EDITOR'S NOTE
Fast Track to the Future
by Tomm Carroll
 Tomm Carroll |
Editography. That’s the term coined by John Gaeta, one of the visual effects supervisors on the new Speed Racer film (our cover subject this issue) to describe the work that the post-production team, headed by editors Zach Staenberg and Roger Barton, performed on this picture. A hybrid of editing and cinematography, the term reflects the increased merging of the two disciplines in the post-production suite on visual effects-laden films. We reported on this trend a few years ago, writing about the “nonlinear production” of The Polar Express (see Editors Guild Magazine MAR-APR 05).
According to Barton, the directors of Speed Racer––Larry and Andy Wachow-ski––encouraged their crew to “think outside of cinematic conventions.” The brothers, of course, have already done that with their Matrix films, but this new project promises to up the ante. Staenberg, who has edited all the Wachowskis’ films, says they are expanding the language of perception and even “redefining perspective.”
Whatever it is they’re doing, Team Speed Racer is on the fast track to the future of feature filmmaking. They are also advancing the craft and expanding the role of the editor in the process. Our writer Debra Kaufman spoke with Staenberg and Barton about their groundbreaking work on the film.
While it’s not exactly groundbreaking for assistant editors to be bumped up to full-fledged editors on a show, it is rather unusual for three of them to be promoted in as many years––on the same series. But that’s exactly what has happened in the editing room of the television show Bones. Assistants-turned-editors Andrea Folprecht, Richard Currie and Kimberly Ettinger tell Laura Almo how it all transpired.
Noted indie editor Curtiss Clayton (The Assassination of Jesse James by the Coward Robert Ford) recently discussed his career and his choice of projects at an Editors Guild-sponsored event at the Manhattan Edit Workshop in New York. Dan Ochiva was in attendance, and also interviewed the editor after the presentation. His report and their conversation reveal some enlightening comments from Clayton.
Self-deemed “gearheads,” engineers are the focus of our classification spotlight this issue. Michael Kunkes talks with these integral, often show-saving, technicians––who are unfortunately seldom recognized for their contributions––and learns about their penchant for fixing things.
Kunkes also investigates the new product from Adobe, released the week before NAB 2008. Adobe Media Player, from the company’s Dynamic Media division, can be used online or offline and features HD-quality playback of streamed, downloaded or locally stored video. It is available for free download.
And finally, this issue also offers our annual awards round-up, featuring the post-production winners of the Oscars and BAFTA Awards, as well as the honorees at the American Cinema Editors, Cinema Audio Society and Motion Picture Sound Editors award ceremonies. In addition, the technical directors for the Academy Awards weigh in on what it’s like to bring that kudo-fest to air every year.
In our next edition, look for a full report on the new technology discussed and exhibited at the recently wrapped NAB trade show in Las Vegas. Until then, happy reading.