Remote workflow has revolutionized post-production: ‘You can pretty much be anywhere’
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editing
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When editor Gregg Featherman first signed on to Everything’s Gonna Be Okay, he relished the opportunity to work with “rhythms” in writing and performance that were “very different” to any …
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Committee NewsWeb Exclusives
Empathy for Showrunners? Yes, and Much More at MPEG’s Workshop for Newly Promoted Assistant Editors
by Molly Shockby Molly Shock“You have to work your courage muscle to develop a sense of self-confidence.”
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Web Exclusives
PHOTOS: 2019 Post Labor Day Picnic Gave Families a Chance to Soak Up Sun and Music in Burbank
by uncreditedby uncreditedGuild families braved the heat Saturday.
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Web Exclusives
2019 Emmys: See Photos of the Guild’s Nominated Women at MPEG Awards Brunch
by uncreditedby uncredited“This event has grown in the most wonderful ways.”
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Web Exclusives
Emmys 2019: Laura Weinberg Unpacks the Editing in Netflix’s ‘Russian Doll’
by uncreditedby uncredited“Comedy is very subjective, and it’s so hard to do.”
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Web Exclusives
Alfred Hitchcock’s Secret Censorship Battles and How They Changed Film History
by Betsy McLaneby Betsy McLaneThe director fought censors on both sides of the Atlantic from the start of his career to the very last.
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Web Exclusives
How Tyler Cook and Anthony Rosc Make Netflix’s ‘GLOW’ Shine in the Editing Room
by Rob Feldby Rob Feld“The writers want it to feel like real life,” one editor says of the Netflix wrestling comedy.
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More than 350 post-production professionals turned up earlier this month for TechFest, a new educational technology event presented by the American Cinema Editors (ACE), at Universal Studios in Los Angeles.
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Faced with a demanding career and a time-crunched personal life, a veteran film editor is behind a new system designed to help colleagues find the right balance.
