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. […]
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. […]
In a perfect world, what would be the Best Picture of 2009? […]
[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. […]
“Let me just start out by saying that I have everything before Avatar, and then Avatar––because there was nothing normal about how we did this film”- Stephen Rivkin […]
The lights went up. The audience of eager editing students didn’t seem to know whether to weep or applaud. So they did both. […]
How we work, and the creativity that results from these endeavors, are highly dependent upon the palette of available picture editorial, sound editorial and re-recording mixing tools. […]
It’s funny how it has taken director Edward Zwick and editor Steven Rosenblum, A.C.E., eight films together to return again to their thirtysomething TV roots from the 1980s. […]
“Bring the work back into the cutting room” is the mantra of Terry Kelley, A.C.E. To save both money and time producing television shows and movies, picture editor Kelley has established a new workflow procedure that has proven successful on two television series—Showtime’s Brotherhood (2006-2008) and the conspiracy thriller Rubicon, which just finished its first season on AMC. […]
If ever a single feature film illustrated the painstaking effort editors go through to bring disparate parts together to create a greater whole, David O. Russell’s The Fighter would be that film. […]
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