Lesson #15

December 15, 2014


(and, yeah, I know the background of this part of the page is pretty stupid, but what're you gonna do?)

Handouts for this Week


This week is primarily a finishing-up week. You'll hand in your complete CRIMSON TIDE sequences. You will receive them back later on this week, along with some comments. If you want me to e-mail you the comments, let me know.

heimWe're going to start off by welcoming Jordan Goldman to the class to engage in a question and answer session. Jordan has edited such series as HOMELAND and THE MASTERS OF SEX.

He's the one on the left over there behind the Avid.

We'll also take a look at the completed CRIMSON TIDE sequence as cut by Chris Lebenzon. You'll see that there is a strong use of close-ups in the sequence, far more than I've been encouraging you to cut. There is also a very strong story-telling sense. By this I mean that Lebenzon and director, Tony Scott, always try and make clear exactly where we are and what the characters in the scene are doing with and to each other.

This is part of Scott's typical style, but it also typical of much of the Hollywood style of action filmmaking and, to be broader, a story driven Hollywood film. It is a satisfying way of watching film for much of the American audience and it does, I think, partially account for the failure of the film MAD DOG TIME, which I edited. That film was deliberately obtuse in story, though specific in style and tone. Like it or not, it was not a film which was easily accessed by the typical audience. That is neither bad nor good, though United Artists (who distributed it) may feel differently.

In previous classes, I've screened the recut opening shot from TOUCH OF EVIL, the "discovery" scene from POLLOCK and had composer David Newman come in to talk about music scoring. I know we won't be able to do any of that tonight. But if you want to see a bit about that discussion click here.

Finally -- last week, I asked you bring into class tonight one question that you wished we had dealt with in class, but hadn't. We'll go through them, one by one (hopefully with a glass of wine in hand), and deal with them. Learning never stops, I hope. Not yours and not mine.


Careers In Post-Production
This excerpt from a union seminar on various careers in editing and the allied industries, was originally run in the Editors Guild Newsletter. This piece has a few choice quotes about how different pieces of the post-production puzzle fit in together to create an entire film. In general, the newsletter/magazine is a great way to keep on top of the concerns that working editors and assistants have in today's editing community.
Top 100 Lists
Always on the lookout for films that I might have missed, I've tracked down three lists of Top films. One, the Top 100 Overlooked Movies of the 90s, is actually totally hilarious. Sight and Sound Magazine has a list of their Top 100 films which actually lists some pretty phenomenal films, as does the Village Voice's.

Assignments for Next Week

I must be joking, yeah?

Yeah. I am.

This is really the end. Thanks for letting me be part of your education, your life and your Monday nights. Keep me posted on what you're up to and don't hesitate to e-mail me at my school email address if you have any questions, scripts or pieces of cut footage that you'd like me to look at.

It's been a great semester.

Added Material

Questions To Analyze An Edited Film
Anatoly Antohin, who teaches film theory in Fairbanks, Alaska, has put together a long list of items to look for in a film, that reflect on its editing. It's actually quite a fascinating list and covers how the editing uses cinematography, music, sound and many of the other things that we've been talking about these last fourteen weeks. He also discusses the theory of montage on another page. If you can get past the incredibly annoying MIDI music he drops on some of his pages, you'll find a wealth of often rather insightful pieces on film.
Using the new Stereoscopic Tools in Media Composer
There are a number of tutorials here which, while focusing on how to use the new 3D editing tools in Avid Media Composer 6, also give some good background on the issues involved in stereoscopic filmmaking, including terminology.
Post Production At Dreamworks
This article from the Avid website, talks about the post production workflow at Dreamworks.
Hi-Def and Technology At The Studios
This article, from the Hollywood Reporter, is a roundtable with several of the post production heads of the major studios.
Editing DREAMER on Final Cut Pro
This article quotes then post production head Marty Cohen in a discussion about the HD post production workflow on this Dreamworks film.
UTA Editors List
UTA, one of the bigger talent agencies in town, also represents below-the-line people -- like editors. This is a list of their clients, with links to their credits.
Creative Cow Site and Podcast
Creativecow is fast becoming the premiere web site for articles, forums and tutorials on a wide variety of media creation -- including editing. A few months ago they started a podcast that has news and some great discussion about topics of interest to editors. One of their best came in podcast #2, where there is a great discussion on the details (pro and con) of the HDV format. I put each new show on my iPod and listen as I drive to school. It's a great way to learn about our field.

Though I've tried to accomodate other browsers THIS SITE IS DESIGNED FOR BEST USE WITH IE for the PC, SAFARI for the Mac, and FIREFOX for both the PC and the Mac. It also looks reasonably good on the iPhone. Lucked out on that!

All material, except where noted, ©1999-2013 by Norman Hollyn. Questions? Comments? Suggestions? Send me an e-mail at my office
Last Modified - August 25, 2014