Editors Craft Round Up

Editors on their craft

Here’s a round up of some of the most recent articles on the internet on editors speaking on their craft…

Being an editor Dad

Kylee Wall has written up one of the more unique posts I’ve seen on post-production in a good while, namely on what its like to be an editor dad. In this first of three part interview she talks to Tim Wilsbach on his cross country move to California and what its like to balance work and family…

 

Interview with Comedy Editor Jeffrey Wolf

Art of the Guillotine has a two part interview with film editor Jeffrey Wolf on what its like to cut feature film comedies like Life, Billy Madison, Holes and Bachalorette. Part 2 can be found here. Wolf talks about cutting performances and getting the timing right.

Working from home – Hollywood Style

Robert Rodriquez director, writer, producer, editor and composer of movies like Once Upon a Time In Mexico and the Spy Kids series, famously works from his home studio. In this video he gives you a fairly detailed technical tour…

Editors Guild Interviews

The Editors Guild (US) has a detailed write up of Paul Hirsch’s keynote speech at the Digital Video Expo 2012. Hirsch is the editor of an impressive array of famous films with 41 titles listed on imdb.

Hirsch started off by listing many of the skills and crafts listed in a show’s credits: “Here’s what I love about editing,” he said. “These people work for weeks and months, toil day and night, all to produce images for me. Then I am told, ‘Here’s the script and here’s the footage. Now make the best possible version of this film.’”

The Guild also has another interesting article with film editor Dody Dorn (Momento, Insomnia, Matchstick Men, A Good Year, Australia…) on her latest film End of Watch from director David Ayer (Training Day). Read the full interview here.

The enormity of the editorial task for End of Watch, though, really became clear when Dorn reveals the amount of footage and the number of different camera formats involved: “We filmed with six different camera models, five different formats and three different aspect ratios. We shot in both Hi Def and Standard Definition with three different frame rates — 23.98fps, 29.97fps and 59.94i fps. Ultimately, we ‘filmed out’ for theatrical release at true 24 fps in 1.85 aspect ratio.”  Dorn and her team worked with 140 hours of media stored on cards and drives — the equivalent of over 750,000 feet of film footage. Audio was regularly recorded with five-to-eight channels of mixed and split audio.

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