Sabine’s Plan

June 1, 2016

Veteran New York indie film editor Sabine Hoffman, ACE, discovered film editing and began her career as a student in Berlin. […]

An Appreciation of Jim Clark

June 1, 2016

Jim Clark, Picture Editor, May 24, 1931 – February 25, 2016, by Arthur Schmidt, ACE. Jim was obviously the best thing that happened to me in my editing career and, most importantly, he was my best friend. I’ll miss him greatly. […]

Oscar-Worthy Film Editors: 2016

February 1, 2016

This year’s Oscar nominees for Best Editing explore the economic collapse of Wall Street in 2008 as a black comedy; return to an iconic post-apocalyptic world, as well as a galaxy, far, far away; go on a metaphysical journey in the frozen wilderness; and provide an inside glimpse of The Boston Globe’s Pulitzer Prize–winning coverage of the Catholic Church sex scandal cover-up. […]

Awakening the Force in the Cutting Room

December 24, 2015

Maryann Brandon, ACE, and Mary Jo Markey, ACE, spoke about their collaboration with director J.J. Abrams, and how he has incredible trust in his editors, giving them the time and space to shape the film in the cutting room. […]

The Art of the Supertease

December 1, 2015

What we do doesn’t achieve the kudos that our drama or cinema brothers and sisters do, but our work is still seen by millions of people all over the world and its technique is definitely worthy of more study. […]

The Ultra Challenge of Digitally Editing An Ultra Wide Film

December 1, 2015

Among the challenges of creating The Hateful Eight in “glorious 70mm,” as filmmaker Quentin Tarantino described it in his original screenplay, was the fact that it required an overall post workflow that was highly irregular in many respects — both a throwback to an earlier era and extremely complex at the same time. […]

The Wide, Wide West

December 1, 2015

When director Quentin Tarantino visualized his newest revenge Western, The Hateful Eight, as a 70mm widescreen production, sold it to distributor The Weinstein Company as such, and eventually upped the vintage widescreen aesthetic further by unearthing vintage lenses at Panavision and filming it in a format that Hollywood had not even attempted to use in almost 50 years — Ultra Panavision 70 — his intent was to make a piece of cinema that was a throwback to the rich, special- event theatrical spectacles of the analog era. […]

Danford B. Greene

October 1, 2015

Danford B. Greene, editor of such films as Mel Brooks’ Blazing Saddles and Robert Altman’s M*A*S*H, among others, was an avid sportsman who had more nicknames than you could shake a golf club at […]

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