[Chris Innis’] presence in Jordan helped preserve the authenticity of the soldier’s point of view that was key to the success of The Hurt Locker, but the physical hardships were only part of the difficulties she faced. […]
When London was readying The Pacific’s post-production workflow in 2007, he participated in two key decisions—to shoot the miniseries on film rather than acquiring it on emerging file-based systems, and to edit simultaneously with production in Australia, bringing along three editors. […]
“Sometimes, hearing another editor comment on your work in an open forum and having him tell you he sees a problem and how he thinks it should be fixed, can be a little uncomfortable, but it was all for the greater good. The bottom line is that the entire miniseries improved greatly after that.” […]
In a perfect world, what would be the Best Picture of 2009? […]
“By the time we were going to camera, we were already dealing with all the best performances… We had to come up with a whole new language of terms—combos, stitches, FPR, loads, etc.––all invented on this production.” -Stephen Rivkin […]
If you think that unwrapping the mysteries of transcoding file-based camera footage provides its challenges, you will find the post-production workflow on Avatar either very scary, or a completely visionary model of things to come. […]
“Anything that doesn’t sound familiar is probably a new experience for an assistant, Avatar is that kind of project.” – Jason Gaudio […]
One thing James Cameron, A.C.E., will never be accused of is not having big enough dreams. It’s a good thing he writes them down. […]
A compilation of praises and memorable stories for award winning editor Carol Littleton. […]
They say brevity is the soul of wit, and scoring mixers seem to have a sense of humor about what their job entails. “We get coffee for the composer. End of inter- view,” Alan Meyerson jokes. Well, not so fast. […]
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