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Editor - Eddie Hamilton ACE MISSION: IMPOSSIBLE - THE FINAL RECKONING editor Eddie Hamilton ACE has edited the last four of the franchise's eight films. While there are a combined five other editors responsible for the first four movies, the challenge of tying up any loose ends and bringing the franchise to a close (seemingly) fell solely to Eddie. In addition to his work on the Mission Impossible films, Eddie has also taken part in two other action franchises. Eddie cut TOP GUN: MAVERICK as well as two of director Matthew Vaughn's "Kingsman" films. Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action movie editors working today. Picking up two months after the events of MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE, Ethan Hunt and the IMF team must stop a malevolent AI known as "The Entity" from either forcing the world powers into a nuclear war or launching the missiles on its own. Adding to the challenge, they must do this before Ethan's nemesis Gabriel gains control of The Entity and its power to dominate the world. Eddie Hamilton, ACE Prior to finishing the seventh and eighth films in the Mission Impossible franchise, Eddie cut Top Gun: Maverick, directed by Joseph Kosinski, for which he was nominated for the Oscar and BAFTA Film Editing awards, and won the ACE Eddie and Hamilton Behind The Camera Award. He also cut Mission: Impossible - Fallout and Mission: Impossible - Rogue Nation for director Christopher McQuarrie. Other credits include Kingsman: The Secret Service, Kingsman: The Golden Circle, X-Men: First Class and Kick-Ass for director Matthew Vaughn. After 30 years in the industry Eddie has cut over 20 feature films (both indies and studio movies) in a wide variety of genres as well as TV dramas, documentaries and award-winning short films. His enthusiasm for big screen storytelling is matched only by his total dedication to the craft of film editing, his nerdy technical expertise and his undisputed love of chocolate. He has given presentations on Avid Media Composer editing at NAB and IBC. Eddie is a member of the Academy Of Motion Picture Arts & Sciences, American Cinema Editors, British Film Editors and BAFTA, was on the feature film panel at EditFest London in 2013 and 2018, and was the keynote speaker at EditFest Los Angeles in 2022. The Credits Visit ExtremeMusic for all your production audio needs Hear Eddie talk about his work on Mission: Impossible - Fallout, Mission: Impossible - Dead Reckoning Part One and Top Gun: Maverick Take a guided tour with Eddie of his Avid timelines from Mission: Impossible - Fallout, Top Gun: Maverick and Mission: Impossible - Dead Reckoning Part One See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Episode Description:In this episode, we sit down with accomplished editor Amelia, whose journey from a childhood passion for storytelling to editing high-profile projects like Dune, Westworld, and Pen15 is nothing short of extraordinary. Amelia takes us behind the scenes of the editing room, sharing her deep knowledge of tools like Avid Media Composer and Adobe Premiere Pro, and how they shaped her creative and technical evolution.We explore:The tools of the trade: Why Avid is her go-to for large-scale productions and how Premiere Pro paved the way in her early days.Mentorship and collaboration: How the ACE Internship Program and supportive communities shaped her path.The art of storytelling: Balancing pacing, tone, and emotion in projects ranging from Westworld to Pen15.Technical versus creative: How Emilia relies on her assistants for technical tasks so she can focus on pure creativity.Staying ahead of the curve: Thoughts on the future of editing and adapting to technological advancements.Whether you're an aspiring editor or a curious film enthusiast, this episode is a treasure trove of practical advice, heartfelt stories, and inspiration.Key Quotes:“Editing is more than cutting scenes—it's crafting a story with rhythm, tone, and emotion.”“The right tools matter, but passion and mentorship are what really make a career.”“Trusting your instincts as an editor is a muscle you train every day.”Resources Mentioned:https://www.avid.com/media-composerAdobe Premiere Prohttps://americancinemaeditors.org/ed-center/ace-internship-program/About Our Guest:Amelia is a seasoned editor who has worked on major Hollywood productions and champions the importance of mentorship and community in the editing world.W:https://www.ameliaallwardeneditor.com/about
In this episode, we welcome Blair Skinner. Blair is the founder of Film Parliament, and an expert in the art of scheduling & budgeting feature films. In our chat, she shares about her early days, path into filmmaking, working for top Line Producers, and the creation of her company. Blair also talks about the nuts and bolts of overseeing a film budget and sheds light on what her educational courses offer. “The Making Of” is presented by AJA:IP, HDR, and cloud advancements have unlocked new workflow possibilities. Stay ahead of the curve with AJA solutions like the KONA IP25, a SMPTE ST 2110 I/O card for Mac, Windows, and Linux, and OG-ColorBox for color management and conversion, and more. Get the full rundown on AJA's latest gear here.Featured Resource:Film ParliamentGot a script you want to produce?Film Parliament offers a self-paced, step-by-step online course that guides you through the process of scheduling and budgeting your feature film.Level up your 2025 filmmaking skills with 25% off when you use code “NewYear25”.Learn more hereFrom our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereNew Solutions from Videoguys:The EOS C80 camera is designed for limitless creative vision. The compact, full-featured camera body includes Canon's 6K full frame Back-Illuminated Stacked CMOS sensor, Cinema RAW Light and 4K/120p internal recording, Canon's next-generation Dual Pixel CMOS AF II and a 12G-SDI interface. The EOS C80 seamlessly integrates into almost any production providing the ultimate flexibility and outstanding image quality. Explore hereOWC Atlas Cards:Kick off your creative 2025 with OWC Atlas Cards — from stunning 8K video to fast transfers, these memory cards and readers deliver unmatched performance. Perfect for photographers, filmmakers, and tech enthusiasts. Explore hereTheC47 on AJA's T-Tap Pro:Netflix Hit Series “The Helicopter Heist” Employs Igelkott StudiosOne of Netflix's standout series in 2024 is undoubtedly "The Helicopter Heist," which centers on a daring bank robbery in Stockholm. In episode six, titled "Showtime," the filmmakers made a strategic choice to partner with Igelkott Studios, leveraging their advanced technology and top-tier craftsmanship for the helicopter sequences. Founded and led by Eric Hasso, Igelkott Studios is the definitive leader in In-Camera Visual FX. To explore this cutting-edge studio and its capabilities, visit here.Introducing Eddie AI:Craft rough cuts in seconds with text prompts. Eddie is the AI video editing assistant for video professionals. Iterate with Eddie: reverse the topic order, ask for a stronger hook, make this punchier. With Eddie, you can easily export to MP4 or polish in Adobe Premiere Pro, Blackmagic DaVinci Resolve, Final Cut Pro, and Avid Media Composer. Explore hereZEISS Introduces Supreme Zoom Radiance:The new ZEISS Supreme Zoom Radiance set includes three purpose-built T2.9 high-end cine zooms: 15-30mm, 28-80mm and 70-200mm. Featuring the same T* blue lens coating as the popular Supreme Prime Radiances, they offer a similar look with consistent flares and warmer color rendition. Learn more herePodcast Rewind:Jan 2025 - Ep. 64…“The Making Of” is published by Michael Valinsky.Advertise your products or services to 112,000 film, TV, documentary, broadcast and live event production pros reading this newsletter. Email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
In this episode, we welcome Jay Martinez. Jay is a longtime Broadcast Director at MSNBC, overseeing primetime shows and special coverage including the DNC and RNC Conventions, Presidential Debates, Election Night, and Congressional hearings. In our chat, he shares about his early days, path to becoming a director, and all the workflows involved in executing nightly news. In addition, Jay offers advice for students and young professionals looking to enter the broadcasting space.“The Making Of” is presented by AJA:IP, HDR, and cloud advancements have unlocked new workflow possibilities. Stay ahead of the curve with AJA solutions like the KONA IP25, a SMPTE ST 2110 I/O card for Mac, Windows, and Linux, and OG-ColorBox for color management and conversion, and more. Get the full rundown on AJA's latest gear here.SOC & Tiffen Invite Fire Victims & Friends to…Come TogetherSaturday, January 18, 2025Tiffen: 2815 Winona Ave, Burbank11 AM - 3 PMAs wildfires wreak havoc on our Southern California community, Tiffen and the SOC invites the community to join together for a casual Saturday gathering to offer one another support and foster warm connections.Please feel free to bring guests, especially those affected by the recent fires— this is not limited to members. Enjoy refreshments and engage with SOC friends including: Mitch Dubin, Colin Anderson, Dave Emmerichs, Mick Froelich, Sarah Levy, Gretchen Warthen. Let's come together and show solidarity & support during this challenging time.Free registration hereWe look forward to seeing you there! Special thanks to ZEISS and Angenieux.Featured Resource:Film ParliamentGot a script you want to produce?Film Parliament offers a self-paced, step-by-step online course that guides you through the process of scheduling and budgeting your feature film.Level up your 2025 filmmaking skills with 25% off when you use code “NewYear25”.Learn more hereIntroducing Eddie AI:Craft rough cuts in seconds with text prompts. Eddie is the AI video editing assistant for video professionals. Iterate with Eddie: reverse the topic order, ask for a stronger hook, make this punchier. With Eddie, you can easily export to MP4 or polish in Adobe Premiere Pro, Blackmagic DaVinci Resolve, Final Cut Pro, and Avid Media Composer. Explore hereFrom our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereNetflix Hit Series “The Helicopter Heist” Employs Igelkott StudiosOne of Netflix's standout series in 2024 is undoubtedly "The Helicopter Heist," which centers on a daring bank robbery in Stockholm. In episode six, titled "Showtime," the filmmakers made a strategic choice to partner with Igelkott Studios, leveraging their advanced technology and top-tier craftsmanship for the helicopter sequences. Founded and led by Eric Hasso, Igelkott Studios is the definitive leader in In-Camera Visual FX. To explore this cutting-edge studio and its capabilities, visit here.New Solutions from Videoguys:The EOS C80 camera is designed for limitless creative vision. The compact, full-featured camera body includes Canon's 6K full frame Back-Illuminated Stacked CMOS sensor, Cinema RAW Light and 4K/120p internal recording, Canon's next-generation Dual Pixel CMOS AF II and a 12G-SDI interface. The EOS C80 seamlessly integrates into almost any production providing the ultimate flexibility and outstanding image quality. Explore hereOWC Atlas Cards:Kick off your creative 2025 with OWC Atlas Cards — from stunning 8K video to fast transfers, these memory cards and readers deliver unmatched performance. Perfect for photographers, filmmakers, and tech enthusiasts. Explore hereZEISS Introduces Supreme Zoom Radiance:The new ZEISS Supreme Zoom Radiance set includes three purpose-built T2.9 high-end cine zooms: 15-30mm, 28-80mm and 70-200mm. Featuring the same T* blue lens coating as the popular Supreme Prime Radiances, they offer a similar look with consistent flares and warmer color rendition. Learn more herePodcast Rewind:Jan 2025 - Ep. 63…“The Making Of” is published by Michael Valinsky.Advertise your products or services to 110,000 film, TV, documentary, broadcast and live event production pros reading this newsletter. Email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
