Featured Stories -

WHAT OUR MEMBERS DO: Melanie Escano, Assistant Editor

February 10, 2026

I’m an assistant editor on “Chicago Med.” I process dailies, organize and mark scenes, add in temporary sound effects, mock up simple visual effects, score temporary music, export producer/studio cuts for review, troubleshoot technical issues, turn over the locked show for sound, music, and color departments — and my editor, Dorian Harris, ACE, gives me scenes to cut.

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‘The Paper’ and Its Cuts: The Team Behind the Peacock Mockumentary Tells All

February 10, 2026

“We redressed the whole set to look like a 1970s newsroom. Greg Daniels and Michael Koman based it on Frederick Wiseman’s documentaries — the black-and-white film look, the texture, the gear. We brought in period costumes and typewriters, even had a few people smoking, and shot on black-and-white 16mm film. Even the aspect ratio was different from the rest of the show.”

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In New Book, Walter Murch Explains Editing Secrets Behind ‘The Conversation’ and More

February 3, 2026

Walter Murch, ACE is a filmmaking phenomenon. Now in his early 80s, he has worked over the past six decades on many landmark films that have benefited from his insightful film editing and sound design skills, often simultaneously

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President’s Message: F. Hudson Miller Starts His Term With a Call to Action

February 1, 2026

The Guild is facing its greatest multi-pronged threats in our nine-decade history. Our federal leaders are determined to weaken or destroy American trade unions. Streaming has disrupted our traditional distribution models, and the producers have yet to construct reliable replacements. Corporate takeovers and consolidation risk are reducing the number of Hollywood productions. The rapid advancement of artificial intelligence and remote technology may be improving how we work, but they also threaten to eliminate or offshore our members’ jobs.

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Sound Judgment: The Post Audio Team of ‘Reasonable Doubt’ Tells All

January 29, 2026

With Season 3 having premiered in September, I spoke with members of the show’s post-production sound team to find out what it’s like crafting the audio world of a series that’s unapologetically female-forward, from its storylines to its creators — to your author, one of the music editors.

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Blues People: How the ‘Sinners’ Post Team Overcame Some Devilish Creative Dilemmas

January 27, 2026

“As an editor, you always want to — in all your cuts — show the director that you know what movie you’re making.”

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ALAN HEIM: Looking Back at an Eventful Decade as MPEG President

January 21, 2026

If I have one hope as I leave this role, it’s that we keep listening to each other. Not just during contract cycles or moments of crisis, but all the time.

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Capes & Blood Lassos: Maura Corey Talks Editing on Superhero Spinoff ‘Gen V’

January 16, 2026

“A script is a plan, but what plays on screen may not match what reads on the page. You have to stay open to restructuring so the intended drama or comedy comes through—even if it isn’t written that way.”

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How the Post Team of ‘Ferrari’ Worked Together to Bring an Auto Epic to Life

March 8, 2024

“One of the things we had to adapt very early on is the communication in the form of notes from Michael.”

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Kevin Tent Explains the Editing Process Behind Alexander Payne’s ‘The Holdovers’

February 27, 2024

“The Holdovers,” set over Christmas vacation in 1970 at a New England boarding school for boys, is the bittersweet portrait of complicated relationships among a grumpy teacher with a troubled past (Paul Giamatti), his callow student (Dominic Sessa) and a long-suffering dining-hall cook (Da’Vine Joy Randolph). Tent talked about editing for tone, tempo and rhythm, as well as his efforts on behalf of picture editors as the president of ACE.

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