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This article presents a list of motion pictures which are currently under production in the U.S. Some of the films included in the article are "Behind the Mask," "The Black Dahlia," starring Josh Hartneti, Scarlett Johansson and Hilary Swank; "Bench Warmers," starring David Spade and Rob Schneider; "A Cool Breeze on the Underground," starring Nick Dahl; "First Snow," starring Guy Pearte; "Every Word Is True," starring Toby Jones, Mark Ruffalo, Sandra Bullock and Ashley Jude.

The article focuses on the impact of movie editing to the viewers wherein they were subjected to the state as if they were on the character's situation or in the scene. It states that editing provides a unique way of producing an effective character since the movies are played on the part of the protagonist. It mentions several movies wherein editing was used including "Silver Lining Playbooks", "Beast of the Southern Wild," and "Flight."

The article offers information on how supervisors of visual effects nominees judge the quality of visual effects including realism, seamlessness, difficulty and performance.

The article reports on the distinctive settings of Oscar nominees for film editing that contends with characters for the attention of audiences and not just ad flavor to the stories in 2012.

The article focuses on the styles of film editors in cutting the films that exceed 100 minutes. It mentions Mark Yoshikawa, an editor for the film "The Tree of Life," who was tasked to edit wherein the audiences could think that they are the one who create the film. Editors Angus Wall and Kirk Baxter for the film "The Girl With the Dragon Tattoo," does not let the characters team up in a scene. It says that Hughes Winborne ensure that the film "The Help" is between humor and tragedy.

An interview with film editor Oren Moverman is presented. When asked about the effect of not knowing beforehand that he would end up directing the film "Rampart," Moverman responds that a lot was changed because of his ending role in the movie. He discusses his collaboration with Woody Harrelson and the help the relationship provides in finding financing for films. He also explains his process in editing films.

The article features the film trailer career of Mark Woolen, whose trailers are up for Golden Trailer Awards. It states that Woolen starts professional film editing since high school and makes part time editing with Craig Murray Productions and Walt Disney Co. It says that Woolen treats each film individually in making his trailers. Moreover, Woolen's trailer for the film "Tabloid," by Errol Morris gains positive response, but Morris notes the trailer's efficiency if it drive people to theater.

The article offers the insights of nominated film editors regarding film editing. Jon Harris, who edited the film "127 Hours," states that the essential editing task occurs in dialogue scenes between the complex and good characters. Pamela Martin of the film "The Fighter" suggests that every single scene in the film has to be played real for it to be true. Lee Smith adds that aggressiveness is an element that brings editing into the forefront.

The article presents the insights of film editors on the important elements of film editing. Joe Klotz, editor of the film "Rabbit Hole," mentions that a blink of an eye or an errant movement can ruin the truth of a moment. Jon Harris says that rhythms, pacing, and documentary style are essential to the editing process. Lee Smith, who edited the "Inception," adds that he focuses on the establishment and retaining of clarity despite of often dizzying multi-layered plots and multiple lead actors.

The article focuses on the role of compositors in filmmaking. The author points out that compositors are tasked to piece together digital characters with greenscreen shots of the actors, smoke or water. She also explains that traditional compositing involves working with each frame as a flat image. She further mentions that compositors of the film "Sherlock Holmes" set up each shot in their computers in three dimensions.

The article focuses on the editing done by director James Cameron, John Refoua and Stephen Rivkin for the film "Avatar." The author points out that Cameron was hesitant at first to hire other editors, but later relented when he realized that he can't do everything that is needed to be done. He also mentions that editing the film poses difficulty to editor because the majority of the film's footage consists of performance capture.

The article focuses on the challenges associated with the editors of computer graphics (CG) animation films in shaping the films' sights and sounds. It states that animation editors help shape the plot, create characters and determine the style of the film. It describes how editors pair the panels for individual sequences produced by story artists with scratch recordings to find the pace of a scene. According to editor Harry Hitner, editing is time-consuming and expensive for animation films.

The article offers information on the importance of editing in various films in the U.S. It cites on indifferent editing which can leave an actor embarrassed by what is on the screen. It notes that editing can often determine the success or failure of an actor in a role and the work of an editor comes under closer scrutiny if an Oscar nomination is at stake.

The article reports that Stephen Schaffer, editor of the animated film "Wall-E," has received the comedy/musical award at the Eddie Awards of the American Cinema Editors (ACE) in the U.S. The author explains that the award is significant because it is the first time that the organization has recognized an animated film. Other awardees at the event include "Slumdog Millionaire" editor Chris Dickens and "Man on Wire," edited by Jinx Godfrey.

The article focuses on a film editor's job to put together one story of a film from various scenes and footages shot. It looks at the film editing techniques and the challenges faced by film editors Chris Dickens for the film "Slumdog Millionaire," and Lee Smith for "The Dark Knight." Discussions about the difficulties both the editors encountered are also presented.