In this episode, we welcome Drew Daniels. Drew is the cinematographer of the award-winning film Anora, directed by Sean Baker. He has also shot projects including Krisha, It Comes At Night, Waves, The Boy from Medellín, Red Rocket, “Euphoria,” “Outer Range,” “Swarm” and “The Idol”. In our chat, he shares about his early days, path into filmmaking, and experiences making Anora. He also talks about the cameras, lights and lenses used on the project — and shooting on 35mm film. In addition, Drew offers thoughts on how to elevate your craft as a cinematographer or filmmaker. “The Making Of” is presented by AJA:IP, HDR, and cloud advancements have unlocked new workflow possibilities. Stay ahead of the curve with AJA solutions like the KONA IP25, a SMPTE ST 2110 I/O card for Mac, Windows, and Linux, and OG-ColorBox for color management and conversion, and more. Get the full rundown on AJA's latest gear here.To all our friends in Los Angeles, we are thinking of you during this time. We encourage our readers to help support in any way they can.American Red CrossLos Angeles Fire Department FoundationPasadena HumaneLos Angeles Regional Food Bank Featured Resource:Film ParliamentGot a script you want to produce?Film Parliament offers a self-paced, step-by-step online course that guides you through the process of scheduling and budgeting your feature film.Level up your 2025 filmmaking skills with 25% off when you use code “NewYear25”.Learn more hereIntroducing Eddie AI:Craft rough cuts in seconds with text prompts. Eddie is the AI video editing assistant for video professionals. Iterate with Eddie: reverse the topic order, ask for a stronger hook, make this punchier. With Eddie, you can easily export to MP4 or polish in Adobe Premiere Pro, Blackmagic DaVinci Resolve, Final Cut Pro, and Avid Media Composer. Explore hereFrom our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereNetflix Hit Series “The Helicopter Heist” Employs Igelkott StudiosOne of Netflix's standout series in 2024 is undoubtedly "The Helicopter Heist," which centers on a daring bank robbery in Stockholm. In episode six, titled "Showtime," the filmmakers made a strategic choice to partner with Igelkott Studios, leveraging their advanced technology and top-tier craftsmanship for the helicopter sequences. Founded and led by Eric Hasso, Igelkott Studios is the definitive leader in In-Camera Visual FX. To explore this cutting-edge studio and its capabilities, visit here.OWC Atlas Cards:Kick off your creative 2025 with OWC Atlas Cards — from stunning 8K video to fast transfers, these memory cards and readers deliver unmatched performance. Perfect for photographers, filmmakers, and tech enthusiasts. Explore hereNew Solutions from Videoguys: The EOS C80 camera is designed for limitless creative vision. The compact, full-featured camera body includes Canon's 6K full frame Back-Illuminated Stacked CMOS sensor, Cinema RAW Light and 4K/120p internal recording, Canon's next-generation Dual Pixel CMOS AF II and a 12G-SDI interface. The EOS C80 seamlessly integrates into almost any production providing the ultimate flexibility and outstanding image quality. Explore hereZEISS Introduces Supreme Zoom Radiance:The new ZEISS Supreme Zoom Radiance set includes three purpose-built T2.9 high-end cine zooms: 15-30mm, 28-80mm and 70-200mm. Featuring the same T* blue lens coating as the popular Supreme Prime Radiances, they offer a similar look with consistent flares and warmer color rendition. Learn more herePodcast Rewind:Jan 2025 - Ep. 62…“The Making Of” is published by Michael Valinsky.Advertise your products or services to 108,000 filmmakers, TV, documentary, broadcast & live event production pros reading this newsletter. Email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
In this episode, we welcome Andrew Dunn, BSC. Andrew is a three-time BAFTA Award winning cinematographer who has shot films including L.A. Story, Threads, The Bodyguard, The Crucible, Gosford Park, The Count of Monte Cristo, Sweet Home Alabama, Hitch, Precious, Crazy, Stupid, Love., The Perks of Being a Wallflower, The Butler, The United States vs. Billie Holiday, Downton Abbey: A New Era, and Killer Heat. In our chat, he shares about his early days in England, filmmaking education, and behind-the-scenes stories of making countless critically-acclaimed films. Andrew also offers priceless advice for cinematographers and filmmakers alike.“The Making Of” is presented by AJA:IP, HDR, and cloud advancements have unlocked new workflow possibilities. Stay ahead of the curve with AJA solutions like the KONA IP25, a SMPTE ST 2110 I/O card for Mac, Windows, and Linux, and OG-ColorBox for color management and conversion, and more. Get the full rundown on AJA's latest gear here.Introducing Eddie AI:Craft rough cuts in seconds with text prompts. Eddie is the AI video editing assistant for video professionals. Iterate with Eddie: reverse the topic order, ask for a stronger hook, make this punchier. With Eddie, you can easily export to MP4 or polish in Adobe Premiere Pro, Blackmagic DaVinci Resolve, Final Cut Pro, and Avid Media Composer. Explore hereFeatured Resource:Film ParliamentGot a script you want to produce?Film Parliament offers a self-paced, step-by-step online course that guides you through the process of scheduling and budgeting your feature film. Level up your 2025 filmmaking skills with 25% off when you use code “NewYear25”. Learn more hereNetflix Hit Series “The Helicopter Heist” Employs Igelkott StudiosOne of Netflix's standout series in 2024 is undoubtedly "The Helicopter Heist," which centers on a daring bank robbery in Stockholm. In episode six, titled "Showtime," the filmmakers made a strategic choice to partner with Igelkott Studios, leveraging their advanced technology and top-tier craftsmanship for the helicopter sequences. Founded and led by Eric Hasso, Igelkott Studios is the definitive leader in In-Camera Visual FX. To explore this cutting-edge studio and its capabilities, visit here.From our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereOWC Atlas Cards:Kick off your creative 2025 with OWC Atlas Cards — from stunning 8K video to fast transfers, these memory cards and readers deliver unmatched performance. Perfect for photographers, filmmakers, and tech enthusiasts. Explore hereZEISS Introduces Supreme Zoom Radiance:The new ZEISS Supreme Zoom Radiance set includes three purpose-built T2.9 high-end cine zooms: 15-30mm, 28-80mm and 70-200mm. Featuring the same T* blue lens coating as the popular Supreme Prime Radiances, they offer a similar look with consistent flares and warmer color rendition. Learn more hereNew Solutions from Videoguys:The SanDisk Professional G-RAID PROJECT 2 drive is a high-performance, 2-bay enterprise-class storage system. Pre-configured in RAID 0 and equipped with Thunderbolt™ 3 connectivity, it's designed for your most demanding applications. With expansive capacities up to 48TB, this massive storage solution is the trusted ally for managing your 4K, 8K, and VR video workflows with ease and reliability.Visit herePodcast Rewind:Dec. 2024 - Ep. 61…“The Making Of” is published by Michael Valinsky.Advertise your products or services to 108,000 filmmakers, TV, broadcast, photo & live event production professionals reading this newsletter. Email us: mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
In this episode, we welcome Gary Bettan. Gary is the president of Broadfield Distributing Inc. and a longtime thought leader in the film, video and broadcast industry. In our chat, he shares about his early days, the history of his company, and offers insights on the evolution of technologies for production and post workflows. We also hear Gary's thoughts on the year that's wrapping up — and predictions for 2025.“The Making Of” is presented by AJA:IP, HDR, and cloud advancements have unlocked new workflow possibilities. Stay ahead of the curve with AJA solutions like the KONA IP25, a SMPTE ST 2110 I/O card for Mac, Windows, and Linux, and OG-ColorBox for color management and conversion, and more. Get the full rundown on AJA's latest gear here.ShotDeck's Holiday Special:Share the gift of ShotDeck with the creative pros in your life this holiday season. As the world's largest library of more than 1.5 million cinematic reference images, ShotDeck inspires filmmakers from pitch to pre-pro and beyond. Enter code “TMOGIFT” for 30% off of your annual or monthly subscription here.Featured Resource:Film ParliamentGot a script you want to produce?Film Parliament offers a self-paced, step-by-step online course that guides you through the process of scheduling and budgeting your feature film.Get 10% off when you use code “HOLIDAY10” now until Dec. 25th OR buy your friend or family member a course gift card! Visit hereIntroducing Eddie AI:Craft rough cuts in seconds with text prompts. Eddie is the AI video editing assistant for video professionals. Iterate with Eddie: reverse the topic order, ask for a stronger hook, make this punchier. With Eddie, you can easily export to MP4 or polish in Adobe Premiere Pro, Blackmagic DaVinci Resolve, Final Cut Pro, and Avid Media Composer. Explore hereFrom our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereOWC Atlas Cards: This holiday season, gift the speed and reliability every creative needs. From stunning 8K video to fast transfers, OWC Atlas memory cards and readers deliver unmatched performance. Perfect for photographers, filmmakers, and tech enthusiasts. Shop now and make their holiday unforgettable! Shop Atlas Cards & Readers hereZEISS Introduces Supreme Zoom Radiance:The new ZEISS Supreme Zoom Radiance set includes three purpose-built T2.9 high-end cine zooms: 15-30mm, 28-80mm and 70-200mm. Featuring the same T* blue lens coating as the popular Supreme Prime Radiances, they offer a similar look with consistent flares and warmer color rendition. Learn more hereNew Solutions from Videoguys:The SanDisk Professional G-RAID PROJECT 2 drive is a high-performance, 2-bay enterprise-class storage system. Pre-configured in RAID 0 and equipped with Thunderbolt™ 3 connectivity, it's designed for your most demanding applications. With expansive capacities up to 48TB, this massive storage solution is the trusted ally for managing your 4K, 8K, and VR video workflows with ease and reliability.Visit herePodcast Rewind:Dec. 2024 - Ep. 60…“The Making Of” is published by Michael Valinsky.Advertise your products or services to 106,000 filmmakers, TV, broadcast & live event production professionals reading this newsletter. Email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
Editor - Louise Ford, ACE NOSFERATU editor Louise Ford, ACE and writer/director Robert Eggers have reunited once again to take on the not-so-simple task of remaking FW Murnau's horror classic. Considering "Lou's" disdain for cover songs, it was important that this film could stand on its own merits and add something new to the world of cinema. And although she has a few supernatural/horror films to her credit, "Lou" insists she doesn't seek them out. She's just looking for great stories to tell. With NOSFERATU, she told one. NOSFERATU - In the 1830s, estate agent Thomas Hutter travels to Transylvania for a fateful meeting with Count Orlok, a prospective client. In his absence, Hutter's new bride, Ellen, is left under the care of their friends, Friedrich and Anna Harding. Plagued by horrific visions and an increasing sense of dread, Ellen soon encounters an evil force that's far beyond her control. Louise Ford, ACE NOSFERATU is the fourth feature film Lou has edited for Robert Eggers since their first collaboration in 2008 on his short film, The Tell-Tale Heart . She edited Eggers' The Witch , The Lighthouse , and The Northman . Other films she has edited include Don't Breathe , Wildlife , and three films with the director Cory Finley - Thoroughbreds , Bad Education , and Landscape with Invisible Hand . Editing NOSFERATU In our discussion with NOSFERATU editor Louise Ford, ACE we talk about: Giving a gift to the Goths How most things are bad, especially cover songs Tapping into the footage during production Being a bastard in the cutting room Raiding the David Lynch Library The Credits Visit ExtremeMusic for all your production audio needs Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
In this episode, we welcome Lol Crawley, BSC. Lol is the cinematographer of the award-winning film, “The Brutalist”. In our chat, he shares his upbringing, education, and path to serving as Director of Photography on one of this year's top films. Lol also talks about the planning and production of this project — describing all the tools, technologies and techniques employed to create this epic. In addition, he offers tips for students and younger filmmakers on how to best learn and enhance their craft.“The Making Of” is presented by AJA:IP, HDR, and cloud advancements have unlocked new workflow possibilities. Stay ahead of the curve with AJA solutions like the KONA IP25, a SMPTE ST 2110 I/O card for Mac, Windows, and Linux, and OG-ColorBox for color management and conversion, and more. Get the full rundown on AJA's latest gear here.ShotDeck's Holiday Special:Share the gift of ShotDeck with the creative pros in your life this holiday season. As the world's largest library of more than 1.5 million cinematic reference images, ShotDeck inspires filmmakers from pitch to pre-pro and beyond. Enter code “TMOGIFT” for 30% off of your annual or monthly subscription here.Introducing Eddie AI:Craft rough cuts in seconds with text prompts. Eddie is the AI video editing assistant for video professionals. Iterate with Eddie: reverse the topic order, ask for a stronger hook, make this punchier. With Eddie, you can easily export to MP4 or polish in Adobe Premiere Pro, Blackmagic DaVinci Resolve, Final Cut Pro, and Avid Media Composer. Explore hereFeatured Resource:Film ParliamentGot a script you want to produce?Film Parliament offers a self-paced, step-by-step online course that guides you through the process of scheduling and budgeting your feature film.Get 10% off when you use code “HOLIDAY10” now until Dec. 25th OR buy your friend or family member a course gift card! Visit hereTMO's 1st Annual Holiday Gift Guide!