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The Film You Save May be Your Own: Five Rules for Smooth Post-Production without Going Broke
Young directors spend years thinking about their movies, the ones that they hope will put them...
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The Devil’s in the Data Details: Why a Good Data Management Tech is Critical to Your Digital Workflow
If you’re planning to shoulder a Super 16mm camera on your next project, I applaud your...
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Your Best Color: The Indie Director’s Guide to Color Correction
Sure, you thought about your edit, visual effects, and music during pre-production… but you overlooked color...
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Scene Tectonics: Damage-Control Your Edit with Eight Tips for Scene Transitions
We’ve all been there–the editing room-turned-rescue center. Here’s a secret to surviving those agonizing hours: Tightening...
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Nine-to-Five Warfare: The Making of Andrew Niccol’s Good Kill
One cannot criticize Andrew Niccol for not having a social conscience in his films, whether it’s...
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A Walk in the Woods: Veterans John Bailey and Carol Littleton on their Latest Partnership
A Walk in the Woods, the Ken Kwapis-directed feature that premieres today at the Sundance Film...
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How They Did It: Inserting Cuts into a Oner in Don’t Look Back
Microbudget director William Dickerson (Detour, The Mirror, Shadowbox) doesn’t believe in the traditional mandate to get...
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True Invisibility: An Interview with Editors Stephen Mirrione and Douglas Crise of Birdman
The “single shot” that underpins Alejandro González Iñárritu’s new movie, Birdman or (The Unexpected Virtue of Ignorance),...
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How They Did It: The Visual F/X of Gondry’s Mood Indigo
Happy Bastille Day! Directed by the colorful, hyper-kinetic, and very French Michel Gondry (Eternal Sunshine of...
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Letting Go on the Cutting Room Floor: A Post-Production Conversation Between David Lowery and Shane Carruth
Editing begins when I’m writing, continues while I’m on set, and then blossoms into its own...
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Dialogue Looping and Walla 101: Seven Things to Know for Superior ADR
Indie moviemakers sometimes forget that cinema is not just what’s seen (cinematography, sets and costumes, actors’...
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Fictionalizing Truth: Lee Daniel’s The Butler & More
We’ve all seen those stately biopics (usually with Oscar aspirations), in which renowned actors portray real-life...
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Tech Reviews: FCPX Plugins and App Roundup
A relatively large 3rd party ecosystem has sprung up around Final Cut Pro X (FCPX). Here...
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We Make Movies (Better): Final Cut Pro X/RED, Part 3
Finishing your RED movie using Final Cut Pro X, Redcine-X, and DaVinci Resolve In Parts 1...
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We Make Movies (Better): Final Cut Pro X/RED, Part 2
In Part 1, I dealt with how to properly prep your RED project for long-term feature...
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We Make Movies (Better): Final Cut Pro X/RED, Part 1
Part 01: Project Prep – How to properly bring in your RED footage and build your...
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Killing Your Darlings: Four Moviemakers Talk About Editing Their Own Films
Kyle Patrick Alvarez Director/Editor: Easier with Practice I never intended to edit my own films. My “day...
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We Make Movies (Better): Giving FCPX Another Chance
It’s become one of the film world’s great pastimes to sit around and hate on what...
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All I Want for Christmas: An FCPX Pro Editor’s Buying Guide
A lot has changed tech-wise in the last couple years when it comes to post-production needs....
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Getting Lucky: Snow White and the Huntsman
In addition to being an accomplished director of commercials and short films, Cedric Nicolas-Troyan is perhaps...
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Sixteen19: Minimizing Post-Production Insanity on The Three Stooges
The culmination of a twelve year odyssey, The Three Stooges is a testament to the tenacity...
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Art of the Guillotine to Release New Editing App
There are constantly new innovations in the art of editing. In today’s fast-paced industry, it is...
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Louis Cioffi Dissects Dexter: How Editing is a Multi-sensory Puzzle
Louis Cioffi, ACE, has found “Dexter” to be an enthralling assignment for the past four seasons....
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Manhattan Edit Workshop Goes Back to the Future
In the Six-Week Intensive Course at Manhattan Edit Workshop (Mewshop), students learn how to use editing...
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