
What Our Members Do: Yasuhiko Inoue
My job is to dance with footage and strike a pose or two in the routine; I find the best moment, rhythm, angle in the footage. […]
My job is to dance with footage and strike a pose or two in the routine; I find the best moment, rhythm, angle in the footage. […]
“I log and transcribe reality footage and interviews in real time. When I am logging footage, I am typing detailed descriptions of the scenes and noting what is important. When I am transcrib- ing, I am typing what is said in the interviews word for word.” […]
In February 2013, about a year before the formation of the Guild’s Membership Outreach Committee, I and the other editors and assistant editors of the fourth season of Swamp People (2010-present) returned to work under an IATSE contract after a four-day work stoppage that “flipped” the previously non-union show. […]
The Guild’s Asian-American Steering Committee hosted a traditional brunch and panel discussion by distinguished group of Asian-heritage union members. […]
Production felt like endless problem solving––whereas editing was about storytelling using a vocabulary of images and sounds, and that excited me. […]
When I saw the ending montage of my character walking into the sunset to the Doors’ “Not to Touch the Earth,” I was floored at the raw emotion it invoked in me. It was a defining moment and my first encounter with the power of image and music. […]
Many of the editors I met asked me why I didn’t want to become a director like my dad. To me, editing was far more interesting than directing — and you didn’t need a small army of people to do it.
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Here are examples of some of the help that the union staff have provided to hundreds of members over just the last year. […]
I met Sandy, my future wife there and we soon married. She was a film editor’s daughter––but I had no idea how that would change my life… […]
We need members to be active in our organizing. […]
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