* ShotDeck: As the world's largest library of more than 1.5 million cinematic reference images, ShotDeck inspires filmmakers from pitch to pre-pro and beyond. Enter code “TMOGIFT” for 30% off of your annual or monthly subscription here* Film Parliament: offers a self-paced online course providing in-depth lessons that will guide you through the process of scheduling & budgeting your feature film. Get 10% off when you use code “HOLIDAY10” now until Dec. 25th, or buy your friend or family member a course gift card! Visit here* Vimeo: give the gift of a Vimeo account to that filmmaker friend or family member in your life… see the options here* OWC Express 1M2: the ultimate portable SSD for filmmakers and editors, offering blazing 3151MB/s speeds for seamless 4K video editing. Perfect for modern Macs, PCs, and legacy Thunderbolt/USB-C devices. See here* Videoguys: explore huge holiday deals on Atomos, Canon, JVC, LiveU, Panasonic, PTZOptics, Roland, SanDisk, & more! Browse here* DOMKE: the best bags in the business — for photographers, video pros & beyond. Explore hereFrom our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereOWC Atlas Cards:This holiday season, gift the speed and reliability every creative needs. From stunning 8K video to fast transfers, OWC Atlas memory cards and readers deliver unmatched performance. Perfect for photographers, filmmakers, and tech enthusiasts. Shop now and make their holiday unforgettable! Shop Atlas Cards & Readers hereZEISS Introduces Supreme Zoom Radiance:The new ZEISS Supreme Zoom Radiance set includes three purpose-built T2.9 high-end cine zooms: 15-30mm, 28-80mm and 70-200mm. Featuring the same T* blue lens coating as the popular Supreme Prime Radiances, they offer a similar look with consistent flares and warmer color rendition. Learn more hereNew Solutions from Videoguys:The SanDisk Professional G-RAID PROJECT 2 drive is a high-performance, 2-bay enterprise-class storage system. Pre-configured in RAID 0 and equipped with Thunderbolt™ 3 connectivity, it's designed for your most demanding applications. With expansive capacities up to 48TB, this massive storage solution is the trusted ally for managing your 4K, 8K, and VR video workflows with ease and reliability. Visit herePodcast Rewind:Dec. 2024 - Ep. 59…“The Making Of” is published by Michael Valinsky.Advertise your products or services to 103,000 film, TV, documentary, broadcast and live event production & post pros reading this newsletter. Email to mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
UNSTOPPABLE director Billy Goldenberg and editor Brett Reed have had a working relationship for over twenty years, going back to their time together on COYOTE UGLY (2000). Since that film, they've logged a lot of hours as "editor and assistant" or "editor and additional editor", but their new film brings about a whole new dynamic, "director and editor". UNSTOPPABLE is the inspiring true story of Anthony Robles (Jharrel Jerome) who was born with one leg but whose indomitable spirit and unbreakable resolve empowered him to defy the odds and pursue his dreams. With the unwavering love and support of his devoted mother Judy (Jennifer Lopez) and the encouragement of his coaches, Anthony fights through adversity to earn a spot on the Arizona State Wrestling team. But it will demand everything he has, physically and mentally, to achieve his ultimate quest to become an NCAA Champion. WILLIAM GOLDENBERG, ACE While UNSTOPPABLE is Billy's first shot at directing, he is one of the most well-respected and sought-after film editors working today. He won an Academy Award, BAFTA Award, and the American Cinema Editors' (ACE) Eddie Award for his outstanding work on the 2013 Best Picture winner, Argo, directed by Ben Affleck. His recent editing credits include Air, 22 July, Unbroken, and Concussion. Goldenberg received dual Oscar nominations in 2013, also being nominated, along with editor Dylan Tichenor, for his work on Kathryn Bigelow's Zero Dark Thirty. In 2015, Billy was again nominated for an Oscar, a BAFTA Award, and an Eddie Award for the historical thriller The Imitation Game, starring Benedict Cumberbatch and Keira Knightley. He was previously Oscar-nominated for his editing work on Seabiscuit, and on Michael Mann's controversial film The Insider (with Paul Rubell and David Rosenbloom). Goldenberg was also part of the editing team on Mann's Heat, Ali, and Miami Vice BRETT M. REED Prior to cutting UNSTOPPABLE for Billy, Brett also collaborated with Artists Equity on Doug Liman's film THE INSTIGATORS, starring Matt Damon, Casey Affleck and Hong Chau. Additionally, he edited OLD, directed by M. Night Shyamalan for Universal Pictures, as well as several episodes of Shyamalan's television show THE SERVANT for Apple TV+. Previously Reed cut CLOUDS directed by Justin Baldoni for Disney+; Christoph Waltz' GEORGETOWN; Automatik's DREAMLAND directed by Miles Joris-Peyrafitte and starring Margot Robbie; and Nick Hamm's bio-thriller DRIVEN, starring Erin Moriarty and Lee Pace. Brett's earlier work with Billy Goldenberg included supporting him as an Additional Editor on TRANSFORMERS: RISE OF THE BEASTS, LIVE BY NIGHT, CONCUSSION, UNBROKEN and ARGO. Reed was also a First Assistant Editor on THE AMAZING SPIDER-MAN 2, ZERO DARK THIRTY, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES, NATIONAL TREASURE, amongst others. Directing and editing UNSTOPPABLE In our discussion with Billy and Brett, we talk about: Editors as first-time directors Cutting for a director who's an Oscar-winning editor Seeing double on the wrestling mat Obsessing and finessing an L-cut Making the most of a montage The Credits Visit Extreme Music for all your production audio needs Listen to Billy talk about cutting AIR and NEWS OF THE WORLD Check out the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
In this episode, we welcome cinematographer Markus Förderer, ASC, BVK. Markus shot the Golden Globe-nominated film, September 5. In our chat, he shares about his early days, education, and experiences lensing this new thriller based on real events. Markus also talks about the cameras, lights and lenses employed to pull off the look and feel of this project. In addition, he offers many insights on cinematography for students and emerging filmmakers.“The Making Of” is presented by AJA:IP, HDR, and cloud advancements have unlocked new workflow possibilities. Stay ahead of the curve with AJA solutions like the KONA IP25, a SMPTE ST 2110 I/O card for Mac, Windows, and Linux, and OG-ColorBox for color management and conversion, and more. Get the full rundown on AJA's latest gear here.ShotDeck's Holiday Special:Share the gift of ShotDeck with the creative pros in your life this holiday season. As the world's largest library of more than 1.5 million cinematic reference images, ShotDeck inspires filmmakers from pitch to pre-pro and beyond. Enter code “TMOGIFT” for 30% off of your annual or monthly subscription here.Introducing Eddie AI:Craft rough cuts in seconds with text prompts. Eddie is the AI video editing assistant for video professionals. Iterate with Eddie: reverse the topic order, ask for a stronger hook, make this punchier. With Eddie, you can easily export to MP4 or polish in Adobe Premiere Pro, Blackmagic DaVinci Resolve, Final Cut Pro, and Avid Media Composer. Explore hereFeatured Resource:Film ParliamentGot a script you want to produce?Film Parliament offers a self-paced, step-by-step online course that guides you through the process of scheduling and budgeting your feature film.Get 10% off when you use code “HOLIDAY10” now until Dec. 25th OR buy your friend or family member a course gift card! Visit here TMO's 1st Annual Holiday Gift Guide!* ShotDeck: As the world's largest library of more than 1.5 million cinematic reference images, ShotDeck inspires filmmakers from pitch to pre-pro and beyond. Enter code “TMOGIFT” for 30% off of your annual or monthly subscription here* OWC Express 1M2: the ultimate portable SSD for filmmakers and editors, offering blazing 3151MB/s speeds for seamless 4K video editing. Perfect for modern Macs, PCs, and legacy Thunderbolt/USB-C devices. See here* Film Parliament: offers a self-paced online course providing in-depth lessons that will guide you through the process of scheduling and budgeting your feature film. Get 10% off when you use code “HOLIDAY10” now until Dec. 25th, or buy your friend or family member a gift card! Visit here * Vimeo: give the gift of a Vimeo account to that filmmaker friend or family member in your life… see the options here* Videoguys: explore huge holiday deals on Atomos, BirdDog, Canon, JVC, LiveU, Panasonic, PTZOptics, Roland, SanDisk & more! See here* DOMKE: the best bags in the business — for photographers, video pros & beyond. Explore the collection here* Strand Bookstore: get a book or gift certificate from the world's greatest independent bookseller since 1927, located in NYC. Browse here OWC Atlas Cards:This holiday season, gift the speed and reliability every creative needs. From stunning 8K video to fast transfers, OWC Atlas memory cards and readers deliver unmatched performance. Perfect for photographers, filmmakers, and tech enthusiasts. Shop now and make their holiday unforgettable! Shop Atlas Cards & Readers hereFrom our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereNew Solutions from Videoguys:The SanDisk Professional G-RAID PROJECT 2 drive is a high-performance, 2-bay enterprise-class storage system. Pre-configured in RAID 0 and equipped with Thunderbolt™ 3 connectivity, it's designed for your most demanding applications. With expansive capacities up to 48TB, this massive storage solution is the trusted ally for managing your 4K, 8K, and VR video workflows with ease and reliability. Explore hereZEISS Introduces Supreme Zoom RadianceThe new ZEISS Supreme Zoom Radiance set includes three purpose-built T2.9 high-end cine zooms: 15-30mm, 28-80mm and 70-200mm. Featuring the same T* blue lens coating as the popular Supreme Prime Radiances, they offer a similar look with consistent flares and warmer color rendition. Learn more herePodcast Rewind:Dec. 2024 - Ep. 58…“The Making Of” is published by Michael Valinsky.Advertise your products or services to 100,000 film, TV, news, broadcast and live event production pros reading this newsletter. Email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment, tech and beyond. In this, our Thanksgiving episode, the gang each share the top 3 tech things that helped their careers and or, continue to shape our industry today. Discussions include: innovation in production tools, the evolution of workflows due to the rise of digital media and, the transformative influence of social platforms on the industry. There's another update on the 2024 Rates Survey, a discussion on the new Mac's and of course, there's a bunch of really cool things for us post production people to get excited about. Show Notes: NEW MACS M4 Mac mini - https://www.apple.com/mac-mini/ Review: https://www.provideocoalition.com/review-m4-mac-mini-for-video-editors/ M4 MacBook Pro https://arstechnica.com/apple/2024/11/review-the-fastest-of-the-m4-macbook-pros-might-be-the-least-interesting-one/ NLE UPDATES! AVID MEDIA COMPOSER 2024 LAUNCHES NEW FEATURES https://www.avid.com/resource-center/avid-media-composer-launches-new-features-202410 Final Cut Pro 11 https://www.provideocoalition.com/fcp-11-released-at-the-fcp-creative-summit/ Resolve 19.1 https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=211521 LucidLink 3.0 - Big Updates (AWS as a new backend + no egress is huge) https://www.lucidlink.com/new-era New X terms of service in effect November 15 https://mashable.com/article/twitter-x-terms-service @michaelkammes.bsky.social @editblog.bsky.social https://web.archive.org/web/20090418030734/http://www.scottsimmons.tv/blog/2008/03/22/twitter-about-editing/ One cool thing: Katie: Halloween workflow Michael: AltTab https://alt-tab-macos.netlify.app/ Scott: Jumper https://getjumper.io/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support
Which professional video editing software should you master to skyrocket your career?In this episode of The Video Editing Podcast, we tackle one of the most overwhelming decisions you face as a budding video editor: picking the right software. Feeling stuck between Premiere Pro, DaVinci Resolve, Avid Media Composer, and Final Cut Pro? This episode not only breaks down the pros and cons of each but also reveals what industry professionals are actually using.By listening, you will:Discover the top four professional video editing software options and their unique strengths.Learn which software dominates specific industries and why that matters for your career.Find out how to save on costs and make your investments work for you in the long run.Don't let indecision stall your video editing journey! Click play to unlock industry insights and take a confident step forward in your video editing career.Timestamps:[00:00] Episode Introduction[01:22] Navigating Overwhelm as a New Editor[02:00] The Software Dilemma[03:15] Premiere Pro: The Industry Standard[08:58] The Case for DaVinci Resolve[12:21] Avid Media Composer: Hollywood's Choice[14:47] Final Cut Pro: An Indie Favourite[16:28] Making Your ChoiceDo you want to improve your craft or get more consistent freelance video editing jobs?To learn how Unsplice can help you with your freelance video editing career head to https://www.unsplice.com/helpThank you for listening!ShinyRequest a sponsorship: Email contact+yt@unsplice.com and include “Sponsorship” in the title of the emailSupport this podcast at — https://redcircle.com/the-video-editing-podcast/donationsAdvertising Inquiries: https://redcircle.com/brands
