Driving that Train: Editorial Engineers Power ‘Polar Express’
During production for ‘The Polar Express’ Multiple creative processes, including editing, storyboarding, writing and designing, were occurring simultaneously. […]
During production for ‘The Polar Express’ Multiple creative processes, including editing, storyboarding, writing and designing, were occurring simultaneously. […]
Kay Rose’s approach to sound editing has always been through story. […]
“I believe that movies are getting more and more complex visually, and the more visually complex they get, the more they have to rely on the sound to sell those visual effects.” – Kevin O’Connell […]
Working on Leverage gave Kenneth L. Johnson his own leverage to push his own shop, Artistry in Sound, to the next level. […]
Legendary movie producer Sam Goldwyn wrote the quote, opposite, in an article for The New York Times Magazine in 1949, just as television was emerging as a major mass medium. […]
His most memorable film? Don’t ask that of Paul Hirsch, ACE. The Academy Award-winning editor does not believe in the concept, and a quick perusal of the more than 40 films to his credit suggests the futility of that exercise: Is it Carrie (1976) or Star Wars (1977)? The Empire Strikes Back (1980) or Ferris Bueller’s Day Off (1986) — or something else? […]
After 40 years, Robert Altman’s satiric tapestry of American society looks more accurate than ever. […]
“Foley artists create sounds in sync with actions seen on screen. We will make the footstep sounds for every character in a film, giving their steps the personality the actor portrays on camera.” […]
Andrew Mondshein sits down with CineMontage to talk about his editing history and the impact that digital, non-linear editing will have on the craft. […]
Dede Allen took to digital editing with the same curiosity and determination that motivated her throughout her career. […]
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