Blurring the Line Between VFX and Animation
What’s fascinating about ‘The CG Story’, therefore, is the realization that live action has become more like animation and vice-versa. […]
What’s fascinating about ‘The CG Story’, therefore, is the realization that live action has become more like animation and vice-versa. […]
The many people who create sound,are likewise invisible to the public — even as their contributions are central to making onscreen worlds. They too are part of the occult magic of cinema. […]
It’s not that ‘Grammar of the Edit’ is wrong. It is just incomplete. […]
Almost everyone in the business has heard the statistics: Only 10 percent of films made between 1910 and 1920 still exist; 20 percent of the films made in the 1920s survive […]
When nonlinear editing systems first appeared nearly 25 years ago, a lot of people scratched their heads. Who could edit with a picture you could barely see and a hard drive that couldn’t hold even a reel of images, on a new-fangled personal computer that was likely to crash? […]
Sometimes a title can be misleading, but in the case of The Authentic Death & Contentious Afterlife of Pat Garrett and Billy the Kid: The Untold Story of Peckinpah’s Last Western — the title, including ampersand — is part and parcel of ACE member Paul Seydor’s exactingly told story. […]
The technical, artistic and economic tumult that roiled through Hollywood with the coming of sound sometimes led to wildly unusual experiments and partnerships. The widespread adoption of literary works and stage plays was one product of the beginning of the talkies. […]
At a preview screening of the film Chinatown in summer 1974, an official from the City of Los Angeles Department of Water and Power is reported to have remarked, […]
The number of books dedicated specifically to motion picture editing is not large. There is a steady supply of how-to guides, often geared to specific technologies […]
Steve Hullfish knows how to talk with editors. In addition to writing five previous books (all published by Focal Press), including The Art and Technology of Digital Color Correction and Avid Uncut, he has extensive post-production credits in both television and film. […]
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