Television

People seem to have the impression that I sit in a big office with millions of films which I loan out to interested borrowers… My actual job involves locating stock shots …

When London was readying The Pacific’s post-production workflow in 2007, he participated in two key decisions—to shoot the miniseries on film rather than acquiring it on emerging file-based systems, and …

“Sometimes, hearing another editor comment on your work in an open forum and having him tell you he sees a problem and how he thinks it should be fixed, can …

The challenge with NCIS from a sound editorial perspective, according to Schorer, is the relentless amount of detail.

From the CineMontage archives, a 2009 interview with the award-winning editor, Dann Cahn, about the beginnings of the I Love Lucy show and the ground-breaking editorial requirements for the three-camera …

Some people have a plan.  I did not, do not, and am still not sure what I would like to be when I grow up.  Oh, I am mostly grown, …

To hear Stuart Bass, ACE, talk about television editing, one might think he has an insouciant attitude towards his craft. “Editing comedy is a specific talent…it’s just difficult to say …

I have had some great mentors during my career, and would love to give back.  With a little luck, I will have the opportunity to edit full time and, maybe …

A handful of television editors at different stages in their careers recently sat down with CineMontage to discuss the past, present and future of editing for TV.

Working remotely has become commonplace in big, visual effects-laden feature films. It certainly appealed to Kirk Demorest.  So much so that he decided to figure out a way to do …