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The article focuses on Algerian-American film editor Thelma Schoonmaker's role as filmmaker Martin Scorsese's longtime film editor. Topics including their collaborative process; their iconic works like "GoodFellas", "The Departed" & "Killers of the Flower Moon"; the intricacies of film editing; emphasizing its importance in shaping the visual language, tone and emotion of movies and also reflecting on her remarkable career journey from early beginnings to her enduring partnership with Scorsese.

This article from Total Film highlights 10 of the best editors in movies. It features characters such as Miranda Priestly from "The Devil Wears Prada," Ben Bradlee from "The Post" and "All the President's Men," and Lana Jong from "How to Lose a Guy in 10 Days." The article also mentions Perry White from "Superman," J. Jonah Jameson from "Spider-Man," and Bernie White from "The Paper." These editors are portrayed in various ways, showcasing their unique personalities and approaches to their roles. [Extracted from the article]

The article explains how to use the iMovie's slick suite of post-production editing tools to eradicate audiovisual issues and provides projects professional polish.

The article reports on the production of the sound effects for the action thriller film "Sicario," directed by Denis Villeneuve, by film editor Joe Walker. Topics discussed include how Walker controlled the story, characters and rhythm of the film to build suspense, the production cost of the film and Walker's career development in the U.S.

The article discusses the production of the film "Unbroken" directed by Angelina Jolie which was shot in Australia. An overview of "Unbroken" is provided which focuses on the life of Olympian and war hero Louis Zamperini who spent more than a month floating on a raft in the Pacific Ocean after his airplane crashed during World War II and spent two years being tortured in a Japanese prison camp. Also discussed are the cinematography, editing, and Jolie's filmmaking style.

The article discusses the production process of the film "6 Below: Miracle on the Mountain" directed by Scott Waugh. It mentions that the film was based on survival story of former professional hockey player Eric LeMarque played by American actor Josh Harnett. It also mentions the working of editor Vashi Nedomansky to handle the post workflow and co-editing of the film.

The article discusses the production and editing of the film "Birdman," directed by Alejandro González Iñárritu and starring Michael Keaton, Emma Watson, and Edward Norton, which focuses on the confusion between love and affection. The principal photography of the film took place at the St. James and Times Square area and at Kaufman Astoria Studios in Queens, New York City, with Emannuel Lubezki as director of photography, and Stephen Mirrione and Douglas Crise as editors.

The article offers the insights of film editor Thelma Schoonmaker about the film "The Wolf of Wall Street" directed by Martin Scorsese and starring Leonardo DiCaprio. Topics discussed include the improvisation, digital manipulation, and visual effects of the film. Also mentioned are the audio effects, technical editing, and script production of the film.

The article reports on the production of the film "Cloud Atlas," directed by Tom Tykwer, Andy and Lana Wachowski. It says that the film is divided into six narrative stories with different locations to portray the message of freedom, love, and karma. It notes that German motion picture editor Alexander Berner is tasked of connecting the short stories together to develop a film of several plot points, but with similar implications.

The article focuses on the production of the film "Skyfall," directed by Sam Mendes with cinematographer Roger Deakins. It states that Deakins decided to use ARRI Alexa camera from ARRI to deliver quality images with different situations such as bright day exteriors and very dark underground settings. According to Deakins, the advantage of using the ARRI Alexa is that they could already edit the shot of the film while shooting.

The article reports on the production of the film "Hemingway & Gellhorn." It states that the film is produced entirely in the San Francisco Bay area, and all visual effects were done by Tippett Studio, supervised by Christopher Morley. Film editor Walter Murch claims that archival film footage quality was vastly different from the ARRI Alexa footage used for principal photography.

The article focuses on the video editing of the film "Moonrise Kingdom," directed by Wes Anderson and starring Kara Hayward and Jared Gilman. It states that Andrew Weisblum help Anderson edit the film which used Super 16 millimeter (mm) film. It says that the processing and transfers were handled by Technicolor New York. It discusses the importance of the management of temporary sound design and music in the film editing process.

The article offers steps for creating an easy high definition single-lens reflex (HDSLR) post workflow. It suggests transcoding the files using MPEG Streamclip from Squared 5 and conforming the speed to 23.98 using Apple Cinema Tools. It recommends the need for camera files to have properly embedded timecode and reel information for the best interoperability between applications. It urges to import the files into the non-linear editing system (NLE).

The article presents an interview with film editor Tom Cross. Among the issues he discussed include how the idea of filming the musical romance "La La Land" came about, the editing process and how the cutting would be the technical bridge that would hold it all together, and his editorial style for different scenes.

The article offers the insight of Joseph Krings, editor of the film "Captain Fantastic," directed Matt Ross and starring Frank Langella, George MacKay, and Ann Dowd, regarding his experience of editing the film. Topics include the process of film editing, the collaboration between Krings and Ross for the film, and the challenges faced by Krings in the editing process.

The article evaluates several non linear editing software including the Production Premium CS3 from Adobe Systems, Final Cut Studio 2 from Apple and Xpress Studio Complete from Avid.

