Editor Tom Cross gives you a guided tour of his incredible work on the movie, First Man. To hear the full interview with Tom, visit: www.theroughcutpod.com
Tag: rough cut
Heralded as one of the most iconic television series of all time, Vince Gilligan’s Breaking Bad kept audiences on the edge of their seats for five-straight seasons and challenged them to embrace characters that staggered back and forth over the line between hero and anti-hero. Kelley Dixon ACE, Skip MacDonald ACE, Chris McCaleb, and Sharidan
Documentary filmmaker Morgan Spurlock (Super-Size Me, The Greatest Movie Ever Sold) is proof that self-made success can be had. And with today’s increasing content demand, there’s never been a better time to get your game on. See our special presentation with Morgan from NAB 2012. We discuss how unique ideas, the right tools, and a
ACE Editor Mark Sanger’s work on the 2013 thriller “Gravity” helped the film win seven Academy Awards, including Best Visual Effects. To create the immersive sensory experience critics raved about, Director Alfonso Cuarón took the unusual approach of giving his editing team a lead role in the pre-production process. In this episode of The Rough
Veteran editors Sean Albertson (left) and Paul Harb (right) have a deep history working closely with Sylvester Stallone on action films like Rambo, Rocky Balboa, and their newest collaboration, The Expendables 3. Sean and Paul first joined forces with Sly to edit the film, Rocky. They developed a bond while working together with a team of
In this episode of The Rough Cut, producer Greg Spence gives us an inside look at their visual effects process and how they blend great location scouting with digital imagery to make fantasy a reality. With a workflow that often begins on location in the harshest conditions, Greg walks us through a post process that
This previously missing gem with features editor Eddie Hamilton was recorded live on our stage at NAB 2012. Eddie shares his passion for the art of editing and gives a behind-the-monitor look at the techniques he used on the films X-Men: First Class and Kick-Ass.
In this episode of The Rough Cut, I sit down with editor Tim Squyres on stage at the 2012 Boston SuperMeetUp. Tim, having just finished editing Ang Lee’s “Life of Pi” the Monday prior, has lots to share about shooting and editing in 3D, the role of the assistant editor on feature films, and his
Follow Matt on Twitter – http://twitter.com/MattFeury In our 40th episode of The Rough Cut, Matt sits down with Producer and Director, Doug Liman (Swingers, The Bourne Identity, Covert Affairs). Doug talks about his experiences working in both film and television, as well as how to talk Brad Pitt and Angelina Jolie into doing your movie
Follow Matt on Twitter – http://twitter.com/MattFeury Out with the old and in with the new! After a big year of new features and new hardware for Media Composer, Matt’s in the Rough Cut studio visiting with the ghosts of NLE’s past. Take a trip down memory lane and check out some things that you may
We sit down with Chris Nelson A.C.E. Editor of Lost, Mad Men, and Six Feet Under to discuss his career in post-production and the challenges editors continue to face in “fixing it in post”. This presentation was the keynote for the UFVA 2011 Conference, recorded on-site at Emerson College.
It’s more from Kevin Smith with Avid at NAB 2011! The day after his presentation at the Avid Main Stage, Kevin goes into more detail about Red State, takes questions from the audience and gives some great inspirational advice for those aspiring to be creative professionals.
Recorded live at our 2011 NAB Show main stage, legendary filmmaker Kevin Smith drops by to talk about his latest film, Red State. Kevin also talks about the many hats he wears as writer, director, editor and husband.
In this episode of The Rough Cut, we meet writer/director Steven Sprung and writer/producer Michael Bershad to talk about the concept and story behind their independent film “Dispatch”. Part 1: Writer/director Steven Sprung and writer/producer Michael Bershad to talk about the concept and story behind their independent film “Dispatch”. Part 2: Assistant editor Drew Sommer
ScriptSync® gives Media Composer® editors a greater level of efficiency and control over their media then they’ve ever had before. Editors can simply and quickly synchronize their media to an electronic copy of the script from their film or TV show. Instead of having to shift through bins or shuttle through clips an editor simply