Spotlight, director Tom McCarthy’s powerful, new drama, tells the true story of the Boston Globe’s investigation of child molestation by Catholic priests and the subsequent cover-up by the local archdiocese. The film, released by Open Road Films, was edited by Tom McArdle in his fifth collaboration with McCarthy, dating back to 2003 and The Station Agent, the director’s feature debut. McArdle and his crew spent 10 months cutting Spotlight at PostFactoryNY’s facility, with eight months devoted to picture editing, and two to sound, music and visual effects.
The Editors’ Lounge hosted their May event where production and post-production professionals were given the opportunity to get an up close look at the latest time-saving tools from RE: Vision Effects and Venera Technologies. Editor Brady Betzel also led a discussion with an emphasis on how learning new toolsets can put film & television editors careers on the fast track. Four lucky attendees walked away with raffle prizes from Venera Technologies and a complete set of plug-ins from RE: Vision Effects at the end of the evening.
EditFest London has unveiled its daylong lineup of editors, who will take the stage at the British Film Institute's Southbank location on June 20th. EditFest, produced by American Cinema Editors, brings top-level film and television editors together to share insights and experiences in the art of editing. EditFest returns to London for the third year, providing a European audience the rare opportunity to hear, meet, and engage in conversation with some of the finest editors in the world.
Editor Brian Sepanik of The Colonie recently crafted an open for the London Business School’s 2015 TEDx Conference that challenges the viewer to see the familiar in new and unexpected ways. Beauty, Shape, Examine, the translation of the Greek root words of Kaleidoscope, inspired My Sister Fred’s thought-provoking concept for the video and Sepanik’s approach to bringing home its message. The agency tasked The Colonie with taking the post-production for the project from creative editorial, motion graphic design and color grading through finishing.
Cinedeck today announced File-Based Insert Editing, which enables insert editing on digital deliverable files for the very first time. Cinedeck is the first technology manufacturer to develop this breakthrough software solution, which completely eliminates traditional, time-consuming and costly workaround procedures of editing and re-rendering entire final program content, or editing and laying off to tape then re-encoding to a delivery file, resulting in dramatically improved productivity.
The Colonie editor, Bob Ackerman, and renowned director, Joe Pytka, recently paired up to create a dramatic spot for McDonald’s, out of Burrell Communications. Driven by realistic, gritty, cinematic style footage, the :60 commercial, entitled, Good Things, tells the story of a group of African-American teenagers hanging out on dark inner city streets. At first glance it seems that they might have some questionable plans for the evening. However, the story arc soon reveals the group to be a force of optimism, hope and the shared spirit at the heart of their community.
Forbidden Technologies has announced a partnership with Toronto post-production house Triangle Post. Triangle Post has incorporated Forbidden’s Forscene technology into its post-production services business, making it the first company in Canada to do so.
London-based production company Studio Lambert is using Forbidden Technologies’ Forscene for the quick-turn production of Channel 4's Gogglebox. Part of all3media, which is the U.K.'s largest independent television, film, and digital production and distribution company, Studio Lambert uses Forscene to search and select clips from the rushes while editing is in progress on the observational documentary.
Airbag Productions, in Melbourne used Frankie for both interactive and independent reviews during the creation of a commercial for Vauxhall Insignia, which features creative CG images of metallic birds, bulls and dolphins that morph into each other and the car.
Los Angeles-based Juan Ignacio Cabrera recently handled the post-production for the second and third seasons of Chosen, the most successful show on Sony's Crackle TV network.