Editor - Viks Patel THE SYMPATHIZER editor Viks Patel was a fan of director Park Chan-wook long before they ever teamed up to work on their new MAX series. But unbeknownst to Viks, the pair had actually worked together previously, in a sense, on SNOWPIERCER (2020). Viks edited the pilot for the series which Director Park exec produced. Back together again on THE SYMPATHIZER, the two joined creative forces to bring Viet Thanh Nguyen's book to the small screen in a big way. Based on Viet Thanh Nguyen's Pulitzer Prize-winning novel, The Sympathizer is an espionage thriller and cross-culture satire about the struggles of a half-French, half-Vietnamese communist spy during the final days of the Vietnam War and his new life as a refugee in Los Angeles, where he learns that his spying days aren't over. VIKS PATEL In addition to his work on THE SYMPATHIZER, Viks Patel won an Emmy® in 2008 for his work on TOP CHEF and was nominated for an Emmy® in 2020 for his work on OZARK. Viks has also edited shows such as THE MORNING SHOW (2019), BATES MOTEL (2015-16) and LONGMIRE (2012-14). Editing THE SYMPATHIZER In our discussion with THE SYMPATHIZER editor Viks Patel, we talk about: Drama in the front, comedy in the back Voicing thoughts on voice overs The sweet soul sounds of seventies needle drops Sound designing the Saigon sequence RDJ on the sacred mystery of editing The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Hear Viks Patel talk about cutting Ozark Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Inbal B. Lessner ACE and Ben Kaplan STORMY editors Inbal B. Lessner, ACE and Ben Kaplan each brought their considerable experience in unscripted storytelling to this timely and unique perspective of a woman who dominated the headlines throughout and following the presidency of Donald Trump. Directed and produced by Sarah Gibson, STORMY follows Stormy Daniels as she navigates being a mother, artist, and advocate working hard to reinvent herself following the Stormy Daniels–Donald Trump scandal. Judd Apatow serves as an executive producer under his Apatow Productions banner. INBAL B. LESSNER, ACE Inbal B. Lessner, ACE is an Emmy-nominated and Eddie-winning producer and editor. Prior to her work on STORMY, Inbal was most well-known for such true crime hits as Starz' Seduced: Inside the NXIVM Cult (2020) and Netflix's Escaping Twin Flames (2023), both of which she co-created alongside her filmmaking partner Cecilia Peck. As executive producer, showrunner, and editor, Inbal steered both shows towards nominations for Best Edited Documentary (Non-Theatrical) at the ACE Eddie Awards, nabbing a win for the latter. She was previously Eddie-nominated for her work on the "Can We All Get Along" episode of CNN's The Nineties (2017). Inbal has worked in the cutting rooms of directors such as Davis Guggenheim, Nancy Schwartzman, R.J. Cutler, Kelly Duane, Tricia Regan, Jeremy Simmons, and Tracy Droz Tragos, as well as Natalie Portman's feature directorial debut. A member of the AFI Conservatory faculty, she has also been a Visiting Professor of Film Editing at UNCSA Film School and is a mentor in the Karen Schmeer Diversity in the Edit Room Program. BEN KAPLAN A multi-award nominated documentary editor with over a decade of experience in the edit suite, Ben has worked on projects for CNN, Peacock, ABC/Hulu, Viceland and MAX. When he's not cutting docs, he's usually cutting up ingredients in the kitchen, perfecting his favorite dishes. Editing STORMY In our discussion with STORMY editors Inbal B. Lessner, ACE and Ben Kaplan, we talk about: Making the most of the Miro board "If you can't sum it up, you must cut it out". Motorboating your way to authenticity Deconstructing one documentary for another Stringing together the spine of the story The Credits Visit ExtremeMusic for all your production audio needs Check out the Frame.io blog for an enhanced transcription of The Rough Cut. Watch the ACE Invisible Art - Visible Artists Panel Hear editor Inbal B. Lessner ACE discuss cutting SEDUCED: INSIDE THE NXIVM CULT Learn all about what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
In this episode, host Christian Taylor interviews award-winning editor Yvette Amirian about her journey from documentary to narrative editing. Yvette shares her experiences working on various projects, including "EXmas" and "It Takes a Village". She discusses the differences between editing documentary and narrative films, emphasizing the challenges and rewards of both. Yvette also offers valuable tips for breaking into the film industry, highlighting the importance of building relationships and being kind to others. She shares her perspective on being a woman in the editing industry and the challenges she has faced. The episode concludes with a discussion on choosing the right editing software and the evolution of editing technology. The importance of involving editors from the beginning of a project is emphasized, as well as the value of fresh eyes in the editing process. Yvette recommends the documentaries 'Three Identical Strangers' and 'The Other Side of Home' as must-watch films. Takeaways: • Building and maintaining relationships is crucial in the film industry. • Networking and nurturing genuine connections can lead to opportunities and collaborations. • Breaking into the film industry requires determination, perseverance, and a willingness to take on various roles and projects. • Editing documentary and narrative films have different challenges and skill sets. • Documentaries often require creating a story from scratch, while narratives involve working with scripts and existing footage. • Living and working in Hollywood can provide unique opportunities and challenges. • Having a supportive community and network is essential for success. • Choosing the right editing software depends on the project and industry standards. • Avid Media Composer is widely used in the industry, but other software like Premiere and DaVinci Resolve also have their merits. • Early experiences with editing can shape an editor's understanding and appreciation for the craft. • Involving editors from the beginning of a project can lead to a more cohesive and effective final product. • Fresh eyes in the editing process can provide valuable perspectives and insights. DocuView Déjà Vu: Three Identical Strangers, 2018, 96mins, Watch on Hulu or Prime, IMDB LINK: https://www.imdb.com/title/tt7664504/reference/ The Other Side of Home, 2016 - Short Documentary, 40mins, IMDB LINK: https://www.imdb.com/title/tt5664922/reference/ Watch on Kanopy: https://www.kanopy.com/en Time codes: 00:00 Introduction and Patreon Shoutouts 01:32 Introduction of Guest, Yvette Amirian 03:47 Yvette's Journey from Documentary to Narrative Editing 09:15 Differences Between Editing Documentary and Narrative Films 13:18 Balancing Work and Family Life 15:10 Tips for Breaking into the Film Industry 19:36 The Importance of Building and Maintaining Relationships 22:13 The Value of Collaboration and Kindness in the Industry 27:16 Challenges and Progress for Women in the Editing Industry 30:44 Living and Working in Hollywood 39:49 Choosing the Right Editing Software 41:52 Evolution of Editing Software and Yvette's Experience 42:20 Introduction to Editing and Early Experiences 45:04 Discussion of the Film 'It Takes a Village' 50:05 The Importance of Involving Editors from the Beginning 52:21 Documentary Recommendations: 'Three Identical Strangers' and 'The Other Side of Home' 55:56 Conclusion and Appreciation
Join me on Episode 55 of the Hollywood Editing Mentor Podcast for an exclusive behind-the-scenes conversation with the talented editing team behind the Netflix limited series, Griselda. Join me, alongside Kelly Stuyvesant, Chris Cavanagh, and Charlie Viramontes, as we pull back the curtain and provide an exclusive behind-the-scenes glimpse into the art of editing this show. From collaborative processes to crafting unforgettable scenes and exploring technological workflows, this episode is a wealth of insider knowledge from a team that I'm proud to call friends.We recorded this episode on Zoom with a live virtual audience during a recent Q&A session within the Hollywood Editing Mentor community – making it an engaging and interactive experience!Dive into discussions about key scenes, including the shootout in the bar from episode 101 and the mesmerizing opening car wash scene from episode 104. While you won't see the visuals, our vivid descriptions will transport you into the heart of these moments.Exciting Announcement: Enrollment for the HEM Coaching Community is opening soon! This all-new online platform is your exclusive hub for learning, networking, and job opportunities within a private community of like-minded individuals. Join the waitlist now at http://hollywoodeditingmentor.com/community/ to be among the first notified when enrollment opens.Check out our free content and other resources! >>> SUBSCRIBE and leave a 5-star review on Apple Podcasts! >>>Original Music: "Apollo's Haze" and "Do You Want" by JesusdapnkFacebook: www.fb.com/jesusdapnkSoundcloud: www.soundcloud.com/jesusdapnkInstagram: @jesusdapnk
Tom Costantino ACE, Blair Clark, Allie Mitchell and Justin Ulrich Most of the VFX and editing team from Seth MacFarlane's Peacock original series TED should have known what they were in for when they signed on for the show. Editor and assistant editor Tom Costantino ACE and Justin Ulrich had already been across the universe with MacFarlane for his cult sci-fi favorite, THE ORVILLE. And VFX and puppeteering vet Blair Clark was the guy behind the bear for the TED feature films, as well as VFX Super for Seth's A MILLION WAYS TO DIE IN THE WEST (2014). Newcomer Allie Mitchell was not only taking her first tour of duty with Seth, but she was also learning VXF and puppeteering on the job, relying on her background in dance and theater. Together, the four brought a feature-level quality to Ted's reintroduction on the small screen. Set in 1993, in between the opening sequence in the feature film, TED (2012), the series depicts the early life of a sentient teddy bear toy named Ted, as he lives with John Bennett and his family in Framingham, Massachusetts. In addition to John and Ted, the Bennett household includes John's father Matty, his mother Susan, and his cousin, Blaire, who is living with them while attending a college nearby. Ted is soon forced to attend school with John, getting him bullied and in all sorts of trouble. TOM COSTANTINO ACE Editor Tom Costantino is known for his work on; 48 HOURS (2004-15), SCARRED (2007), CSI: MIAMI (2010-12), AMERICAN NINJA WARRIOR (2014-15), 9-1-1 (2018-19) and THE ORVILLE (2017-22). BLAIR CLARK VFX Supervisor and puppeteer, Blair Clark is known for his work on Seth MacFarlane's feature films, as well as HELLBOY (2004), THE SPIDERWICK CHRONICLES (2008) and CLIFFORD THE BIG RED DOG (2021). ALLIE MITCHELL Allie Mitchell is a singer/actor/dancer/silk aerialist/writer/yogi/vegan/brunette/dog-loving native of Austin, TX. Prior to plying her significant performance background in the world of VFX and puppeteering, Allie earned a BFA in Contemporary Musical Theatre and Film. JUSTIN ULRICH Aside from being the "secret VFX weapon" in the cutting room, Justin's assistant editing duties can be seen on HOUSE OF CARDS (2018), NOS4A2: GHOST (2019) and THE ORVILLE (2022). Editing Ted In our discussion with the VFX and editing team from the series Ted, we talk about: Looking Back to the Features Stuffies and stunt stuffies Chrome balls, laser pointers and the trouble with eyelines Being a contortionist on set and in the cutting room How Stu the Key Grip saved the day The Credits Visit ExtremeMusic for all your production audio needs See The Rough Cut come to life on the Frame.io blog See what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Michelle Tesoro, ACE MAESTRO editor Michelle Tesoro is no stranger to cutting movies directed by actors. In fact, it was while she was working with actor Sean Penn on his film FLAG DAY, that Penn turned to Michelle and told her that he just texted friend Bradley Cooper that she was a "goddess in the cutting room". Clearly that pitch worked as Cooper entrusted Michelle with the editorial duties for his much-anticipated biopic. MAESTRO chronicles the fearless love story and complicated lifelong relationship between music legend Leonard Bernstein and his wife Felicia Montealegre Cohn Bernstein. Michelle Tesoro, ACE Michelle Tesoro's most notable works include Netflix's Emmy-winning limited series THE QUEEN'S GAMBIT (2020), directed by Academy Award-nominated Scott Frank, for which she won the 2021 Primetime Emmy for Outstanding Single-Camera Picture Editing for a Limited or Anthology Series or Movie. Tesoro's versatile slate also includes Ava Duvernay's WHEN THEY SEE US (2019), Sean Penn's FLAG DAY (2021), Focus Features' biography of Supreme Court Justice Ruth Bader Ginsburg ON THE BASIS OF SEX (2018), and Netflix's Emmy-nominated series by Scott Frank, GODLESS (2017). Tesoro was born and raised in Chicago, Illinois. She graduated from Whitney M. Young High School, studied at the University of Illinois at Urbana-Champaign, and graduated from NYU's Tisch School of the Arts. Michelle currently resides in Los Angeles, California and