obstacle course of a workflow that the 22-strong picture editorial crew on American Ninja Warrior endures to get the hit sports/reality show to air each week, perhaps the next concept in competition-oriented reality TV programming should be about just that. […]
Anne Voase Coates, ACE, who died May 8 at the age of 92, edited more than 50 films during a prolific career that lasted for six decades. She was best known for her work on David Lean’s 1962 classic Lawrence of Arabia, for which she won an Academy Award. She received further Oscar nominations for Becket (1964), directed by Peter Glenville; The Elephant Man (1980), by David Lynch; In the Line of Fire (1993), by Wolfgang Petersen; and Out of Sight (1998), by Steven Soderbergh. […]
Thanks for the wonderful article on my friend Monty DeGraff (“Monty the Mentor,” ‘CineMontage’ Q1 2018). Lynne and Monty have been a part of my wife’s and my circle of friends for 20 years — sharing many dinners, talking shop and generally enjoying each other’s company. […]
Hyman worked in the film industry from the 1950s through the 1980s. His career as a film editor was dedicated strictly to documentaries on both the small and large screen. Things got off the ground for Hyman when he moved from New York to Los Angeles in late 1961 and soon after joined the newly formed David Wolper Productions. […]
Emmy Award-winning film editor Edward Abroms, ACE, died of heart failure on February 13, 2018 — the 60th anniversary date of his joining the Editors Guild. He is survived by his wife of 60 years, Colleen; his children Ed Abroms (and his wife Terra), Lynn Abroms (and her partner Scott Lerner) and Cindy Hammond (and her husband Danny Hammond); and his grandchildren Brandon, Jordon (and his wife Jordann) and James. […]
While two displays sound better than one, there were a few problems with this solution, the biggest being the physical gap between them. Yes, it was possible to take a window or a palette and stretch it across both displays, but it was practically impossible to work that way.