When it comes to content, general agency wisdom says that in order for a commercial to be effective, the product has to be shown within the first three seconds. They think this way because dozens of studies about the science of marketing have trained them to. They believe that if you haven’t blatantly connected the consumer to
Do you have what it takes to compete against other top editors? The 2017 Filmsupply Challenge is here and we’re calling on you to put your skills to the test and compete for prize packages in 8 different categories. With free access to the Filmsupply and Musicbed libraries, you’ll have all the content you need to create
Jennifer Ruff, filmmaker and editing professor at NYU’s Tisch Graduate School of Film, didn’t get her start in film, but rather literature. “I wrote poetry and didn’t like electronic things,” she told us. An MO that still seems applicable today. Jennifer doesn’t approach editing as a technician or even a craftsman, but primarily as an
There’s an old saying: “First thought, best thought.” It might sound like a dangerous philosophy. But then that would be overthinking it. The point is: you have to trust your instincts. And when you’re working under a tight deadline, you often don’t have any other choice. That’s exactly the situation editor Carlos Flores found himself
When we called editor Joseph Krings, there was a familiar voice in the background. “That was Kevin Spacey,” Joseph said, moving into another room while his co-editors continued refining a scene from their upcoming film Rebel in the Rye, about the infamously reclusive and obsessive writer J. D. Salinger. “We’re working on the final mix now,”
Like all effective title sequences, the title sequence for Narcos contains the essence of the entire show. Themes of greed, excess, absurdity — even the narrative arc — can all be found here, if you look closely enough. “When you make a main title sequence for a show, your goal is to distill an entire season’s worth
“I’ve always made very, very strange films,” Matthew Hannam tells us, a tidy summary of a skyrocketing editing career that has included such genre-bending projects as Swiss Army Man, James White, and the recent Netflix miniseries The OA. “I feel proud having served a smaller audience well, rather than a general audience.” But with the wide critical
Every week, the Saturday Night Live Film Unit team pulls off a not-so-small miracle. They produce, shoot, edit, and broadcast a fully realized short film in less than four days. For their editor Adam Epstein, that leaves roughly one day for post-production. One day. Sometimes less. And you thought your deadlines were stressful. After eight years of