is an active member of the American Cinema Editors (ACE). She is Co-Chair of ACE's International Relations Committee for which she co-founded ACE's International Partnership Program. She also sits on the 2023-2025 Board of TEMPO, a federation of international film editors associations. Editing MAESTRO In our discussion with MAESTRO editor Michelle Tesoro, we talk about: Putting together a proof of concept When Sean Penn texts his friends about you Taking notes from Spielberg and Scorsese Quietly doing sound design Who the real Maestro is The Credits Visit ExtremeMusic for all your production audio needs Check out the Frame.io blog for an enhanced transcription of The Rough Cut. Hear Michelle talk about her work on the Netflix hit series, THE QUEEN'S GAMBIT Learn all about what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Director - Alexander Payne and Editor - Kevin Tent ACE Longtime friends and collaborators, Alexander Payne and Kevin Tent, reunite once more for their eighth feature film, THE HOLDOVERS! THE HOLDOVERS tells the tale of Paul Hunham (Paul Giamatti), a curmudgeonly instructor at a New England prep school who remains on campus during Christmas break to babysit a handful of students with nowhere to go. He soon forms an unlikely bond with a brainy but damaged troublemaker, and also with the school's head cook, a woman who just lost a son in the Vietnam War. Alexander Payne Director, producer and screenwriter Alexander Payne attended Stanford University, where he majored in Spanish and History. He then went on to study film at UCLA Film School. His university thesis film was screened at the Sundance film festival, which led to him being backed by Miramax to write and direct CITIZEN RUTH (1996). Kevin Tent ACE Editor Kevin Tent has the distinction of having edited all of Payne's feature films (as well as a TV pilot); including films such as CITIZEN RUTH (1996), ELECTION (1999), SIDEWAYS (2004) and THE DESCENDANTS (2011) for which Tent received an Oscar nomination. Kevin is currently serving as president of the American Cinema Editors. Making The Holdovers In our discussion with Alexander Payne and Kevin Tent ACE from THE HOLDOVERS, we talk about: The benefits of being an amiable, affordable, and available editor Demonstrating your abilities to not edit Coming out of the Criterion closet Giving a hall pass to laugh early in the film How it takes an audience to complete a film The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Which NLE Should you Learn? A Conversation with Lawrence Jordan from Master the Workflow *************** Today there are four major NLEs (Non-linear Editing) you can choose from including Avid Media Composer, Adobe Premiere Pro, DaVinci Resolve and Final Cut Pro. But, as an Editor or Assistant Editor, which one should you learn so you can be competitive in the marketplace? The answer, of course, is it depends on the type of content you want to work on. In this episode, I have a conversation with Film and TV Editor, and founder of Master the Workflow, Lawrence Jordan, all about which NLE we should pick to focus our learning on, how to become a pro at it, what workflows should need to know, what type of content each of the NLEs are better at and much more. If you are just starting out in video editing, or you want to transition from one content type (e.g. Corporate Video) to another (e.g. Feature Film), this is the episode for you! *************** For more podcast episodes, tutorials and to read my daily journal, where I post how my transition to filmmaking is going, check out: https://www.CreativeSpark.ai
Editors - Kevin D. Ross ACE, Eric Litman, Adam Pearson and Daniel Williams The ONE PIECE editing team knew full well, going into this live-action adaptation of the beloved manga series, that they had a huge challenge on their hands. Expectations were high and previous attempts to adapt other manga series had left those fanbases disappointed, to say the least. Fortunately, they had a talented crew around the globe, plus ample time and resources from Netflix to finally crack the code of making a hit series that would satisfy the die-hard manga fandom. ONE PIECE follows the adventures of the Straw Hat Pirates as they explore the dangerous oceans, lands, and beyond in search of the "One Piece", a fabled treasure that will make their captain, Monkey D. Luffy, "King of the Pirates". But the Marines are on their ship's tail, and they are not the only crew searching for the One Piece. Armed with skills and an unbreakable friendship, the Straw Hats are ready for the journey and even more ready to fight for their dreams together. Adapted from the legendary manga series from author Eiichiro Oda, ONE PIECE was developed as a live action series for Netflix by Matt Owens and Steven Maeda under the watchful eye of Oda. KEVIN D. ROSS, ACE Raised in the heartland of America, Kevin Ross grew up a typical bored youth in the small town of Farmington, Missouri. A product of a Norman Rockwell-like family with loving parents and four younger siblings, Ross attended the University of Missouri School of Journalism. After graduating, he headed for the lights and lure of Hollywood. He earned his MFA from the USC School of Cinema-Television and has been happily working in the film industry ever since. Aside from ONE PIECE, Kevin has edited such shows as HALT AND CATCH FIRE (2014-16), STRANGER THINGS - S1/2 and YELLOWJACKETS (2021-23). ERIC LITMAN Pennsylvania native Eric Litman is known for his work on FINAL DESTINATION 5 (2011), AGENTS OF S.H.I.E.L.D. (2013) and STAR TREK: PICARD (2023). ADAM PEARSON Actor-turned-editor Adam has assisted on shows such as DOPESICK (2021) and THE ROOKIE (2021). In addition to ONE PIECE, his work as an editor can be seen in BEVERLY HILLS PAWN (2014) and UFOs: THE LOST EVIDENCE (2017). DANIEL WILLIAMS In addition to working alongside Kevin Ross on ONE PIECE (2023) and YELLOWJACKETS (2023), Daniel has also assisted on THE X-FILES (2018) and SACRED LIES (2018-20). Editing ONE PIECE In our discussion with the ONE PIECE editing team, we talk about: 24-hour cutting rooms Endearing dailies The beauty of Paint Tool sock puppets Keeping score on youthful tension Toning down the temp effects The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - David Webb and Robert Frost HIJACK editors David Webb and Robert Frost have logged many sky miles together in the cutting room, but mostly with Rob as David's assistant. That all changed when David tapped Rob to take on full editing duties for their previous collaboration, LITVINENKO (2022); a critically acclaimed series directed by Jim Field Smith for ITV. HIJACK is a seven-part miniseries created by George Kay and Jim Field Smith that premiered June 28th, 2023 on Apple TV+. It is a pseudo real-time account of the hijacking of Kingdom Air Flight KA29, during its seven-hour journey from Dubai to London. On board the flight is corporate negotiator Sam Nelson (Idris Elba), who tries to use his professional skills to save everyone on board. David Webb David Webb is Partner, Managing Director and a film editor at Final Cut Limited. Webb cut his teeth on music videos in the early 2000's for George Michael, Paul McCartney and Robbie Williams among others. David also collaborated with Edgar Wright on many of his early music videos, including Mint Royale's 'Blue Song'. That video was notably the inspiration for Wright's film, 'Baby Driver'. David spent a decade cutting commercials before moving into long-form at the request of HIJACK director Jim Field-Smith and has collaborated with Jim ever since. Together the two have worked on; THE WRONG MANS, ENDEAVOUR, CRIMINAL, DEFENDING THE GUILTY and TRUTH SEEKERS. David's work can also be seen in the coming-of-age series, SEX EDUCATION. Robert Frost UK-based editor Rob Frost's most recent credits include being the assembly editor on LITVINENKO (2022) and assistant editor for; SEX EDUCATION Season 2/3 (2020-21), LANDSCAPERS (2021), CRIMINAL UK Season 2 (2020), 47 METERS DOWN: UNCAGED (2019) and STRIKE BACK Season 7: Revolution (2019). Editing HIJACK In our discussion with HIJACK editors David Webb and Robert Frost, we talk about: Making the move to the editor's chair Telling tales in real time Cutting first, watching dailies later Serving up a visual sorbet Perfecting the practical effects in the cutting room The Credits Visit Extreme Music for all your production audio needs Hear David Webb talk about cutting SEX EDUCATION Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Nick Olah, Marissa Mueller and Ivan Victor ACE THE AFTERPARTY editors; Nick Olah, Marissa Mueller and Ivan Victor ACE, not only got to have fun with the classic "Roshomon" style of storytelling for the Apple TV + original series, but they also got to do it by paying homage to their favorite film genres and filmmakers. From erotic thrillers to film noir, from Hitchcock to Wes Anderson, no style and no "body" was spared in their comedy whodunnit. In Season Two of THE AFTERPARTY, Aniq (Sam Richardson) and Zoë (Zoë Chau) are celebrating one year together following last season's events. They attend the wedding of Zoë's sister, Grace (Poppy Liu), to an eccentric Silicon Valley businessman named Edgar (Zach Woods). When Edgar and his pet lizard Roxana are found dead the following morning, Aniq calls Detective Danner (Tiffany Haddish) for help. Danner, who has left the LAPD to write a book about the murder she solved in Season One, agrees to take the case before the local police get involved. Once the interrogations begin, it's clear that everyone had a motive to send the groom to his grave. Nick Olah O.G. "Afterparty" editor Olah not only brought eight episodes of Season One experience of the show into Season Two, but he also brought his history of cutting such shows as: THE LAST MAN ON EARTH (2017-18), MacGRUBER (2021) and YOUNG ROCK (2022). Marissa Mueller Joining THE AFTERPARTY for the first time in Season Two, Marissa already had a friend and former YOUNG ROCK (2022) colleague in Nick Olah welcoming her to the series. Marissa's other credits include shows like NCIS: LA (2012-16) and BASED ON A TRUE STORY (2023). Ivan Victor, ACE Editor Ivan Victor makes his second appearance on The Rough Cut, following his turn talking about his work on the Amazon Prime show, PAPER GIRLS (2022). Ivan has also helmed the Avid for: JACKASS (2000-02), I LOVE MONEY (2008-10) and PARKS AND RECREATION (2009-12). Editing THE AFTERPARTY In our discussion with the editors of THE AFTERPARTY, we talk about: Keeping the sleuthing in sync Watching out for leaping lizards Making the most out of Africa How editors organize their refrigerators Going "IG Official" for laughs The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Diana Fishman, Adam Lichtenstein and Mary DeChambres ACE The JURY DUTY editing team had plenty of experience cutting unscripted tv before taking on the hit Freevee series. But is it actually an unscripted show? To hear their fellow JURY DUTY editor Steven Rosenthal tell it, they were "using the techniques of a reality show for the purposes of a sitcom". The end result is a series unlike any in either the unscripted or scripted comedy genres. JURY DUTY is a reality/sitcom tv series that chronicles the inner workings of a U.S. jury trial through the eyes of juror Ronald Gladden, a solar contractor from San Diego. Ronald is unaware that his jury duty summons was not official. Everything that happened, inside and outside the courtroom, was planned. And everyone in the courtroom, aside from him, was an actor. The series was produced by; Ruben Fleischer, Nick Hatton, Cody Heller, Gene Stupnitsky, Todd Schulman, Lee Eisenberg, David Bernad and Andrew Weinberg. Jake Szymanski also produced and directed. Diana Fishman Editor Diana Fishman is known for her work on the shows; GRACE AND FRANKIE (2015), THE UCB SHOW (2016-17) and SOUTH SIDE (2019-21). Adam Lichtenstein Born with a natural love for time code, Adam showed an early preference for non-drop frame, then rose through the editorial ranks pretending to enjoy sports, overusing terms like "shots on goal", "swish", "in your face" and "that's what I'm talking about" without the slightest idea what he was talking about. He recently completed work on the documentary, FILM GEEK (2023) directed by Richard Shepard. Mary DeChambres, ACE In addition to her work crafting the finale of JURY DUTY, Emmy®-winning editor Mary DeChambres is known for cutting unscripted hits such as; PROJECT RUNWAY (2008), AMERICAN NINJA WARRIOR (2013-23) and THE REAL WORLD (2002-03). Editing JURY DUTY In our discussion with the JURY DUTY editing team, we talk about: Using reality tv techniques for a sitcom Managing billions and billions of hours of footage Never making fun of the hero One assistant, no waiting Breaking down the big reveal The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Justin Bourret ACE, Todd Zelin, Dave Canseco and Joseph Ettinger If THE RIGHTEOUS GEMSTONES editors ever tire of working in postproduction, perhaps they can get a job at Cinnabon, because their cutting rooms have the unique distinction of being located in a mall. But considering how much fun the quartet has working on the show and with one another, that career change might just have to wait awhile. For now, audiences can enjoy three seasons of their hilarious work on MAX. THE RIGHTEOUS GEMSTONES are living proof that worship pays dividends in all sizes. Patriarch Eli (John Goodman), the man most responsible for the tremendous success of the family's megachurch, is in mourning over the loss of his wife. Jesse (Danny McBride), the eldest of the three grown Gemstone siblings, looks to lead in his father's footsteps, but finds his past sins jeopardizing the family ministry. Next in line comes middle sister Judy (Edi Patterson), who secretly lives with her fiancé and dreams of escaping the Gemstone compound. Rounding out the dysfunctional trio is pseudo-hipster Kelvin (Adam DeVine), the youngest of the preachers and a thorn in Jesse's side. As the family battles numerous threats to their renowned religious empire, they continue to spread the good word... and make a solid buck doing so. JUSTIN BOURRET, ACE In addition to his editorial duties, Justin also serves as co-producer on THE RIGHTEOUS GEMSTONES. He is also known for his work on FOR ALL MANKIND (2019) and VICE PRINCIPALS (2016). TODD ZELIN New Jersey native Todd is an editor and producer, known for FRESH OFF THE BOAT (2015) and ARRESTED DEVELOPMENT (2003). DAVE CANSECO David Canseco began his journey with THE RIGHTEOUS GEMSTONES in Season 1 as an assistant editor, before working his way up to editor on Season 3. He has also worked on THE GOLDBERGS (2013) and POOLMAN (2023). JOSEPH ETTINGER New to the Gemstones team in Season 3, Joseph is also known for ROAR (2022) and DEAD TO ME (2019). Editing THE RIGHTEOUS GEMSTONES In our discussion with the "GEMSTONES" editing team, we talk about: Setting up shop in Sears Walking the tonal tightrope Going to editing summer camp Mining the gems from all that footage Fun with full frontal nudity The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
