Sentences with phrase «film editing work»
Although Steven Spielberg certainly deserves accolades for his direction (especially having to put up with an uncooperative mechanical shark named Bruce), in addition, Verna Fields received an Oscar for her excellent film editing work on the film.
https://www.lifewire.com/ Not exact matches
Previously, he edited features and series and worked on BI FILMS, Business Insider's documentary film unit.
Those 10 years were laced with so many failures: quitting many times over, re-writing the edits of my re-write, working back in a cubicle, working back at the dream, trying to live in a retirement home to film a documentary, relationship debacles, a fire that almost burnt down my house and every other twist and turn of «God, where are you in this?»
Video filming and editing can be time consuming, but nifty app 1 Second Everyday takes the hard work out of it.
The birth of baby Luna at Boca Raton Regional Hospital in Boca Raton, FL with midwives Courtney McMillian and Polina Goldenberg of Boca Midwifery, who work with Dr. David Lubetkin, filmed and edited by Paulina Splechta of Paulina Splechta Photography, birth photographer and film maker based out of Boca Raton, FL..
There is no equipment for film editing, sound mixing or other post-production work.
The post-production work such as sound editing and music recording is being done in Poughkeepsie and Los Angeles, not DeWitt, because SUNY Poly has not yet furnished the film hub with post-production equipment, Johnson said.
BOX 13, C -4-4; 30215271 / 734809 Film - Program Series «Here's Science» Part 7 Reel No. 2, 29 minutes Reel No / 4 Reel No. 1, 31 minutes Black and White Film - Predicting 2 (Kobin), mag stripe work print, 23 minutes (Kobin), mag stripe work print, for editing, 23 minutes (Podendorf), mag stripe work print, for editing, 23 minutes «Discovery», A.T. and T. Science Film, 28 minutes, Sample Print # 7, 1 Jan. 1975 unlabled film
A similar technique could help a film editor work out how effective different edits are for an audience's understanding of a film.
Mr. Saenz has also worked on shooting and editing music videos, short films, short documentaries, commercials and live sporting events.
I filmed these short «outfits for work» clips, just before heading to work, and, at the end of a busy working weekend, I had enough material to edit a fashion video!
I spent some time in Croatia filming videos, beauty and fashion related, and in these days I'm working on editing all the material.
Soon Rob started a web site called Movieolla and before long was being chased by lawyers for the people who make the Moviola editing equipment that is the film industry work horse for cutting and splicing.
The original's commitment to tension and tone worked far better than the slackly - edited split personality of this film - a comparison almost directly invited by slavish repetition of many of the first film's story beats.
The direction and editing are slick and workmanlike, letting the performers do the work without overplaying the limited setting in which most of the film takes place.
As a standalone film, The Phantom Menace probably won't appeal to kids raised on rapid editing and epic explosions, nor does it work as an introduction to the Star Wars universe.
Other lesser known works, such as 1928's The White Stadium, are marvels of late - silent era filmmaking, employing elliptical editing rather than the newsreel style more common to several of the earlier compilation films in this collection.
Nothing about this film works: the camerawork is amateurish, the acting is stilted, the characters underdeveloped, the editing looks like it was done by a blind monkey, and as for the plot — the plot makes no damn sense.
I imagine editing a book series is somewhat akin to curating an art show or even a film retrospective: in all three cases the curators / editors need to present works tied together with a thematic thread.
He soon moved on to film editing, and received an Oscar nominated for his work on Citizen Kane (1941).
This early test edit of the real match would help Martin work with directors to create the perfect climactic set piece for their film.
Despite sloppy moment - to - moment editing the film's pace works well enough; this is a movie with some energy, and along with the amiable leads and just - enough - jokes script (by Freaks and Geeks» own John Francis Daley, working with Jonathan M. Goldstein, as well as Michael Markowitz) that's enough to get a pass from me.
The film also won in the categories for editing and cinematography, as well as special awards for its sound design and visual effects work.
«I've never worked on a film, ever, where the order of scenes didn't get change and things from the back half didn't end up at the front half,» he says of editing.
Perhaps due to the choices to cover older works, they're more able than ever to produce intelligent, thoughtful, and informative criticism — while this article maligns their production value as no better than «the average Youtube video,» editing a video review to provide context via clips of the film is a step beyond what the vast majority of populist or even academic film criticism has done in the past, let alone other related films in the genre and in the director's oeuvre for context.
A native of Somerville, MA, who received his film education in the esteemed SUNY Purchase film program, Gomez did editing work in 1990 on the Hal Hartley films The Unbelievable Truth and Trust.
British director Terence Fisher is best known for his work with Hammer Films but before he started making movies for the studio that dripped blood, Fisher edited and co-directed a number of films for Gainsborough Pictures.
This award - winning film from Iran is a stunning piece of work, beautifully telling a raw human story with expert writing, direction, photography, editing and acting.
Scott Beck: What we're working on right now, we're actually in the editing room on our next film, Haunt, that we wrote and we directed.
Warner Bros. has scheduled the film for a November release but Jonze revealed he's been editing for about a year and has plenty more work to do.