The article presents an interview with producer/director James Longley. He discusses how he planned the structure of the movie "Iraq in Fragments," which he directed, produced, filmed and edited and which won several awards at the Sundance Film Festival. When asked about Mohammed Haithem Majid, the main character in the first section of the film, he recalls how he worked with the boy and how shy the boy was. He shares how he edited the film and translated its Arabic language with the help of a translator and through Apple Macintosh in Final Cut Pro.

Migrating to high definition (HD) digital video format requires careful planning. This article presents information about running an HD postproduction. The strategy for facility owners and editors involve considering the technical needs and the time frame for the HD rollout, weighing the gap analysis, and making nonlinear editing buying decisions. The plan should be implemented incrementally as business demand dictates.

This article presents an interview with Paul Crowder, editor of the new film "Riding Giant." The film is about three particular surfers in three particular eras. In the interview, Crowder shares his thoughts on the technologies that were used for the footages of the film. INSET: From Drummer to Editor..

This article offers advice on how to work with nonlinear video assistants. Film assistants handle all the day-to-day requirements of film handling, organization, and preparation for the editor. Anything that is required to prepare the suite for the editor and for the smooth transition from one project to another is appropriate for the assistant. Some of the advice on important daily tasks is specific to Avid editing systems. The important daily tasks include capturing, media management, basic maintenance, backup, and output.

Interviews Walter Murch, film editor and sound designer of the film Cold Mountain, on the craft of editing and cutting Cold Mountain. Challenges faced by Murch while editing the film; Techniques used by Murch in editing; Advantages of using Final Cut Pro in editing Cold Mountain. INSET: Building and Supporting Murch's System..

The article reports on the production of the film "Carol," starring Cate Blanchett, Rooney Mara and Kyle Chandler and directed by Todd Haynes. Topics discussed include the working relationship between film editor Affonso Gonçalves and Haynes, the setting and story of the film and the editorial challenges encountered by Gonçalves.

The article discusses the efforts of film editor William Goldenberg in editing the film "The Imitation Game," directed by Morten Tyldum and starring Benedict Cumberbatch. It explores how Goldenberg find a rhythm of working with Tyldum despite the director's busy schedule. It also discusses Goldenberg's use of the Media Composer video editing software from Avid Technology Inc. to cut the film.

The article offers the reviews of AVA Vocal Flow from Harrison.

The article discusses the perspectives of the movie "The House I Live In," directed by Eugene Jarecki. It includes the personal anecdotes of Jarecki's own marginal connection to the movie and expanding to large questions of public policy. The crews of Jarecki including Sam Cullman and Derek Hallquist used AG-HPX170 P2 format cameras and AJ-HPX3000 from Panasonic Corp. for more intimate communications and more robust sitdowns and wide vistas. The editing process of the film is also tackled.

The article offers some tips on how to manage RED camera data in motion picture processing and postproduction. It recommends to follow an offline-online procedure instead of native editing when doing a complex RED projects. It illustrates a simpler RED workflow using 2K imaging and high definition (HD) sizes.

An interview with film producer and director Neil Mandt regarding his digital feature "Last Stop for Paul" is presented. He reveals his inspiration for making the film and relates his experiences of working as director and actor at the same time. He explains the editing process and the unique approach he has taken with distribution.

An interview with producer-director Mark Linfield. He explains the difference of editing between a documentary film and the feature format. He relates his experience of using the VariCam video camera from Panasonic. He states that he and his crew had to be more aware of the image quality during the editing of the movie than they had been on the television series.

The article reviews the digital pre-visualization software including the Antics v2.5 from Antics Technologies, the Storyboard from Toon Boom Animation Inc. and the Poser 7 from e frontier.

This article provides information on Sebsky Tools freeware application intended to solve the problem of moving editing projects developed by Dharma Film. Sebsky Tools works with QuickTime movies in PAL, NTSC, and 24 fps formats, manages conversions between Avid's ALE shot logs and Final Cut Pro's batch lists, and adds timecode and metadata to QuickTime movies, to facilitate moving media between the two systems. For a sound recordist, however, the best thing about Sebsky Tools is how it can solve the problem of working with double-system sound for film projects in Final Cut Pro.

The article reports on the use of the DaVinci Resolve Studio from Blackmagic Design for the editing of the film adaptation "Murder on the Orient Express."

A personal narrative is presented which explores the author's experience of working as an editor for the film "In Another Life" directed by Jason Wingard.

The article offers information on the workflow of post production facility Encore on the post-production and on-site dailies of the FOX television series "24: Live Another Day". Topics discussed include delivering the footage, ingesting of files, and content routed to senior colorist Kevin Kirwan for color grading on Linux-based Blackmagic DaVinci Resolve system.

The article discusses the motion picture editing to Kathryn Bigelow's "Zero Dark Thirty." It notes that scenes from the film are mostly shot with four cameras using ARRI Alexa devices. It also tackles the use of three-man digital lab by film editors Dylan Tichenor and William Goldenberg in making night vision sequences in the film.

