This issue of CineMontage, for all its many virtues, isn’t the most important piece of mail you’ll receive this month. Local 700 members, as well as members of our 12 sister IATSE locals who share the Basic Agreement, will soon receive ballots in their mailboxes. […]
Françoise Bonnot, ACE, the acclaimed editor of more than 50 films over six decades, died June 9 at the age of 78 in her hometown of Paris. She won an Academy Award for her work on Costa-Gavras’ 1969 masterpiece ‘Z,’ as well as a BAFTA Award for the same director’s 1982 drama ‘Missing.’ […]
I’ve tried out a lot of Digital Audio Workstations (DAWs) for music production over the years. The first one I sunk my teeth into was Cubase but, along the way, I’ve bumped into others, each with its own cadre of devotees. […]
Frederick Stafford, one of Hollywood’s best-known ADR editors, died peacefully at his Santa Paula, California home on December 23, 2017. Rita, his loving wife of 32 years, was by his side. […]
Murray B. Jordan, ACE, film editor for Richard Brooks and Sam Peckinpah — and later a longtime editor and producer of the television series ‘Cops’ (1989-present) — died on July 1 in Elche, Spain. He was 81. […]
David R. Berlatsky, ACE Picture Editor (July 21, 1933 – July 12, 2018) 58 years a member Françoise Bonnot, ACE […]
As a youth in Dublin, Ireland, Clare Knight (née De Chenu), ACE, had a decidedly artistic bent. The daughter of a stage actor-turned-architect and a schoolteacher, she dreamt of becoming an artist. […]
Nineteen eighty-six was a particularly good movie year for me. I worked in a video store after school and on weekends, so I saw a lot them — especially horror films; the more outrageous the better. […]
The world of episodic TV and cable has been experiencing some major challenges during recent seasons. As appointment viewing transitions to more on-demand streaming and even binge-watching, there is a pressing need to deliver increasingly innovative and enveloping soundtracks for a wider range of offerings. […]
Post-production professionals are regularly asked why they select specific picture cuts or sound transitions. Those with successful careers know how to discuss, and sometimes defend, their choices in language that producers and directors understand quickly. […]
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