The article discusses the digital effects applied by visual effects artists in the Hollywood movies. It states that visual effects artists avoid the computer graphics (CG) look. It notes that the combination of the practical and digital can be used to enhance the realism of each other. However, the process of getting away from the CG is a challenging task. It notes that to take something which was already there is easier than to pin down exactly what it is.

The article explores editing works for some motion pictures. With the "Bourne" films, Christopher Rouse helped develop an editing vocabulary specific to the series, an approach that helps audiences identify with the hero. John Gilroy, editor of "Michael Clayton," looks to such 1970s films as "The Parallax View" and "Klute" to realize the movie's tone. Paul Tothill claims the "Atonement" movie proves more ambitious with structure, doubling back and leaping forward in keeping with the novel.

The article highlights sound editing in various motion pictures. Greg P. Russell, sound mixer of the film "Transformers," worked with over 1,000 tracks of sound effects on some scenes to feature a machine's movement. In the film "The Assassination of Jess James by the Coward Robert Ford," sound design had to replace score. In the "American Gangster" soundtrack, sound editor Karen Baker Lander claims sounds should be layered to create an emotion.

The article on the recipients of the American Cinema Editors Eddie Awards held at the BevHilton in Los Angeles, California. "Babel" editors Stephen Mirrione and Douglas Crise tied with "The Departed" editor Thelma Schoonmaker for dramatic feature film. An award was received by Virginia Katz for comedy/musical for "Dreamgirls." Jay Cassidy and Dan Swietlik won the award for documentary for the film "An Inconvenient Truth."

The article offers information about editor-director Paul Crowder. Crowder has edited several films including Stacy Crowder's "Dogtown & Z-Boys," and "Riding Giants." The editing work of his new film "Once in a Lifetime," is done by Crowder himself. He prefers using the software Avid Xpress Pro for his editing work.

The article presents the recipients of motion picture sound editing awards at the 53rd Golden Reel Awards. "Harry Potter and the Goblet of Fire" took home the award in the foreign feature film category. In animation, "Wallace and Gromit: The Curse of the Were-Rabbit" drew the feature film award for sound editing and "Family Guy" for Television series award. Else Blangsted received the career achievement award.

Reports that the process of putting films through a computerized digital intermediate during the post-production phase has become an essential part of the job for the cinematographers. Suggestion that digital intermediate is rapidly replacing the traditional photochemical process which cinematographers have used to fine-tune what they have shot; Difference of digital intermediate from computer graphic imaging; Examples of how digital intermediate has been used in different films.

Reports that Madstone Films and writer-director Aaron Woodley are handling over editing of the movie "Rhinoceros Eyes" to film students from different colleges in New York City. Premiere of the movie in the Toronto Film Festival; Discovery award won by the directorial debut of Woodley; Release of the film in the city before expanding to other cities in spring.

Focuses on the works of film editor Walter Murch in the U.S. Nomination of the editor in the Academy Awards and the American Cinema Editors Eddie Awards for the movie "Cold Mountain"; Comment of Murch on the narrative structure of the film; Other movies edited by Murch. INSET: Murch's editing filmogrophy.

Focuses on the pay gap between the importance of the role of film and television editors and the size of their paychecks in the U.S. Responsibility of editors in taking up the slack for inexperienced directors and underqualified foreign film crews; Reliance of directors on editors; Advantages offered by digital editing systems for the editors. INSET: Tip sheet.

Reports that film studios are increasingly editing movie trailers in the United States. Effectiveness of a trailer; Marketing campaigns; Forms of Frankensteining.

Focuses on the American Cinema Editors' (ACE) efforts to educate the public and the rest of the film industry as to what film editors really do. People's incorrect conception of film editing; Basic job functions of a film editor; Presentation of the annual ACE Eddie Awards to honor outstanding achievement in the field.

Reports on the lawsuit filed by Denver, Colorado-based video chain called Clean Flicks against the top directors in the United States. Chain's petition to have the editing practices protected under federal copyright laws; Defendants included in the lawsuit; Plaintiffs' claim of their First Amendment right to excise foul language, sex and violence from videos destined for private use.

Highlights the American Cinema Editors Eddie Awards in Los Angeles, California. History of the award-giving body; Impact of digital editing; Names of nominees.

Reports on the editing of some of the scenes in Miramax Film's 'Kate & Leopold' for the film's Christmas Day showing in the United States. Scenes of the movie being cut; Impact of release schedule changes on the movie.

Reports on the use of digital video at New York City's The Edit Center. Application of digital video in commercial filmmaking; Drawbacks of the technique; Release of Apple Computer Inc.'s software Final Cut Pro; High-profile projects at the center.

