“3-D doesn’t have to be things constantly flying in your face. If you feel like you’re immersed within this space in front of you and interacting with this fantasy world, that’s the perfect cinema.” – Niven Howie […]
The prevailing wisdom within Hollywood seems to be that a successful franchise needs a fresh start every few years to ensure a contemporary perspective and, hence, appeal to a newer generation of filmgoers for whom previous versions may seem passé. […]
“There it was, ticking after 150 years, and we recorded it. We were able to use that during the few, brief moments where Lincoln was actually handling his watch.” – Ben Burtt […]
The idea of standing while sound editing had been in my mind for many years. My initial thoughts were that it would be too hard to be on my feet all day, and I didn’t really have any idea how to do it from a practical standpoint. […]
CineMontage caught up with the editors, and their first assistants Matthew Schmidt and John Dietrick, as they were finishing the film, which sees Stark/Iron Man pushed to his limit while battling the Mandarin (Ben Kingsley). […]
The American Experience had a unique style and zeitgeist. The stories were never pat interpretations of historical figures and events, nor did they shy away from the chronicles of lost causes, defeats, rough compromises and violence. […]
Greg Hayden was worried that the story might not be as interesting when the fantasies ended. But he was pleased when the opposite happened, and he worked diligently on maintaining a balance between fantasy and reality. […]
Unlike most guilds in the film industry (the Screen Actors Guild excepted), the Motion Picture Editors Guild looks forward to its membership garnering multiple Academy Awards every year. […]
In the MAY-JUN 14 issue of CineMontage, writer Mel Lambert surveyed sound designers, sound editors and supervising sound editors about the Digital Audio Workstation add-ons that they use to get the job done. In this issue, we’ve asked picture editors what their plug-in choices are. […]
Film editing may be known as “the invisible art,” but picture editors Zene Baker and Evan Henke never expected that all their work cutting The Interview was in danger of becoming invisible itself. […]
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