JOURNEY TO TRUTH 2023 CONFERENCE REPLAY Grafton, Illinois May 22 - 25 - GET YOUR TICKET TODAY! https://www.journeytotruthcon.com/ Cahokia Mounds: The Untold Story - Pre-Release July 30th only on PATREON: Subscribe to our Patreon for Webinars and Bonus Content: https://www.patreon.com/j2tpodcast SUNFIRE FESTIVAL: Aug 25-28 | Tickets available here! https://www.sunfirefest.com/ HOPEWELL FARM CBD: PROMO CODE 'Journeytotruth10' gets you 10% off all cbd products! To Learn More and Purchase Hopewell Farm CBD Products. Crypto payment option now available! CLICK HERE -- https://hopewellfarmtn.com/?wpam_id=1 OUR WEBSITE: https://www.journeytotruthpodcast.com/ DONATE: https://donorbox.org/donate-to-jttp Thank you
Editor - Eddie Hamilton ACE MISSION: IMPOSSIBLE - DEAD RECKONING PART 1 editor Eddie Hamilton ACE has been immersed in the TCEU (Tom Cruise Extended Universe) since 2015 when Eddie took the editorial helm of MISSION IMPOSSIBLE: ROGUE NATION. And with the exception of a quick return to his roots with director Matthew Vaughn for KINGSMAN: THE GOLDEN CIRCLE (2017), Eddie has spent all his subsequent time working on MISSION: IMPOSSIBLE - FALLOUT (2018), TOP GUN: MAVERICK (2022) and the upcoming MISSION: IMPOSSIBLE - DEAD RECKONING PARTS 2 (2024). Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action-movie editors working today. In this latest installment of the now 7-film long action franchise, Ethan Hunt and the IMF team must track down a terrifying new weapon that threatens all of humanity if it falls into the wrong hands. With control of the future and the fate of the world at stake, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan is forced to consider that nothing can matter more than the mission -- not even the lives of those he cares about most. Editing Mission: Impossible - Dead Reckoning Part 1 In our discussion with editor Eddie Hamilton ACE, we talk about: Cutting two films at one time Action first, dialogue last "Have 160TB hard drive, will travel" The verbal choreography of an exposition scene Edgar Wright's keen ear for storytelling The Credits Visit ExtremeMusic for all your production audio needs Hear Eddie talk about his work on Mission: Impossible - Fallout Take a guided tour with Eddie on his Avid timeline from Mission: Impossible - Fallout Listen to Eddie's podcast on TOP GUN: MAVERICK Check out Eddie Hamilton's Timeline Tour for TOP GUN: MAVERICK See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Black Adam - Editor, Mike Sale ACE BLACK ADAM editor, Mike Sale ACE is no stranger to the action comedy genre - emphasis on comedy. With films to his credit such as; FORGETTING SARAH MARSHALL (2008), BRIDESMAIDS (2011), THE HANGOVER II (2011), WE'RE THE MILLERS (2013), CENTRAL INTELLIGENCE (2016), SKYSCRAPER (2018), SPENCER CONFIDENTIAL (2020) and RED NOTICE (2021), it should be obvious to anyone that Mike knows how to edit movies about cracking jokes and breaking bones. But the latest entry in the DCEU marks Sale's first venture into comic book cinema. Reunited for the fourth time with megastar Dwayne "The Rock" Johnson, Mike brought his signature editorial enthusiasm and aesthetic to BLACK ADAM. The story of BLACK ADAM begins in ancient Kahndaq, where a man named Teth Adam was bestowed the almighty powers of the gods. After using these powers for vengeance, he was imprisoned, becoming Black Adam. Nearly 5,000 years have passed, and Black Adam has gone from man to myth to legend. Now free, his unique form of justice, born out of rage, is challenged by modern-day heroes who form the Justice Society: Hawkman, Dr. Fate, Atom Smasher and Cyclone. In our discussion with BLACK ADAM editor, Mike Sale ACE, we talk about: How size matters in the editing suite Taking acting classes but staying away from actors Comedy, comedy, comedy, exposition, comedy Stephen King's secret weapon for editors Using "yacht rock" to make violence fun The Credits Visit Extreme Music for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Amsterdam - Editor, Jay Cassidy ACE AMSTERDAM editor, Jay Cassidy ACE has cultivated an impressive career spanning almost fifty years and approximately sixty different projects. Cassidy has worked extensively with directors such as David O. Russell and Sean Penn, as well as documentarian Davis Guggenheim. Thrice-nominated for an Oscar for his work on Penn's INTO THE WILD (2008); as well as Russell's SILVER LININGS PLAYBOOK (2013) and AMERICAN HUSTLE (2014), Jay is not one to settle for status quo when it comes to making the most of technology in the editing room. He continues to lean into new developments in hardware, software and color science for his craft. AMSTERDAM is a 2022 period/mystery/comedy/thriller film directed, written, and produced by David O. Russell. It stars an ensemble cast, led by Christian Bale, Margot Robbie, and John David Washington; featuring Chris Rock, Anya Taylor-Joy, Zoe Saldaña, Mike Myers, Rami Malek, and Robert De Niro. The film follows three friends—a doctor, a nurse and a lawyer—who are caught in the mysterious murder of a U.S. senator in the 1930's. Filmed in Los Angeles from January to March 2021, AMSTERDAM marks Russell's first film since JOY (2015). In our discussion with AMSTERDAM editor, Jay Cassidy ACE, we talk about: Balancing context setting and character development The benefits of monitoring in the DCI-P3 color space Working with actors in the cutting room Collaborating with Oscar®-caliber additional editors The world's most amazing microphone The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to AMSTERDAM additional editor, Alan Baumgarten ACE discuss his work on THE TRIAL OF THE CHICAGO SEVEN See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
The Woman King - Editor, Terilyn A. Shropshire ACE For over twenty years editor Terilyn A. Shropshire ACE and director Gina Prince-Bythewood have worked hand-in-hand to entertain and inspire audiences with films dating back to Gina's directorial debut, LOVE & BASKETBALL (2000). Following their hit action film, THE OLD GUARD (2020), Teri and Gina have joined forces once again to create an epic tale about the Agojie, a fierce sisterhood of African warriors who fought for the kingdom of Dahomey in the 1800s; with skills and a ferocity unlike anything the world has ever seen. Inspired by true events, THE WOMAN KING follows the emotionally epic journey of General Nanisca (Oscar®-winner Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life. In our discussion with THE WOMAN KING editor, Terilyn A. Shropshire ACE, we talk about: Caring about characters to create better action "Getting it right" so studios will give the next generation a chance How to make an action movie "intimately epic" Staying away from temp score created by your composer Trusting your audience The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to Terilyn talk about her work on the film, THE OLD GUARD See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Director - Doug Liman Director Doug Liman sat down with us at his NYC office in 2011 to discuss his early beginnings in the film business as well as his thoughts on; film school, editing and "making it" in Hollywood. Doug Liman is known for directing the films; SWINGERS (1996), GO (1999), THE BOURNE IDENTITY (2002), MR. AND MRS. SMITH (2007), JUMPER (2008), FAIR GAME (2010), EDGE OF TOMORROW (2014), CHAOS WALKING (2021). Doug is currently in production on a remake of the Patrick Swayze classic, ROAD HOUSE. A sequel to EDGE OF TOMORROW is also rumored to be in the works. In our discussion with director Doug Liman we talk about: Life before SWINGERS Whether anyone ever really "makes it" in Hollywood The merits of film school Knowing how to use an NLE vs knowing how to edit The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to editor Doc Crotzer ACE talk about his work on the Doug Liman film, CHAOS WALKING Hear SWINGERS and GO editor Stephen Mirrione ACE talk about cutting THE MIDNIGHT SKY EDGE OF TOMORROW editor, Laura Jennings on editing MALEFICENT: MISTRESS OF EVIL See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - James D. Wilcox, ACE THIRTEEN LIVES editor James D. Wilcox joins the Rough Cut to talk about cutting Ron Howard's latest film. James first collaborated with Howard on the series, Genius, and received an ACE Eddie award for his work on the episode, "Einstein - Chapter 1". From there, James would do another episode of Genius ("Aretha"), as well as cutting Howard's adaptation of the J.D. Vance book, HILBILLY ELEGY; which would be Wilcox's first feature editing job. Unlike most feature editors who started their journey in post as an assistant, James actually started out as an editor, but working in news and sports. This experience proved invaluable to him later in his career when he started cutting scripted shows and features. THIRTEEN LIVES recounts the incredible true story of the tremendous global effort to rescue a Thai soccer team who become trapped in the Tham Luang cave during an unexpected rainstorm. Faced with insurmountable odds, a team of the world's most skilled and experienced divers -- uniquely able to navigate the maze of flooded, narrow cave tunnels -- join with Thai forces and more than 10,000 volunteers to attempt a harrowing rescue of the twelve boys and their coach. With impossibly high stakes and the entire world watching, the group embarks on their most challenging dive yet, showcasing the limitlessness of the human spirit in the process. Editing THIRTEEN LIVES In our discussion with THIRTEEN LIVES editor, James D. Wilcox we talk about: The evolution of his collaboration with director, Ron Howard Cutting in a language you don't speak Maintaining the scale and geography for the audience Creating tension with an underwater soundscape Winding an unseen clock The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Hear James talk about his work on HILLBILLY ELEGY See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
The founder and CEO of Sharpcut Productions and you may also know him as DJ Sharpcut Mr. Gary Robinson stops by and shares his advice with those comedian's out there desiring to break into the ever so difficult world of comedy. He also shares his experience of what it's like working alongside Jim Carrey. What is Sharpcut Productions? Sharpcut Productions has been creating award-winning video productions in Los Angeles since 1992. Our work has been seen by hundreds of millions of people in multiple countries. Our tools of choice are Avid Media Composer and Avid Pro Tools, Magix Vegas Pro, Blackmagic Fusion, Arriflex 35mm cameras, Sony and JVC 4k cameras, Adobe After Effects, and Newtek's Lightwave 3d. We can scale to create outstanding video productions of all types. Our productions have been awarded Communicator Awards, Telly Awards, Videographer Awards, an Omni Intermedia Award, an Aurora Award, and an Emmy Nomination. For more info visit www.sharpcutproductions.com Follow Gary Robinson on Instagram @sharpcutproductions
