Timeline Tuesday

  • The Art of Crafting Trailers and Promos for FRONTLINE Documentary Films

    Whereas most editors’ timelines grow during the editorial process, Barry Clegg’s FRONTLINE promos actually shrink, going from rough cut to locked sequence.

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  • Polish 4K Stereoscopic Film ‘Tenderness’ Gives the Audience an Extra Dimension to Contemplate

    Cutting the 4K stereoscopic movie ‘Tenderness’ on Media Composer was a no-brainer for Polish editor Zbigniew Stencel. He started the project on Media Composer 6, continued on version 7, and finished the film on 8.4.

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  • Building Time-Saving Timelines for HGTV’s Hit Series ‘Brother vs Brother’

    Having a solid timeline workflow in place before you start to edit can save you and your team a lot of time and money. Read how editor Rhonda Thain created time-saving timelines for the hit series ‘Brother vs Brother’.

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  • Student Filmmaker Dominic Kubisch Explains How ‘Project: Baby’ Grew Up

    Student editor Dominic Kubisch used different tools inside Media Composer to tell the story of ‘Project: Baby’. Here’s how he mostly relied on Auto Sync, Markers and Sync Lock.

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  • Changing the Picture Editor Mid-Project on Horror Comedy Film ‘Scareycrows’

    With a rough cut barely finished, Dom Lee took over the task of finishing the edit for horror comedy film project ‘Scareycrows’. Here’s how he pulled it off.

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  • Cutting Lighthearted Children’s Short Series ‘Noy and Hadar’ From Home

    A serious back injury forced Tahel Sofer to stop editing the Israeli version of ‘The Voice’. Soon after, she started to cut the lighthearted kid-friendly short series ‘Noy and Hadar’ from her home office.

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  • From 5K Dailies to DCP—Editor Andrew Gust Describes the High-Resolution Workflow of ‘Kiss Me Kill Me’

    Feature film ‘Kiss Me Kill Me’ was filmed entirely in 5K and delivered as DCP for film festivals. Here’s how the post production team handled its High-Resolution workflow from start to finish.

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  • Acclaimed Film Editor Chris Witt Relied on Virtual KEM Rolls to Cut Short Film ‘Drink’

    For editor Chris Witt, one of the most enjoyable things about Media Composer is the ability to work in a film flatbed editing style. He still creates digital versions of KEM rolls to work from.

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  • Finding the Perfect Balance Between Style and Substance While Editing ‘Parnassus’

    The biggest challenge of editing the film ‘Parnassus’ was finding the perfect balance between style and substance. Here’s how editor Robin de Jong pulled it off.

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  • Cutting ‘Pikadero’ Slowly Unveiled the Glimmers of Hope and Devastation Building Up in its Characters

    Karel Dolak looks back at the editing process of ‘Pikadero’, witnessing how the story unfolded and the characters emotions’ played out on screen when married with other scenes.

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  • How the ‘Kingdom Hearts’ Games Got Their Reorchestrated Soundtracks with Help From Sibelius

    Project Destati is a musical homage to the score of the ‘Kingdom Hearts’ games. Here’s how Sebastian Wolff and his team reorchestrated Yoko Shimomura’s epic compositions with Sibelius.

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  • Editing ‘South Beach’: Miami’s Newest Vice

    Though launched as a 6-episode digital series, ‘South Beach’ was originally written and produced like a two-hour movie. Here’s how Nick Link edited ‘Miami’s Newest Vice’.

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