Art of the Cut: Conversations with Film and TV Editors

Art of the Cut provides an unprecedented look at the art and technique of contemporary film and television editing. It is a fascinating “virtual roundtable discussion” with more than 50 of the top editors from around the globe. Included in the discussion are the winners of more than a dozen Oscars for Best Editing and the nominees of more than forty, plus numerous Emmy winners and nominees. Together they have over a thousand years of editing experience and have edited more than a thousand movies and TV shows.

Hullfish carefully curated over a hundred hours of interviews, organizing them into topics critical to editors everywhere, generating an extended conversation among colleagues. The discussions provide a broad spectrum of opinions that illustrate both similarities and differences in techniques and artistic approaches. Topics include rhythm, pacing, structure, storytelling and collaboration.

Interviewees include Margaret Sixel (Mad Max: Fury Road), Tom Cross (Whiplash, La La Land), Pietro Scalia (The Martian, JFK), Stephen Mirrione (The Revenant), Ann Coates (Lawrence of Arabia, Murder on the Orient Express), Joe Walker (12 Years a Slave, Sicario), Kelley Dixon (Breaking Bad, The Walking Dead), and many more.

Art of the Cut also includes in-line definitions of editing terminology, with a full glossary and five supplemental web chapters hosted online at www.routledge.com/cw/Hullfish. This book is a treasure trove of valuable tradecraft for aspiring editors and a prized resource for high-level working professionals. The book’s accessible language and great behind-the-scenes insight makes it a fascinating glimpse into the art of filmmaking for all fans of cinema.

 

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Actor Demo Reel Video Editing Guidelines for Actors and Editors: Rules, Tips, Tricks and Advice to Save Money, Manage Your Acting Career, Maximize Reels for Busy Casting Directors

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For actors, demo reel editors, and video editors who want to learn about producing demo reels.

As an actor and demo reel editor, I have a perspective of the actor’s needs as well as skills offered by editors, including techniques most actors aren’t aware of. But by knowing demo reel guidelines plus technical aspects, actors can manage their demo reels and control their marketing branding images.

Actors: Learn how to save money and spend it wisely. Learn how to produce your demo reel from beginning to end and maximize the punch-per-second for busy casting directors. Learn how to work with an editor and what enhanced services an editor can offer.

Demo reel editors: Learn how to produce demo reels and what’s important to an actor (your customer). Be an asset to the actor’s business to expand your business. Gain a perspective many demo reel editors don’t have. Instead of being an editor who happens to edit demo reels, offer solid demo reel editing services. Learn tips and tricks not typically considered for demo reels, and apply the techniques to make a good demo reel a great demo reel!

Some topics covered include:

  • The purpose of a demo reel
  • The intro section
  • Make your demo reel all about you
  • Demo reel length and scene lengths
  • Partial scenes
  • How many scenes?
  • Ordering scenes
  • The closing section
  • Montages
  • Commercial, industrial, or theater (stage) material
  • Monologues
  • Music options
  • The one-minute speed reel
  • Are you ready to have a demo reel?
  • How to get more material
  • What your demo reel is not about
  • Raw footage: the best source material
  • What not to include
  • Preplanning
  • Technical tips and tricks
  • Your demo reel is not your editor’s advertising billboard
  • And more…

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The Art of the Documentary: Fifteen Conversations with Leading Directors, Cinematographers, Editors, and Producers (2nd Edition) (Digital Video & Audio Editing Courses)

Documentary filmmaking is a powerful and vital element to our society,  and those who are responsible for bringing real stories and issues to a creative medium often have an uncanny ability to make a deep connection to us with their art. Legendary directors and cinematographers such as the Maysles brothers, D.A. Pennabaker & Chris Hegedus, Errol Morris, or Ken Burns have vividly made their marks in recent decades and continue to inspire those who enter the field. Inexpensive video camera equipment and video editing software have helped fuel a new wave of truth-tellers, bringing the tools of the craft within reach of amateurs and students, as well as independent journalists and filmmakers on a budget.

In The Art of the Documentary, the directors, editors, cinematographers, and producers behind today’s most thought-provoking nonfiction films reveal the thought processes, methods, and collaborations that have guided their efforts- from project conception to developing, producing, shooting, editing, and releasing some of the finest documentary films of recent decades.

This richly illustrated volume, which will appeal to professional and aspiring filmmakers, as well as documentary enthusiasts, features conversations with directors, cinematographers, editors, and producers, including Ken Burns (The Civil War, Jazz, Baseball), director/cinematographer D A Pennebaker (Dont Look Back, The War Room), director/cinematographer Albert Maysles (Gimme Shelter, Grey Gardens), director Errol Morris (The Fog of War, The Thin Blue Line), director Chris Hegedus (Startup.com, Down from the Mountain), editor Larry Silk (Pumping Iron, Wild Man Blues), cinematographer Buddy Squires (The Civil War, Ram Dass, Fierce Grace), director/producer Lauren Lazin (Tupac: Resurrection, Journey of Dr. Dre), editor/director Paula Heredia (The Vagina Monologues, In Memoriam: New York City, 9/11/01), director/cinematographer Kirsten Johnson (Fahrenheit 9/11, Innocent Until Proven Guilty), editor Geof Bartz (Lenny Bruce: Swear to Tell the Truth, He’s Having a Baby), Sheila Nevins, President of HBO Documentaries and HBO Family, Alison Bourke, executive producer for IFC, Cara Mertes, executive producer at PBS for the POV series, Frazer Pennebaker, producer. And with contributions by: Carol Dysinger, film editor and professor, NYU Film School, and Haskell Wexler, cinematographer.

A Note About the Second Edition:

In this edition of the book, we have included the original full interviews of the producers that did not appear in the first edition. Those producers include Sheila Nevins, Lauren Lazin, Alison Palmer Bourke, Cara Mertes, and Frazer Pennebaker. The interviews of the directors, cinematographers and editors have been left in tact and are included as they appeared in the first edition. The filmographies of each interviewee have been updated to include recent works.

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