The article reports on the partnership of film editors Kirk Baxter and Angus Wall in editing three films which directed by David Fincher. These films are "The Social Network," "The Girl With the Dragon Tattoo," and "The Curious Case of Benjamin Button." It details interviews with Baxter and Will about how they edit the films and what are the challenges they encountered upon editing the said films.

The article reports on the partnership of film editors Kirk Baxter and Angus Wall in editing the film "The Social Network," directed by David Fincher. It details interviews with Baxter and Will about the equipment they used in editing the film. Furthermore, they discussed how they edit the film and what are the challenges they encountered upon editing the said film.

The article offers information on how director Keith Ehrlich produce the documentary "Made by Hand," which celebrates the people who make things by hand. The production crew used a single Canon EOS seven dimension (7D) plus Nikon prime lenses and a Canon L zoom, along with a second system audio recorder. Meanwhile, editing was performed in Apple Final Cut pro and color grading in Apple Color.

The article reports on the use of EDIUS software on Red Union Films' independent feature film "Powder" in New Ferry, England. Director/editor Mark Elliot edits the film with EDIUS, which he claims was able to flawlessly communicate its edit decision list (EDL) and metadata to other systems. Postproduction supervisor Dave Harry believes that the system is stable and its new video tape recorder (VTR) function allows them to play out the video to a linear telecine during color correction.

The article offers information on the sound editing work in the film "True Grit," starring Jeff Bridges and Hailee Steinfield, directed by Joel Coen and Ethan Coen. Sound engineers Skip Lievsay and Craig Berkey work with Coen brothers with the use of Avid MC Mix and Wacom Cintiq sound mixing gadgets. Details on the sound editing and mixing works of Lievsay and Berkey are given.

The article presents the digital audio equipment for the film "Predators," used by the Troublemaker Studios in Austin, Texas. It includes the Avid Pro Tools for its editing and mixing flexibility, the 32-plus-16-fader Avid Icon D-Control console, and automated Pro Tools plug-ins for processing the sounds for each of the characters. It also mentions that the Robert Rodriguez, the director of the film has been very hands-on on his film.

The article offers the author's insights on the production of the film "Mind's Eye" with the use of a Panasonic AG-HVX200 camcorder and Blackmagic Design Intensity Pro card. The author says that the production team utilized DVCPRO HD and Panasonic codecs only since they used Panasonic cameras. He tells that they used Intensity Pro card to send a high definition (HD) signal to a JVC professional broadcasting monitor for color editing.

The article offers step-by-step instructions for making screenshot movies with the Snapz Pro X 2 Movie Capture software from Ambrosia Software.

An interview with Michael Horton, producer-director-editor and founder of the Los Angeles Final Cut Pro User Group (LAFCPUG), is presented. He explains the evolution of film editing since the introduction of non linear editing (NLE). He discusses the improvements of the NLE systems from Apple, Avid and Adobe, as a result of the feedback from user organizations like the LAFCPUG. He mentions some favorite features of the FCS2 software from Apple.

The article discusses a major update on Motion 3, a motion graphic software that is part of Apple's Final Cut Studio 2 film editing software. One of the major update of the Final Cut studio 2 software is the addition of a three-dimensional (3D) space, including 3D animation for two-dimensional (2D) layers, 3D cameras and lights and 3D enhancements for Motion's particle and text animation system. The process for combining 2D and 3D layers in the same project is discussed by the authors. The authors mention the two major shortcomings in Motion 3 which are the lack of 3D shadows of the 3D implementation and Motion 3 can only be acquired as part of Final Cut Studio.

The article focuses on the digital workflow used in the computer generated-heavy direct-to-Web live-action series titled "Sanctuary," directed by Martin Wood. Screenwriter Damian Kindler collaborated with Wood to create the series. Stage 3 Media, a media design company based in Vancouver, British Columbia was hired by Wood and Kindler to create the computer-generated effects and sets for "Sanctuary." The director and producer decided to use computer-generated sets to minimize the production cost. The production crew recorded both the audio and video directly to camera-mounted FireStore hard drives.

This article introduces the concept of gamma-corrected compositing and demonstrates how these concepts can be experimented with existing programs such as Adobe After Effects, Apple Motion, and Discreet combustion. The tests serve as tools for visual effects artist in their pursuit for realism and surrealism.

Evaluates the Particular 3D Plug-In for Adobe After Effects in film editing, from Trapcode. Features; Limitations in obstructions and bounce objects; Ease of use.

This article discusses the techniques in editing dialog in film production work. To take editing to the next level, one must break the frame barrier when fixing dialog problems or cutting fast-paced music. This can be achieved by using audio programs. Illustrations are presented on subframe editing techniques by taking the case of stressed-out actors or interview subjects.

The article reports that Josh Bodnar, editor of the Whitehouse Post Productions Ltd., a film-editing company based in Chicago, Illinois has worked for the magic tricks of actress Emma Stone in the Original Shorts video series of "Vogue" magazine.