Year: 2007

I contacted some of the major insurance companies in New York State and found some eye-opening answers.

The Hyphenate Diaries: Robert Pulcini Edits, Writes and Directs with His Wife

CineMontage recently visited Pulcini in his New York editing suite.

The Wizards of Walpole: Ken Burns and Paul Barnes Chronicle American History

Ken Burns has always acknowledged the large part Paul Barnes, his chief picture editor, has played in the smooth operation and artistic prominence of Florentine Films.

Florentine Editors Came Up Through the Ranks

Picture editors Erik Ewers and Tricia Reidy are an integral part of Florentine Films’ post-production team.

May the Sound Be with You: AMPAS Looks Back at Action-Adventure Sound Effects

Some excerpts from a panel of sound effects professionals.

Primary Colors: Telecine Technology May Change, But True Colorists Adapt

CineMontage spoke to a handful of Los Angeles-based colorists to get a picture of what telecine was, how technology has transformed it, and how they see their role in the color correction suite.

Mmmm… Popcorn: ‘The Simpsons’ Goes to the Movies

The Simpsons Movie will not feel like most animated films of recent years, what with its 2-D production and an almost minimalist soundscape.

Preparing the Next Generation

These young people, at least those who do manage to find a way into this crazy business, are the future of this Guild.

Editing ‘Transformers’: Michael Bay’s Rock ’em Sock ’em Blockbuster

The story of robots that can metamorphose from ordinary-looking machines into intelligent, mechanical, biped creatures has gone through many transformations itself.

This Quarter in Film History: Shoot-Out at the Fantasy Factory

High Noon has often been interpreted as an anti-McCarthy era story of mass cowardice when confronted by evil. It is a moot point now because the story has multiple meanings as a personal epiphany.