Features
Cutting MOS for an SOB: Adventures in the ADR Trade
“On this film the director is always right…even when he isn’t.” – unnamed director […]
Features
Features
The Eastwood Sanction
“A movie is like a clay statue and editorial is the final part of that molding.” – Clint Eastwood […]
Features
Klaatu Barada Nik-2:
Making the Earth Stand Still––Again
The alien Klaatu and his super-robot companion Gort have just made a return visit, touching down upon our planet again on December 12––when the remake of The Day the Earth Stood Still was released worldwide by 20th Century Fox. […]
Features
Sally Forth Menke’s ‘Glourious’ Editing
for Quentin Tarantino
Sharp dialogue. Splintered chronology. Bursts of extreme violence. Must be Quentin Tarantino. Sally Menke, A.C.E. has been there every step of the way… providing the brilliantly bold cutting for all of the director’s films. […]
Features
Navigating the Changing Waters:
TV Editors Discuss the State of Their Craft
A handful of television editors at different stages in their careers recently sat down with CineMontage to discuss the past, present and future of editing for TV. […]
Features
Remote. Control. Sonoma:
Editor Kirk Demorest is a Telecommuter
Working remotely has become commonplace in big, visual effects-laden feature films. It certainly appealed to Kirk Demorest. So much so that he decided to figure out a way to do it. […]
Features
Concertmaster: It’s All Rock ‘n’ Roll
to Editor Mitch Jacobson
Jacobson worked as a freelance director/cameraman shooting for ten years, until he discovered the Avid in 1994. That’s when he began editing. When Jacobson moved to New York, and reconnected with producer Mark Haefeli, his career in big-event, multi-camera editing really took form. […]
Features
Assisting in the Digital Age: Avatar’s Jason Gaudio
“Anything that doesn’t sound familiar is probably a new experience for an assistant, Avatar is that kind of project.” – Jason Gaudio […]
Features
Pro Sound Systems: The Team Spirit of ADR, Effects and Foley Editors
The challenge with NCIS from a sound editorial perspective, according to Schorer, is the relentless amount of detail. […]
Features
This is London: “The Pacific” producer Discusses Workflow
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. […]
