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EditingPerseverance in PostMon, 09/01/2008 - 00:00Posted in
By Mike Sullivan
Sister/brother duo Julie and Neal Checkoway describe the process of editing their first documentary, Waiting for Hockney, which screens this month at the Newburyport Documentary Film Festival.Julie Checkoway has worn many professional hats since leaving her hometown of Newburyport, MA. She has been a high school teacher, author, professor, and producer for public radio. Notice the absence of documentary filmmaker on that list. That vacancy has since been filled. read more...How to be a Master EditorTue, 05/01/2007 - 00:00Posted in
By Nikki Chase
Three-time Oscar winner, Thelma Schoonmaker, shares tricks of the trade, how to break into "the business" and what it's really like to work with Marty.It's hard to imagine the good-natured, white-haired woman
wrangling Martin Scorsese's blood-soaked frames into sequence, but since the two
met during a filmmaking course at NYU, they have become an inseparable
filmmaking duo.
After a childhood growing up in Aruba and a political science degree from Cornell University, Thelma Schoonmaker saw herself becoming an international diplomat. But, when she expressed her liberal views during State Department tests, she was informed that she would probably find herself unhappy in a job with the FBI or CIA. read more...Apple of an Editor's EyeSun, 10/01/2000 - 00:00Posted in
By Peter Bohush
Peter Bohush reports on what's new with Final Cut Pro 1.25.When it was released this summer, I wondered what was all the fuss over an incremental version upgrade of Apples Final Cut Pro. Mathematically, I expected the new version 1.25 should be about five-hundredths better than version 1.2 (I didnt even need a calculator to figure that out). After testing, I found that the newly released FCP 1.25 delivers what users of previous versions have been asking for and more. read more...The Ultimated DV Storage DriveSun, 10/01/2000 - 00:00Posted in
By Peter Bohush
Writer Peter Bohush profiles Medea Corporation's VideoRaid with his usual tongue-in-cheek humor.My favorite Uncle Hezekiah Bohush often says, "Good cookin' and hard drive storage is two things ya can't have too much of." Which is even more amazing considering he had never even seen a computer the first time he said it. But somehow, he just knew. Nowadays Uncle Hez is into digital video in a big way, and he needs some pro-level hardware to store all his files for his new documentary, "The Buena Vista Trailer Park Social Club." read more...Getting in TuneSat, 07/01/2000 - 00:00Posted in
By Kristen Paulson
If getting music rights to your film seems as daunting as a trip to the DMV, you're not alone. Here's a step-by-step guide to make it through the maze.Attention indie film producers. It's time to acquire music
rights for your masterpiece. You'll need to obtain synch
licensing. You won't find this at the DMV... That's probably a blessing, considering the surliness of the average Department of Motor Vehicles employee. A few years ago, the DMV was convinced I was a man with a DUIon his license who lived in California. They refused, on these high moral grounds, to renew my license. Hmmm. read more...Keeping in SyncThu, 06/01/2000 - 00:00Posted in
By Sam Kauffmann
An informative chapter on "Keeping in Sync" from Sam Kauffmann's book "Avid Editing."When I write about sync problems in this chapter, I have more in mind
than just picture and audio tracks falling out of sync. To me, if a
music cue is supposed to be heard as soon as a door opens, and instead
it comes in two seconds lateits out of sync. If you spend a lot of
time getting narration, music or effects to land perfectly with a
visual, and suddenly they dontyoure out of sync. If you have a
lower-third title on V2 that says "Nelson Mandela," and when read more... First-Hand Adventures of a First-Time Filmmaker, Part 6: Post-Production and the Discomfort ZoneThu, 06/01/2000 - 00:00Posted in
By Lorre Fritchy
Lorre Fritchy dives into post-production of her documentary "Sandy 'Spin' Slade: Beyond Basketball."I have spent the last two months pushing my "Sandy 'Spin' Slade:
Beyond Basketball" documentary forward; I did not join Céline Dion
and Garth Brooks in pseudo-retirement. From tape logs to press kits to
Philadelphia, I've been immersed in the waters of post-production.
During this time, I gave thanks for my left-brain writing experience with business jargon, corporate compositions and marketing documents. This enhanced my ability to write the press kit for this project. The read more... What Makes a Good Editor?Mon, 03/01/1999 - 01:00Posted in
By Lillian Baulding & Jessica Stephan
Hear the secret to editing from local producers such as Errol Moris, the filmmaker of "A Midwife's Tale" and others.If you are interested in becoming a professional editor, here are some qualities a few independent filmmakers/editors feel a good one should have. Errol Morris, Filmmaker, Fourth Floor Productions "A good editor has to have nerves of steel, and a willingness to reject reality for AVR-3E." read more...Going Native: A New Nonlinear Editing SystemFri, 01/01/1999 - 01:00Posted in
By Fred Muchnik
A new nonlinear editing system enters the marketplace and sets a new standard for this former Avid user.It is late October 1998, and I have decided to acquire a nonlinear video editing
system (NLE). I have spent the last six months surfing the web, reading everything I can
on the matter. There's a feeling of anonymity to the whole procedure. I can't get a handle
on what these systems do, who really makes them, where the technology is headed, and why I
should buy now. read more... |
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