EDITOR'S NOTE


Hitting the Books—and the Tube
by Tomm Carroll


Tomm Carroll

Is it September already? It seems that no matter what stage of life one is in, the ninth month of the year always represents two things: Back to School and the New Television Season.
In honor of those collective perceptions (more on the latter later), the theme of this issue concerns education in the post-production field. For our cover story, Guild member Norman Hollyn, head of the editing track at USC’s School of Cinema-Television, Fritz Gerald, post-production supervisor at NYU’s Tisch School of the Arts, and several other educators from the nation’s top film schools discuss with writer Debra Kaufman how their respective institutions cope with keeping their students up to date on the ever-improving technology in the post world.

Of course, film school is not the only place to learn digital and high definition editing. There are numerous classes, programs and seminars offered by various organizations and facilities, from Apple Stores to Video Symphony. Recurring Editors Guild Magazine freelancer Selise Eiseman, a film professor herself, compiles a list of these alternative educational solutions available in Southern California and beyond. In addition, Eiseman also interviews Diana Weynand, namesake of Weynand Training, who has been developing curricula for entertainment industry technologies for over 25 years.

And speaking of post-production instructors, for her day job, our own regular contributor Laura Almo teaches editing at El Camino College in Torrance, California. A product of Stanford University’s graduate program in documentary film production, Almo provides a first-person account of how her own education in the art and craft of editing film informs her teaching methods in today’s digital world.

Of course, much closer to home for Guild members are the educational opportunities presented at the Training Centers of our Hollywood and New York offices, both of which offer sessions and special classes throughout the year. Two seminars held in early June at the Guild’s Hollywood headquarters––one on Adobe’s Production Studio and the other on Virtual Katy’s workflow solution for sound editors––are covered by Kaufman and Michael Kunkes, respectively, in these pages.

While television series are increasingly debuting or having their season premieres throughout the year, it is still usually fall (late September and October) when the bulk of the new and returning shows arrive on our TV screens. With the success of Fox’s award-winning continuous (and seemingly continual) dramatic action series 24 (see Editors Guild Magazine NOV-DEC 04), serialized dramas with one main story arc lasting throughout the season are becoming a growing trend. Kunkes takes a look at two of the more distinctive and entertaining series in this vein––NBC’s Kidnapped and Showtime’s Dexter––and talks to their editorial teams about the demands of cutting and shaping these stories.

Elsewhere in this magazine, as a pre-lude to the Audio Engineering Society’s (AES) 121st Convention scheduled for early October in San Francisco, Kunkes (again!) explores the sonic world of convolution reverb plug-ins utilized by sound editors and designers as well as re-recording mixers, and Guild member Michael Hertlein, MPSE, who previously reviewed both in- and over-the-ear headphones for this publication, now sets his ears on a selection of surround speakers to determine which produces the best overall sound.

Until next issue, have an educational and entertaining autumn.

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