The idea for Not Fade Away had been in David Chase’s mind for a long time, though it took the buzz following the end of The Sopranos for him to be able to make it his debut as a feature filmmaker. […]
On Saturday evening, January 12, the Los Angeles Film Critics Association (LAFCA) presented its 38th Annual Awards at a gala dinner at the Intercontinental Hotel in Century City. Post-production personnel attending the celebration had a special reason to celebrate this event as LAFCA premiered its award for the year’s Best Editing. […]
The job of the animation editor is often a misunderstood one. “Animation editors are still an enigma throughout the industry and even within the ranks of fellow editors,” claims Darren T. Holmes, ACE (How to Train Your Dragon, 2010; Ratatouille, 2007). “I take every opportunity to inform and enlighten anyone who will listen.” […]
CineMontage explores two contrasting teams of music editors and the differing ways they worked together with their composers and music supervisors. […]
Helming a re-recording crew during the preparation of an intricate motion picture soundtrack takes a unique combination of technical capabilities, people skills and an appreciation of sound and imagery. For many who know him, Donald O. Mitchell exemplifies all of these qualities and more. […]
There are many instances when the partnership between these essential roles can bring an enhanced level of creativity to the final result.
The ever-accelerating pace of technological development is literally putting the tools of post- production into the palms of our hands. The dramatic spread of Apple’s iPad has stirred software designers to create new applications combining Internet cloud technology and post-production work procedures. […]
Picture editors’ storytelling skills are tested in animation to a degree rarely demanded in any other kind of film. In live action, they may come on to a project to consult and prepare before production begins, but their work usually begins when the cameras start rolling and footage comes into the cutting room. […]
In his new film Fury, writer-director David Ayer takes a break from depicting violent crime to re-create a different kind of violence — that of warfare, as experienced by a five-man Sherman tank crew of the Second Armored Division near the end of World War II. […]
“I am attracted to real stories about real people with real problems, without layered-on artificial drama or melodrama. This runs through almost everything I’ve done.” – Alex Hall […]
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