What do NBC’s 30 Rock and HBO’s Bored to Death have in common? Both are award-winning half-hour comedies that poke fun at their creators/head writers/executive producers (Tina Fey and Jonathan Ames, respectively). […]
In the summer of 1982, Disney and director Steven Lisberger introduced TRON, a landmark special effects film that took us into a dangerous, groundbreaking computer world. Computer graphics were in their infancy, and nearly every frame also featured hand-drawn and rotoscoped ani- mated effects. The film was ahead of its time, and some audiences didn’t know what to make of it. […]
Motion Picture Editors Guild retirees are goldmines of information; they are walking encyclopedias of the industry with priceless experience and wisdom to offer. While the technology may have changed, the necessity of navigating through the challenges of the craft and the politics still remains. […]
From Back to the Future to Cast Away, Robert Zemeckis, and his longtime editor Arthur Schmidt, A.C.E., crafted some of the most iconic films of the 1980s, ’90s and beyond. A two-time Oscar winner, as well as the recipient of numerous other industry awards and honors for his editing work, Schmidt — who retired in 2008 — is well loved and respected in the industry. […]
Tom Rolf was a real professional, a man who knew his craft inside and out. He was all business in the cutting room. I remember that he would come in at 9:00 a.m., sit down, get right to work, and leave at 6:00 p.m. […]
If you think that unwrapping the mysteries of transcoding file-based camera footage provides its challenges, you will find the post-production workflow on Avatar either very scary, or a completely visionary model of things to come. […]
“Let me just start out by saying that I have everything before Avatar, and then Avatar––because there was nothing normal about how we did this film”- Stephen Rivkin […]
The lights went up. The audience of eager editing students didn’t seem to know whether to weep or applaud. So they did both. […]
It’s funny how it has taken director Edward Zwick and editor Steven Rosenblum, A.C.E., eight films together to return again to their thirtysomething TV roots from the 1980s. […]
“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. […]
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