Editor - Elísabet Ronaldsdóttir, ACE BULLET TRAIN editor and Iceland native Elísabet Ronaldsdóttir is widely known for her work on high-adrenaline action films such as JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018) and Marvel's SHANG CHI AND THE LEGEND OF THE TEN RINGS (2021); the first three of which were helmed by BULLET TRAIN director, David Leitch. Based on the Japanese novel Maria Beetle (published in English as Bullet Train) by Kōtarō Isaka, the film tells the story of Ladybug (Brad Pitt), a trained killer who wants to give up the life but is pulled back in by his handler Maria Beetle (Sandra Bullock). His mission is to collect a briefcase on a bullet train heading from Tokyo to Kyoto with only a few stops in between. Onboard the train, he and other competing assassins discover their objectives are all connected. The question becomes, who will make it off the train alive and what awaits them at the terminal station? Editing BULLET TRAIN In our discussion with BULLET TRAIN editor, Elísabet Ronaldsdóttir we talk about: Working with a director who is also a stunt coordinator Jumping right into the action and saving the exposition for later Teaching a class in action editing Editing action in claustrophobic confines The Credits Visit ExtremeMusic for all your production audio needs Hear Elísabet talk about her work on SHANG-CHI AND THE LEGEND OF THE TEN RINGS See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Nicholas Monsour NOPE editor Nicholas Monsour has been collaborating with writer/director Jordan Peele since their days together on the comedy sketch tv series KEY & PEELE (2015). When the comedy team took their talents to the big screen with the Peele-penned feature, KEANU (2016), Monsour knew it would be a big leap for him to take on the editorial duties, but made his best pitch anyway. The bet paid off and Nick found himself behind the Avid for his very first feature film. Peele would reach out to Nick once again for his sophomore film directing venture, US (2019). Prior to reteaming with Peele for US, Nick continued to refine his cutting chops on tv series such as; BROCKMIRE (2017), COBRA KAI (2018) and WHISKEY CAVALIER (2019). NOPE was written, directed, and co-produced by Jordan Peele under his Monkeypaw Productions banner. It stars Daniel Kaluuya, Keke Palmer, Steven Yeun, Brandon Perea and Michael Wincott. In the film, two ranch-owning siblings, with the help of a tech salesman and a renowned cinematographer, attempt to capture and sell video evidence of an unidentified flying object. Editing NOPE In our discussion with NOPE editor, Nicholas Monsour we talk about: His incubator post process at Universal Not sacrificing tone in favor of tempo Jaws meets The Wizard of Oz The anatomy of a "social" thriller The impact of IMAX on NOPE The Credits Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Robert A. Martinez LUCY AND DESI's Robert A. Martinez has built a career working as an assistant editor and editor on documentary films like; THE BEATLES: EIGHT DAYS A WEEK - THE TOURING YEARS (206), THE APOLLO (2019), PAVAROTTI (2019) and THE BEE GEES: HOW DO YOU MEND A BROKEN HEART (2020), for which Robert received an ACE Eddie nomination. All of these projects were great preparation for LUCY AND DESI, for which Robert has received an Emmy nomination. From director Amy Poehler, LUCY AND DESI explores the unlikely partnership and enduring legacy of one of the most prolific power couples in entertainment history. Lucille Ball and Desi Arnaz risked everything to be together. When Lucille was finally granted the opportunity to have her own television show, she insisted that her real-life spouse, Desi, be cast as her husband. Defying the odds, they re-invented the medium, on the screen and behind the cameras. The foundation of I LOVE LUCY was the constant rupture and repair of unconditional love. What Lucy and Desi couldn't make work with each other, they gave to the rest of the world. LUCY AND DESI is an insightful and intimate peek behind the curtain of these two remarkable trailblazers – featuring interviews with Lucie Arnaz Luckinbill, Norman Lear, Desi Arnaz Jr, Carol Burnett and Bette Midler. Editing LUCY AND DESI In our discussion with editor, Robert A. Martinez we talk about: Building a doc around newly discovered, private audio tapes of the pair The relationship between writer and editor on a documentary Telling the story through the voices of Lucy and Desi The power of ScriptSync in documentary editing Making the jump from janitor to editor The Credits Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Rupert Houseman CHERNOBYL: THE LOST TAPES editor Rupert Houseman is a documentary and drama editor known for his work on; RIOTS: ONE WEEK IN AUGUST (2021), GUN NO. 6 (2018), 7/7: ONE DAY IN LONDON (2013), BEDLAM (2014), LIFE AND DEATH ROW (2014), THE DETECTIVES (2015), THE WATCHMAN (2016) and UNSPEAKABLE (2017). In 2019 Rupert received a BAFTA award for his editing on GUN NO. 6. CHERNOBYL: THE LOST TAPES tells the full, unadulterated true story of what happened in one of the most iconic but least understood tragedies of the twentieth century. While radio programs and scripted dramas have all told their version of events, no-one has ever made a documentary that reveals the full, shocking reality of this cataclysmic, world changing event – until now. Using both a recently discovered hoard of dramatic footage filmed at the nuclear plant during the disaster, as well as newly-recorded, deeply personal interviews of those who were there, the film shows how Chernobyl and the cover-up that followed sparked unprecedented distrust in the authorities and gave birth to a protest movement in Ukraine which would eventually lead to the collapse of the Soviet Union. Editing CHERNOBYL: THE LOST TAPES In our discussion with editor, Rupert Houseman we talk about: Recovering and converting Soviet-era propaganda footage Breaking away from the traditional treatment of talking heads Editing footage in a language foreign to your own Having fun with aspect ratios Getting sound design advice from Bob Geldof The Credits Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Mark Sanger ACE, BFE JURASSIC WORLD: DOMINION editor Mark Sanger ACE, BFE not only faced the challenge of editing a big action blockbuster, but also a film that was; a sequel to JURASSIC WORLD: FALLEN KINGDOM (2018), the sixth installment in the Jurassic Park franchise, the third and final film in the Jurassic World trilogy, and the conclusion to the storyline started in the original Jurassic Park trilogy. Thankfully, Mark had plenty of experience working on big action franchise films. Mark began his career as an assistant working on Bond films like ;TOMORROW NEVER DIES (1997) and THE WORLD IS NOT ENOUGH (1999), and also director Stephen Sommers' THE MUMMY (1999) and THE MUMMY RETURNS (2001). As a lead editor, Mark helmed the Avid for TRANSFORMERS: THE LAST KNIGHT (2017), MOWGLI: LEGEND OF THE JUNGLE (2018) and POKÉMON: DETECTIVE PIKACHU (2019). Amongst all these big films, the critical highlight of his career would come in 2014, when Mark would win the Oscar for Best Film Editing for his work on GRAVITY (2013). The plot of JURASSIC WORLD: DOMINION is this...Four years after the cataclysmic volcanic eruption on Isla Nublar and the Lockwood Estate incident, de-extinct dinosaurs freely roam the earth, causing environmental upheaval and human deaths. With government approval, Biosyn Genetics has established a dinosaur sanctuary in Italy's Dolomite Mountains where they conduct genomics research, ostensibly seeking groundbreaking pharmacological and agronomic applications. The film stars an ensemble cast including Chris Pratt, Bryce Dallas Howard, Laura Dern, Jeff Goldblum, Sam Neill, DeWanda Wise, Mamoudou Athie, BD Wong, and Omar Sy. Dern, Goldblum, and Neill reprise their roles from the Jurassic Park trilogy, appearing together for the first time since the 1993 film JURASSIC PARK. Editing JURASSIC WORLD: DOMINION In our discussion with editor Mark Sanger ACE, BFE we talk about: The 2nd director side hustle Working with animatronics versus VFX Presenting a proper prologue Starting with silence in your edit Listening, learning and speaking up! The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
XPression is built to be the fastest on-air graphics device in the industry, but did you know you can use it on post-production, too? Adding the XPression Gateway and the NLE plug-in to your facility will allow editors in Adobe Premiere Pro, Avid Media Composer, and GV Edius to add titles and other production graphics which match the branding content used in the control room. Viewers at home (or on the web and mobile devices) won't know if the graphics were added in post or live. For web and mobile platforms, add content with complete titling capability before the control room staff even shows up for work. Get to viewers in mobile and web before your competition, with full titling. Make sure they know who the content came from and drive traffic back to your show with the proper branding. Living Live! with Ross Video www.rossvideo.com/XPression-U
Editor - Vikash Patel OZARK editor Vikash Patel not only has the distinction of cutting twenty episodes over four seasons of the hit Netflix series, but also receiving an Emmy® nomination for his editing on a standout episode that featured the critically-acclaimed performance of guest actor Tom Pelphrey, playing the part of Wendy Byrde's (Laura Linney) brother, Ben. In addition to his contributions on OZARK, Viks has also lent his storytelling talents to; THE MORNING SHOW (2019), BATES MOTEL (2015-16), LONGMIRE (2012-14), SMALLVILLE (2009-11) and TOP CHEF (2006-07). Viks also cut the pilot for the TNT series, SNOWPIERCER (2020). The plot of OZARK is built around financial advisor Marty Byrde (Jason Bateman) who, after a money laundering scheme for a Mexican drug cartel goes wrong, proposes to make amends by offering to set up a bigger laundering operation in the Lake of the Ozarks region of central Missouri. Marty suddenly moves his family from the Chicago suburb of Naperville to the remote summer resort community of Osage Beach, Missouri. When the Byrdes arrive in Missouri, they become entangled with local criminals, including the Langmore and Snell families, and later the Kansas City Mafia. Editing OZARK In our discussion with OZARK editor, Vikash Patel we talk about: Working with directors who are new to a series Living in two-shots and wide shots to let the performances play out How premieres and finales differ from other episodes Jason Bateman's interaction with post while producing, directing and starring in OZARK What Viks will take away from his experience on OZARK The Credits Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Eddie Hamilton ACE TOP GUN: MAVERICK editor Eddie Hamilton ACE has been immersed in the TCEU (Tom Cruise Extended Universe) since 2015 when Eddie took the editorial helm of MISSION IMPOSSIBLE: ROGUE NATION. And with the exception of a quick return to his roots with director Matthew Vaughn for KINGSMAN: THE GOLDEN CIRCLE (2017), Eddie has spent all his subsequent time working on MISSION IMPOSSIBLE: FALLOUT (2018), TOP GUN: MAVERICK (2022) and the upcoming MISSION IMPOSSIBLE: DEAD RECKONING PARTS I (2023) and II (2024). Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action-movie editors working today. TOP GUN: MAVERICK stars Tom Cruise, reprising his role as Captain Pete "Maverick" Mitchell from TOP GUN (1986). The story follows Maverick's return to the United States Navy Strike Fighter Tactics Instructor program (also known as "Top Gun") where he must confront his past as he trains a group of younger fighter pilots, among them the son of Maverick's deceased best friend Goose. Editing TOP GUN: MAVERICK In our discussion with editor Eddie Hamilton ACE, we talk about: Serving the audience broccoli before the brownie Referencing the incredible sound design from the original Top Gun Hitting the emotional notes for Tom Cruise Wrangling over 800 hours of footage How to build a better dogfight The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear Eddie talk about his work on Mission Impossible: Fallout Take a guided tour with Eddie on his Avid timeline from Mission Impossible: Fallout See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Todd Downing ACE RUSSIAN DOLL editor, Todd Downing ACE returns to THE ROUGH CUT, having appeared previously in 2020 to talk about his work on the HULU series, MRS. AMERICA. In that series, one of Todd's many standout moments was a sequence he cut that featured a conservative 70's housewife going on a drug-fueled, psychedelic trip at the National Women's Conference. Todd also had a similar episode in the work he did on the series DIFFICULT PEOPLE, on Hulu as well. Put those two together with the mind-bending journeys Todd navigates on RUSSIAN DOLL and you start to see that Todd Downing has carved out quite a niche for himself as the "go to" editor for shows that feature women going on existential and introspective adventures. Season 1 of RUSSIAN DOLL tells the story of a woman named Nadia who is caught in a time loop as the guest of honor at a seemingly inescapable birthday party one night in New York City. She dies repeatedly, always restarting at the same moment at the party. As she tries to figure out what is happening to her, she meets a man who is experiencing the same thing in a different event. In Season 2, Nadia is ten days away from celebrating her 40th birthday when the NYC "6" Train sends her back in time to 1982. She soon discovers she is trapped inside the body of her mother, Lenora, who is pregnant with Nadia. Having learned what a significant impact it had on her family, Nadia decides to pursue the gold Krugerrands her mother lost that same year, in hopes of changing the course of her family's history. Editing RUSSIAN DOLL In our