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Los Angeles
03/01 Advanced Editing Tools and Functions in Avid Media Composer Workshop (MPEG)
03/10 Tax Prep for all Entertainment Pros (ActorsTaxPrep)
03/18 "Chappie" (MPEG Screening)
04/15 MPEG Membership Screening
New York
03/12 "Chappie" (MPEG 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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On Saturday morning, February 21, the American Cinema Editors (ACE) hosted its15th Annual Invisible Art/Invisible Artists program in Hollywood to honor the nominees for the Academy Award for Best Achievement in Editing. Just a block away from where the Oscars would be presented the next day, a capacity audience filled the American Cinematheque’s Egyptian Theatre to enjoy a lively discussion among the contenders. Photo by Wm. Stetz.

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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

‘Midnight Rider’ First A.D. to Get Separate Trial

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

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Trumka: Don’t Forget About Fast Track
While much of the Internet this past week was focused on escaped llamas, figuring out what color a dress is or mourning the loss of SAG-AFTRA member and Star Trek icon Leonard Nimoy, we can forget that legislation is still being pushed that would make the lives of working families worse.

L.A. County Fed Makes Its March Election Endorsements

Thousands Protest Wisconsin Right-to-Work Bill at Capitol

Hiltzik: Under Attack, Unions Show New Creativity and Militancy

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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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Click here to learn about what post production is, and the important role our members play in making your favorite movies and TV shows.

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