There’s a revolution going on at JJ Abrams’ Bad Robot Productions and it has nothing to do with aliens, plane crashes or spies. It’s a change in the way music is being integrated into post-production. […]
In the time-critical world of half-hour TV sitcoms, the seasoned team of re-recording mixer Charlie McDaniel and sound editor Bob Bradford has lead the way for the past 18 years. As McDaniel explains, “We have four hours — maybe six for the busier shows — to mix and print master 22 minutes of surround sound, and then prep the room for the next session.” […]
An unexpected landing on a distant planet spells danger for the Robinson family. If that sounds vaguely like a flashback to baby boomers who watched primetime TV back in the Sixties, it is. Well, sort of… […]
From the CineMontage archives, a 2009 interview with the award-winning editor, Dann Cahn, about the beginnings of the I Love Lucy show and the ground-breaking editorial requirements for the three-camera production. […]
It was the film serials, from the early days of cinema, that were the true forerunners of contemporary franchise pictures and tent-pole releases. […]
As the motion picture industry grew during the silent era, Hollywood borrowed the serialization of stories from magazines and the cliffhanger from popular drama to create the movie serial. […]
There are many instances when the partnership between these essential roles can bring an enhanced level of creativity to the final result.
For over 100 years now, from episode to episode and sequel to sequel, whether serial or series or saga, these entertainments have drawn the interest and attention of vast audiences. […]
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. […]
The show-business career of Jeff Freeman, A.C.E., began on a terrifying note. At the age of four, he was plucked by his stepfather, director Arthur Napoleon, to appear in a movie co-written by his mother, Jo. Man on the Prowl (1957) may not have made any “best of all- time” lists, but the experience was memorable enough for young Jeff. […]
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