ART OF THE CUT with “Chernobyl” editor, Simon Smith

Feature films tell the story in act one, act two, act three and kind of wrap it up nicely and that’s what you go for. But television is experiential. It’s not about necessarily a start, a middle, and a conclusion. It’s about experiencing something. TV is at its best when it’s experiential, and this was one of those scenes where my goal was to just make you feel like you were experiencing it.

The entire article is so, so good if you are a fan of this miniseries.

How to Survive and Thrive in Hollywood and Beyond

by Vashi Nedomansky, ACE. I’m amazed by how much he generously shares on various social media, not just on this video.

Vashi Nedomansky, ACE will demonstrate editing techniques and the filmmaking processes behind Gone Girl, Deadpool, 6 Below, and more.He will also cover topics including expanding your creativity, the Importance of people skills and office politics, and balancing your creative and professional expectations against the realities of the industry.

Editing Marvel Films

Like everyone else in the world, I would love to work on a Marvel movie one day. (Now where is my Iron Man t-shirt?)

Editing Marvel Films | LAPPG -- New videos online monthly. -- SUBSCRIBE HERE - http://bit.ly/2IzNYsC Debbie Berman Film Editor https://www.imdb.com/name/nm1651766/ Debbie is co-editor of the Marvel blockbuster films - Spider-Man: Homecoming, Black Panther, as well as Captain Marvel and spoke with Monica Daniel at our March 2019 meeting.

How To Edit With Silence, From TV Editor Chris McCaleb

[Y]ou can’t figure out how to get into somebody else’s head unless you spend time watching them not talk and just being with them and staying on their face.

The silence is not a blank space but filled with the imagination of the audiences.

And what’s cool about visual medium, movies and TV, it’s so many different paintbrushes coming together to paint something that is often totally different than what you imagined it would be. Sometimes it’s better, a lot of times it’s worse but it’s always an interesting journey to get there.

This is why I believe computers/AI will never replace us, editors.

ART OF THE CUT with Evan Schiff, editor of John Wick 3

The other interesting thing that we do is that when we’re in the middle of the director’s cut, we give Chad an Avid with access to all the fight dailies... Being the incredibly knowledgeable martial artist that he is, he’ll go through and he’ll do his own cuts of the fights and then we’ll compare. He’ll see that somebody didn’t get an elbow in the right position in the take that I chose and he’ll find a take where they did.

A great interview about editing one of the best action films in recent year.