Reports on the impact of the strike in the motion picture industry on the post-production business in Los Angeles, California. Expectation of scarcity; Profit margin of the business; Problem with Hollywood's pause in production; Delay in the ramifications for the post-production industry.

Focuses on the growth in the use of Internet-based networks for the post-production of motion pictures in Los Angeles, California. Potential cost savings for film studios; Estimated cost of distributing an entire feature across a digital pipeline; Companies competing in the market; Strategies of the companies in attracting clients.

Previews the ACE Awards, or Eddie Awards, of the organization American Cinema Editors, to be held in February 2001 in Beverly Hills, California. Celebration of achievements in film and television editing; Historical information on ACE; Nominations received by Pietro Scalia; Goal of increasing awareness for the art.

Focuses on the use of computer graphics images in motion picture editing and cinematography. Enhancement of the work of cinematographers with the skills and expertise of digital effects post-production people; Description of the computer graphics images used in films such as 'The Patriot' and 'The Perfect Storm.'

Describes how cinematographer Vittorio Storaro used the computerized Translite process in his film projects. Loading of all manner of images into computers and projected as sets and backdrops; Creation of two-dimensional backgrounds which can be dressed, colored, shadowed and altered.

Reports on the editing awards received by the films `Being John Malkovich' and `The Matrix' at the American Cinema Editors' 50th annual ACE Eddie Awards. Other awardees include director James Cameron who received the Golden Eddie filmmaker of the year award; Honorary career achievements received by film editors Dann Cahn and Marge Fowler.

Reports on the motion pictures and television programs nominated for the 2000 annual Eddie Awards of the American Cinema Editors in the United States. Includes `American Beauty' in the feature film category; `Being John Malkovich' in the comedy or musical category; `Ally McBeal' in the one-hour series category.

The article reports that editor Lisa Bromwell was hired by Australian director Ben Lewin for editing the film "The Sessions."

The article offers information on the styles and subjects of the three nominees for cinematography and picture editing such as "Top Chef," "Deadliest Catch," and "No Reservations."

The article offers the insights of film director Thomas Alfredson and film editor Dino Jonsater, regarding film editing and the film "Tinker Tailor Soldier Spy." Alfredson says that he wants the audience to participate as much as possible. According to Jonsater the bottomline of editing is one must find out how the film wants to be edited. The article also mentions the signing of production designers Tony Fanning, Aaron Haye and editor Michele Conroy in Claire Best & Associates.

The article focuses on the silent takes or free takes, which are opted by some directors in order to obtain some edit choices.

The article profiles film producer Francis Ford Coppola who was awarded during the second annual Academy Motion Picture Arts and Sciences (AMPAS) Governors Awards at the Grand Ballroom, Hollywood and Highland Center in Los Angeles, California. It outlines Coppola's contributions in the birth of communications revolution specifically on Hollywood picture editing such as the CNX Memorex system. Several films which Coppola had produced including Apocalypse Now" and "The Conversation" are offered.

The article focuses on the making of the Michael Jackson documentary film "This Is It." The author mentions that director Kenny Ortega and his team overcame various technical difficulties to create a cohesive film. Ortega also admits that they did not have a lot of footages of Jackson. The author also states that Ortega collaborated with editors Don Brochu, Brandon Key and Tim Patterson for the film.

The article focuses on the editing of the films "Up in the Air" and "The Hurt Locker." Dana E. Glauberman, editor of "Up in the Air," explains that she decided to start the film with quick cuts and more lights to depict that the lead character is trying to avoid certain feelings. Chris Innis, editor of "The Hurt Locker," claims that she structured rhythms into the film she cut.

The article presents co-editor Mary Jo Markey's views about the editing of the film "Star Trek." Markey states that they need to decide on a character that would be the choice of the audience. She notes that the true satisfaction of the film is to see the character being reunited after working out on their own conflict.

The article explores the editing experience of motion picture editor Julian Clarke for the film "District 9." Clarke notes that they have to use the documentary-like style because the film was a fast-paced story. He mentions that they have continualy communicate and engaged with the audience because the story was very detailed.

The article explores the color map and riding techniques used by vissual effect supervisor Roger Guyett. It notes that the technique was utilized for the entire production of the film "Star Trek." Guyett explains that the map allows him to control on tonnes and colors, while the riding technique provides a basic understanding to the audience about the move of the story.

The article features film editor Dana Glauberman. Glauberman compares cutting a movie together and her love for jigsaw puzzles while she was a kid. The film editor also notes that they used to get close to scenes while they are in the cutting room. Moreover, she mentions that screening in front of the audience is good.

The article reports on the double nominations of musical scorer Michael Semanick on his works "Wall-E" and "The Curious Case of Benjamin Button." According to Semanick, his nominations on both film was the first time that happened to him. He also added that sound effects and music when brought together creates an impact on the motion picture.