I truly can not think of a movie that I've seen that was so blatantly torn to shreds in post-production in the editing room, to a point where it feels like no single scene belongs in the same movie as any other one, and that no one working on the film even realized they were working on the same one as all of these other people involved.
If this is a directorial debut, you may submit a film you have shot or edited instead, or a previous work from a key creative member of the team (e.g. editor, cinematographer), will also be accepted.
You've got a fantastic cast, with Jennifer Lawrence and Bradley Cooper having proven onscreen chemistry, yet the film sat on a shelf for almost two years and seems to have been edited by several committees working independently of each other.
(James was nominated in 1995 in the film editing category for «Hoop Dreams» while Varda garnered an Honorary Oscar for her body of work in November at the Governors Awards.)
Along the way, we touch on the abandoned film project that Lee was working on with screenwriter Michael Arndt, how The Book Of Life affected this production, the evolution of the idea from the initial spark to the finished film, how Adrian Molina got involved in the project, how Lee Unkrich went from editor to director and how he edits his own films, how Darla got a credit as «Digital Angel» on the original Toy Story, hiding easter eggs in an international setting, and working with Michael Giacchino.
Psycho was made in the Moviola era, but Hitchcock had worked with the editor, George Tomasini, on a half - dozen earlier films and had total control over the editing process.
She reflects: «When I was looking to go into the film industry, there was Thelma Schoonmaker, who had won Oscars for her work with Scorsese, and Verna Fields, who edited some brilliant films that I grew up with such as Jaws and American Graffiti.
Slow, strong and steady is how this film progresses, and everything — from the character development to the editing, right down to the gorgeous camerawork from Wally Pfister, the man behind the bulk of Christopher Nolan's films — just works incredibly well together.
David Lowery («Ain't Them Bodies Saints») Lowery is no newbie: the indie film lifer has been working under the radar for years now, and carries an editing credit on two of the year's finest independent films, «Upstream Color» and «Sun Don't Shine,» as well as the moody, as - yet - unreleased «Nor» easter.»
And it's not just the framing and the rhythm which make the film work so well, it's the repetitions and call - backs and delayed punchlines and bathetic edits too.
«Having nine nominations is really fantastic for a film like «Carol,» and to see Todd's work and Todd recognized in this way, which hasn't fully happened until this point, is incredibly gratifying because he is one of the great contemporary American filmmakers, and his films and «Carol» will be here long after we are all gone,» she said, although she added that she would have liked to have seen the contribution of Carter Burwell and Affonso Goncalves recognized as well, for music and editing respectively.
Editing the VFX took about six months, which Aranson noted is, «much longer than his previous films — even period ones,» adding: «Woody is lucky to have worked with his artistic collaborators from his past films so they know what he is trying to achieve.
Shot by Academy Award - winning cinematographer Robert Elswit, who has worked with Anderson ever since Hard Eight, scored by singer - songwriter Michael Penn, edited by the great Dylan Tichenor, who started as an apprentice on Robert Altman's movies and went on to do great films such as Magnolia, There Will Be Blood, Brokeback Mountain and The Assassination of Jesse James by the Coward Robert Ford, Paul Thomas Anderson's epic drama went on to garner three Academy Award nominations, did reasonably well at the box office by tripling its initial investment and, more importantly, showcased the surprising talent and determination of one of the few brilliant filmmakers of American contemporary cinema.
Despite working with Danny Elfman on his previous six films, Burton chose Howard Shore to compose the score, while the editing was handled by the two - time Academy Award nominee and Midnight Run editor Chris Lebenzon.
Extras: «Night of Anubis,» a never - before - presented work - print edit of the film; new program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; never - before - seen 16 mm dailies reel; new piece featuring Russo about the commercial and industrial - film production company where key «Night of the Living Dead» filmmakers got their start; audio commentaries from 1994, featuring Romero, Russo, producer Karl Hardman, actor Judith O'Dea, and more; archival interviews with Romero and actors Duane Jones and Judith Ridley; new programs about the editing, the score, and directing ghouls; new interviews with Gary R. Streiner and Russel W. Streiner; trailer, radio spots, and TV spots; an essay by critic Stuart Klawans.
While I wouldn't mind playing with some of these side characters and superfluous plotlines in a video game, as an adaptation of a beloved work that has enchanted many millions of readers, young and old, I'm left longing for a different kind of fan film — the inevitable one in which someone edits out all of the stuff not from the writings of Tolkien — and makes it the movie it always should have been from inception.
I began doing some minor post-production work, supervising some editing and film transfers.
Return to Oz is the only film directed by Walter Murch, who is famous for his sound editing work on such films as Francis Ford Coppola's The Conversation and Apocalypse Now.
Aussie filmmaker Nash Edgerton has done pretty much everything in the medium of film, from writing, directing, acting, producing, editing and even stunt work in the likes of THE MATRIX and STAR WARS prequel trilogies.
It just seems like the Sony marketing department doesn't have enough faith to do a JJ Abrams - like slow build, and instead decided to bombard moviegoers with as many cool looking shots from the film edited into a neat little package (something I think works closer toward release).