I grew up in Deep River in Northern Ontario, Canada in the 1970s, an idyllic place to live as far as catching frogs and running through the woods, but I didn’t get to see movies in the cinema very often. […]
The job of the assistant editor has changed substantially over the last decade. […]
Assistant Editors and Camera Assistants discuss issues such as career advancement, technological developments and the future of the industry as they see it. […]
“3-D doesn’t have to be things constantly flying in your face. If you feel like you’re immersed within this space in front of you and interacting with this fantasy world, that’s the perfect cinema.” – Niven Howie […]
“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. […]
In 1970, as an apprentice in the cutting room of Richard Marden, editor of Sunday Bloody Sunday, we were a happy bunch; Dick, two assistants and myself. Now, as a motion picture editor, I’m mostly by myself, only sharing occasional intense sessions with the director and/or producer. […]
“Behold Kunta Kinte.” If those words ring a bell, you were around for Roots, one of the most forward-thinking and groundbreaking events in the history of television. […]
‘Superman Returns’s team of assistant editors, led by Liza Espinas-Regnier, had their hands full, getting this show onto the screen.
each of these groups was struggling with a profound but similar problem––the way technology was changing the jobs of their membership. The solution for many of them was the same: Organize. […]
How do we tackle the biggest underlying issue — the lack of feeling empowered to stand up for oneself? […]
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