A community-driven source for post-production information
November 20, 2009, 04:17 AM
Originally Aired: January 21, 2003 - NPR's Robert Siegel talks to University of Iowa film professor Rick Altman about filmmaker Edwin Porter. One hundred years ago today, Porter received the copyright on Life of an American Fireman, a film that's regarded, along with his other 1903 film The Great train Robbery, as the first to use the conceit of editing to compress time and space...
October 8, 2009, 19:53 PM
The Sexual Joys of Editing ...and other observations by Walter Murch...On Tuesday, September 22, The Motion Picture Academy kicked off "Perspectives on Editing," a four-week seminar series held at the Academy’s Linwood Dunn Theatre in Hollywood, with an evening entitled A Conversation with Walter Murch. The seminar, however, was far more than a social discourse. For three hours, Murch, A.C.E., CAS, MPSE, a two-time Oscar winner (Best Sound, The English Patient, 1996; and Best Sound, Apocalypse
October 6, 2009, 19:57 PM
I would first like to apologize for not updating the Edit Foundry Blog for almost a month now. I’ve been teaching and getting paid! I teach Video Editing (part time) at Front Range Community College in Longmont, CO. Building a lesson plan for each week takes a lot of time and I’ve been devoting all my spare educational time to that.
July 27, 2009, 16:46 PM
Having just seen Alfred Hitchcock's "The Wrong Man" for the first time, I was particularly taken by one sequence early in the film. Hitchcock was often known for his distinctive and often stylized filmmaking, but "The Wrong Man" is not at all a typical Hitchcock thriller but a more straight-forward drama...
July 12, 2009, 16:11 PM
Dr. Karen Pearlman, head of screen studies at AFTRS and co-artistic director of The Physical TV Company, has made her way into the literary field. Her book, Cutting Rhythms: Shaping the Film Edit, has now been published by Focal Press, America's leading publisher of books on media.
July 8, 2009, 16:01 PM
For a film editor it is a cause for frequent amusement and/or irritation, that film reviewers are never able to point out the editor's contribution. If a film is described as very effectively cut but otherwise long and boring, the editor knows that the film may have contained conspicuous transitions of scenes that were invented during the shooting or in the scriptwriting, but that the editing was ineffective or even sloppy.
June 27, 2009, 14:55 PM
In this post were going to talk about eye trace. I’ve been doing a lot of research on the subject lately. Here’s what I’ve come to realize. Eye trace is a simple concept to begin with, and if you think about it in your everyday editing it’ll improve so many little things.
March 28, 2009, 12:38 PM
The inspiration for the creation of this group is the international publication of "Cutting Rhythms: Shaping the Film Edit" by Dr Karen Pearlman, Head of Screen Studies at the Australian Film Television and Radio School and Co-Artistic Director of The Physical TV Company in Sydney, Australia. The book is being published by Focal Press, America’s leading publisher of books on film and media.
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