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02/28 Advanced Editing Tools and Functions in Avid Media Composer Workshop (MPEG)
03/01 Advanced Editing Tools and Functions in Avid Media Composer Workshop (MPEG)
03/18 MPEG Membership Screening
04/15 MPEG Membership Screening

(Editor’s Note: This essay appears in the forthcoming issue of 'CineMontage.') The start of a new year prompts us to step back momentarily from our day-to-day concerns, reflect upon the long view, and make resolutions for our future. This column affords a similar opportunity to take stock of the bigger picture. Ordinarily we focus on what post-production employees have accomplished through their solidarity, but let’s cut from our usual close-ups of Local 700 organizing to a wide shot of the state of the American labor movement.

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The picture editors of the hot-button movie 'The Interview' — the cause célèbre of the just-passed holiday season — say that, contrary to popular perception, they were not forced to make changes to the film in the cutting room for political reasons before its limited release in theatres and by digital video-on-demand in late December. “There was absolutely no censorship on the movie in editorial,” claims editor Zene Baker in a recent exclusive interview with 'CineMontage.'

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Ron Patane, the editor of 'A Most Violent Year,' always liked playing with things, taking two tape decks and making Led Zeppelin mash-ups as a kid. He graduated college just as Apple’s Final Cut was introduced, and many of his friends were finding film. “I was able to get my hands on the stuff and start doing things immediately, without having anybody to provide it,” he explains. “I was able to skip a lot of steps. I've never been an assistant editor. I didn't have to climb the ladder. I was able to get in and start working right away.”

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The film 'Whiplash' was the big winner for Academy Awards in the post-production categories, with Oscar statuettes going to Tom Cross (pictured) for Best Film Editing and to Craig Mann, Ben Wilkins and Thomas Curley for Best Sound Mixing on February 22 — wins that were predicted, it turns out, by both the BAFTA Awards on February 8 and the Independent Spirit Awards on February 21. The Oscar for Best Sound Editing went to Alan Robert Murray and Bub Asman for 'American Sniper.' For all the post-production winners for this year's awards season, click the link above.

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Winter 2015
Actor's Fund
Motion Picture & Television Fund

Mayor Garcetti Debuts New Film Marketing Effort
"Our entertainment industry is essential to our city's identity and economy and this campaign represents the next step in a strategic agenda to ensure Los Angeles remains the entertainment capital of the world," Mayor Garcetti said in a statement. "We're launching this campaign to make sure decision-makers understand all of the incentives we can provide for filming in L.A."

‘Birdman’ Wins Best Picture, Director at Politically Charged Oscars

Former Rhythm & Hues Owners Sued for Having 'Pillaged' Oscar-Winning VFX House

‘Boyhood,’ ‘Budapest Hotel’ and ‘Lego Movie’ Top ACE Eddie Awards

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Scott Walker Is Set to Deliver New Blow to Labor in Wisconsin
After saying for months that an effort to advance so-called right-to-work legislation would be “a distraction” from dealing with larger issues like the state’s economy and job growth, Governor Walker is now preparing to sign a measure -- being fast-tracked through the Republican-held State Legislature -- that would bar unions from requiring workers to pay the equivalent of dues.

Warren: The Trans-Pacific Partnership Clause Everyone Should Oppose

Applications for US Jobless Aid Rise to 313,000

New England Workers Win Largest Telecom Strike in History

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"I physically recreate sound effects in sync with picture. Foley incorporates all character footsteps and organic sounds that would not be covered by a sound effects editor. Essentially, anything a character eats, drinks, sits on, falls on, touches or manipulates in any way is fair game for the Foley Artist."

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