discussion with RUSSIAN DOLL editor, Todd Downing ACE we talk about: Riding the wave of comedy vs drama within a show The kind of notes you get from a showrunner who is also the star Managing the story logic of characters looping through time and inhabiting other characters Natasha's Extraordinary Playlist Dealing with VFX "supply chain" issues The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear Todd's interview with fellow ACE editors, Emily E. Greene and Robert Komatusu for MRS. AMERICA. See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Tia Nolan ACE In creating DR. STRANGE IN THE MULTIVERSE OF MADNESS, editor Tia Nolan ACE and editor Bob Murawski ACE (along with director Sam Raimi) created a film that not only stands on its own, but also picks things up where other MCU projects previously left off. WANDAVISION, SPIDER-MAN: NO WAY HOME and the Disney+ series, LOKI all served to introduce the concept of the multiverse to Marvel fans. And in the case of WANDAVISION and SPIDER-MAN: NO WAY HOME, put Dr. Strange and Wanda Maximoff on a collision course for the events that take place in Multiverse of Madness. DR. STRANGE IN THE MULTIVERSE OF MADNESS is the sequel to DOCTOR STRANGE (2016) and the 28th film in the Marvel Cinematic Universe. The film was directed by Sam Raimi, written by Michael Waldron, and stars Benedict Cumberbatch as Stephen Strange, alongside Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Xochitl Gomez, Michael Stuhlbarg, and Rachel McAdams. In the film, Strange travels into the Multiverse to protect America Chavez (Gomez), a young girl capable of travelling the Multiverse, from Wanda Maximoff (Olsen). Editing DR. STRANGE IN THE MULTIVERSE OF MADNESS In our discussion with editor Tia Nolan, we talk about: Making a "rock witch goddess" with Danny Elfman Doing your Marvel "homework" How to manage a multiverse in editorial How Sam Raimi distinguishes between "clangs" Lessons learned from legendary editor, Richard Marks ACE The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Ahmed Hafez, Joan Sobel ACE and Cedric Nairn-Smith Marvel's MOON KNIGHT editing team brought together their diverse background of experiences and talents to deliver a truly new take on what a superhero series can be. Working together for the first time, they overcame the challenge of collaborating over great distances, with editor Joan Sobel working from home in Los Angeles and editors Ahmed Hafez and Cedric Nairn-Smith both in Budapest, but still mostly separate from one another. MOON KNIGHT follows Steven Grant, a mild-mannered gift-shop employee, who becomes plagued with blackouts and memories of another life. Through those visions, Steven discovers he has dissociative identity disorder and shares a body with a mercenary named Marc Spector. As Steven/Marc's enemies converge upon them, they must navigate their complex identities while thrust into a deadly mystery among the powerful gods of Egypt. AHMED HAFEZ With an extensive career spanning more than 20 years full of local and international works in the film industry, Egyptian film editor Ahmed Hafez has presented the final cuts of over 20 films and edited numerous TV commercials and music videos. Hafez started his editing career with many TV commercials and music videos. He won 12 local and international awards for his work in six films. Hafez received international acclaim for his work in CLASH (2016) by director Mohamed Diab, which opened the Un Certain Regard section at the 69th Cannes Film Festival. American film critic Deborah Young described his editing style as "rapid-fire editing" in her Clash Cannes review in The Hollywood Reporter. For his work in Clash, Hafez received three awards at the Carthage Film Festival (JCC), Cairo Film Society Festival and the Egyptian National Film Festival. JOAN SOBEL ACE Editor Joan Sobel ACE made her first foray into tv editing with MOON KNIGHT. Up until then it had all been feature work as both an assistant on films such as; BOOGIE NIGHTS (1997), ALL THE PRETTY HORSES (2000) and KILL BILL: Vol. 1 & 2 (2003-2004). From there she went on to work as an editor on NOCTURNAL ANIMALS (2016), WIDOWS (2018) and THE RHYTHM SECTION (2020). CEDRIC NAIRN-SMITH In addition to his work on MOON KNIGHT, Cedric is known for his work as an editor on; THE BOYS (2019-2020), LISEY'S STORY (2021) and BATES MOTEL (2015-2017). Editing Marvel's MOON KNIGHT In our discussion with Marvel's MOON KNIGHT editing team, we talk about: Breaking away from the MCU and starting fresh The onboarding process for a Marvel editor Replacing the Marvel theme with needle drops Remote collaboration between Budapest and LA The importance of push-ups in the editing room The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which Avid Media Composer is right for you Listen to editor Cedric Nairn-Smith discuss his work on THE BOYS Check out other Rough Cut podcasts on Marvel series - WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - John Venzon ACE THE BAD GUYS editor, John Venzon ACE started his career off assisting in the cutting rooms of such memorable films as NATURAL BORN KILLERS (1994), TWISTER (1996), FIGHT CLUB (1999) and PANIC ROOM (2002). So, it's fair to say he certainly knows his way around a live action feature. But his career as a lead editor has been highlighted with animated features like SOUTH PARK: BIGGER, LONGER & UNCUT (1999), SHARK TALE (2004), FLUSHED AWAY (2006), STORKS (2016) and THE LEGO BATMAN MOVIE (2017). The result is an editor who is a great resource to talk to about working as an editor in animation and how that contrasts and compares with editing live action. THE BAD GUYS tells the story of the notorious criminal gang of Mr. Wolf, Mr. Snake, Mr. Piranha, Mr. Shark and Ms. Tarantula, who, after a lifetime of legendary heists, are finally caught. To avoid a prison sentence, the animal outlaws must pull off their most challenging con yet -- becoming model citizens. Under the tutelage of their mentor, Professor Marmalade, the dubious gang sets out to fool the world that they're turning good. Editing THE BAD GUYS In our discussion with THE BAD GUYS editor, John Venzon ACE we talk about: The editorial phases of animated features How animated features endured the lockdowns and remote editing requirements Refining the tone and logic of a film so that audiences of all ages can understand and enjoy it The influence of OCEAN'S ELEVEN and OUT OF SIGHT Editors turned voice actors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Geraud Brisson CODA editor, Geraud Brisson wasn't completely unprepared when he took on the challenge of cutting a movie where forty percent of the dialogue is delivered in American Sign Language (ASL). In 2018 he edited a series called THIS CLOSE whose creators and stars were deaf. But it was another series he worked on, LITTLE AMERICA, that would have the biggest impact on him becoming the editor for CODA. While working on that series, Geraud would meet CODA director Sian Heder and discuss her ideas for the indie coming-of-age story she was adapting from the French film, La Famille Bélier. CODA tells the story of a seventeen-year-old girl named Ruby (Emila Jones) who is the only hearing member of a deaf family from Gloucester, Massachusetts. Ruby works mornings before school to help her parents (Marlee Matlin and Troy Kotsur) and brother (Daniel Durant) keep their fishing business afloat. But in joining her high school's choir club, Ruby finds herself drawn to both her duet partner and her latent passion for singing. Editing CODA In our discussion with CODA editor, Geraud Brisson we talk about: When to introduce subtitles into editorial Why you still need to lav mic actors who are speaking with ASL How dialogue delivered as ASL affects shot choices and cut durations What silence sounds like Why the best directors are also the best knitters The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Justin Krohn, ACE WeCrashed editor, Justin Krohn is An Emmy-nominated American Film & TV editor based in Los Angeles. Krohn began his career working as an assistant editor in Los Angeles & New York, most notably on Martin Scorsese's Bob Dylan documentary, NO DIRECTION HOME (2005). Continuing to work in the Scorsese orbit while in New York, he contributed to the George Harrison documentary LIVING IN THE MATERIAL WORLD (2011), while also working on Michael Haennke's US remake of FUNNY GAMES (2007) & several Bruce Springsteen documentaries for director Thom Zimny. Returning to Los Angeles, Justin began to work as an editor on AMERICAN HORROR STORY (2015-2016), BLOODLINE (2017), TWIN PEAKS: THE RETURN (2017), & THE CURRENT WAR: DIRECTOR'S CUT (2017). Beginning in 2017, he began working with director Sam Esmail on the acclaimed series, MR. ROBOT (2017-2019), starring Rami Malek, & then Amazon's limited series HOMECOMING (2018), starring Julia Roberts. In 2018, he was nominated for an Emmy for his work editing TWIN PEAKS: THE RETURN for director David Lynch. WeCrashed is an American drama streaming television miniseries based on the podcast WeCrashed: The Rise and Fall of WeWork by Wondery. The series stars Jared Leto and Anne Hathaway and follows the entrepreneurial rise and fall of WeWork, one of the world's most valuable startups, and the characters whose chaotic love made it all possible. Editing WeCrashed In our discussion with WeCrashed editor, Justin Krohn, ACE we talk about: Getting film schooled by Thelma Schoonmaker The editorial benefits of cross-boarded shooting Motivated cutting techniques to accelerate the story Making the most out of montages Learning and re-learning the communications skills an editor needs The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editor - Annette Davey, ACE MAID editor, Annette Davey, ACE first began her journey into post production in her native Australia. After a stroke of good fortune led her to a program funded by a grant from the Australian government where she would learn her craft amongst sixteen women for six months, Annette began assistant editing in tv and enrolled in film school. From there she would make the move to the U.S. so she could continue her career path, editing a variety of projects in both film and television. Her feature film work is accented by an indie hit about a young waitress in an abusive relationship, 2007's WAITRESS. On the tv side, Annette has worked on such series as; HOW TO MAKE IT IN AMERICA (2010), HUNG (2009-2011), TRANSPARENT (2014), GLOW (2018), ZOEY'S EXTRAORDINARY PLAYLIST (2020) and Hulu's original series, PAM AND TOMMY (2022). MAID is based on a memoir from author Stephanie Land called, Maid: Hard Work, Low Pay, and a Mother's Will to Survive. It tells the story of a young mother named Alex (Margaret Qualley) who leaves her abusive boyfriend in the middle of the night, taking their toddler daughter with her. Once on their own, Alex struggles to make ends meet while working as a maid and dreaming of a future as a writer. Editing MAID In our discussion with MAID editor, Annette Davey, ACE we talk about: The challenge of interviewing for jobs over Zoom Crafting multi-dimensional antagonists The benefits of at-home editing Enhancing the performances of child actors with stolen moments between takes How her own career path influenced what she looks for in an assistant The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
If Apple burned down your house, and built you an epic mansion with tons of cool stuff, that'd be pretty cool, right? Wait, no… YOU BURNED DOWN MY HOUSE?! In a nutshell, that's how many passionate, invested Final Cut Pro users felt when Apple rewrote the program for version 10.0, and killed support for version 7.0. Despite new innovations in the software update, many users felt betrayed or abandoned when Apple initiated this harsh transition. Today, on the 10th anniversary, we'll talk about the Final Cut Pro X launch: the good, the bad, and the ugly. Oh yeah… the drama brewed so much that a documentary was made about it (link below)!Subscribe today so you don't miss a new episode! New episodes come out every other Monday morning (6:00 AM CT) so your Monday can be a funday!Special thanks to our friends at Linode for making this podcast possible! If you need cloud computing solutions, then you need Linode. Grab your $100 in free credit at https://linode.com/computerclan - If it runs on Linux, it runs on Linode!4:29 - Final Cut Backstory15:56 - NAB 2011 Buildup20:57 - Final Cut Pro X Announcement24:06 - Final Cut Pro X Interface & Features42:16 - Final Cut Pro X Live Demo45:49 - Final Cut Pro X Release and Price51:11 - Event Aftermath54:26 - Brad Olsen's First Experience with Final Cut Pro X56:53 - Final Cut Pro X Missing Features1:01:40 - Final Cut Pro X Weird Bits & Glitches1:10:58 - Other Final Cut Pro X Tidbits and the Future1:17:01 - ConclusionBrad's Amazing Off the Tracks Documentary: https://offthetracksmovie.comBrad's YouTube Channel: https://youtube.com/offthetracksmovieFinal Cut Pro X at SuperMeet: https://youtu.be/qOGWxd8c4NgFinal Cut Pro Screenshots: http://bit.ly/clan35Cc82jPurchases via our sponsor and affiliate links help support the Computer Clan YouTube channel and this podcast. Thank you.Episode Transcription: https://thecomputerclan.com/transcriptions/AppleKeynoteChronicles-005.pdf
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