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Television Editors, Assistants & Post-­Production Professionals

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Television Editors, Assistants & Post-­Production Professionals THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE TELEVISION ISSUE IN THIS ISSUE THE HANDMAID’S TALE A SERIES OF UNFORTUNATE EVENTS QUEEN SUGAR THIS IS US THE CROWN AND MUCH MORE! US $5.95 / Canada $8.95 QTR 3 / 2017 / VOL 67 FOCUSOCT. 18–19, 2017 JAVITS CONVENTION CENTER NYC ACCELERATE YOUR SUCCESS. Get in on the dynamic and immersive experience that connects the next generation of storytellers to the technology and innovation fostering new content strategies to inform, educate and entertain. Leverage the power within the media capital of the world and #NABShowNY NABShowNY.com focus forward on the next big thing. Secure a FREE CORE PACKAGE registration using code PA01 QTR 3 / 2017 / VOL 67 stock footage 44 editor’s cut 04 09 Letter from the Editor In Memoriam Who to Award, Lawrence Silk, ACE That’s the Question BY JACK TUCKER, ACE BY EDGAR BURCKSEN, ACE 36 10 08 In Memoriam What’s New! Gerald Lee Taylor, ACE News & Announcements BY JACK TUCKER, ACE Short Cut Comic BY JOHN VAN VLIET 18 34 Ninth Annual MPSE 12 and CAS Golf and Aspects of Editing Poker Tournament The Finality of Films ACE president Stephen BY EDGAR BURCKSEN, ACE Rivkin, ACE, serves as the fundraiser’s honorary chair 14 Tech Corner 20 What If? Adobe Tech Day The iPad Pro for Editing BY HARRY B. MILLER III, ACE 22 ACE Annual Meeting 16 Global Editing 24 Perspectives 40 Ellen Galvin The Netherlands 2017 Heritage Award BY PETER ALDERLIESTEN, NCE Honoree 48 26 Cuts We Love EditFest London The Wire BY ADRIAN PENNINGTON 30 features 30 34 36 A Series of Queen Sugar This Is Us Unfortunate Events Avril Beukes says let the story Brandi Bradburn, ACE, describes Stuart Bass, ACE, describes tell you how it needs to be edited fashioning the time-swapping the events from the editing suite BY SCOTT LEHANE relationship drama BY WALTER FERNANDEZ JR. BY ADRIAN PENNINGTON 40 44 The Crown The Handmaid’s Tale Pia Di Ciaula helps Stephen Daldry Wendy Hallam Martin and Christopher deliver Peter Morgan’s empathetic Donaldson bring the full force of Princess Elizabeth to the screen Margaret Atwood’s prophetic novel to the screen BY ISABEL SADURNI BY ADRIAN PENNINGTON 02 CINEMAEDITOR QTR 3 / 2017 / VOL 67 Cover image: Offred (Elisabeth Moss) from The Handmaid’s Tale. Photo by George Kraychyk/Hulu. 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DaVinci Resolve Advanced Panel.................. $29,995 Learn more at www.blackmagicdesign.com LETTER FROM THE EDITOR Who to Award, That’s the Question Even though ATAS still uses the Meanwhile – with the rapid proliferation moniker, ‘Primetime,’ for their nominations of cheap but quality production and post- and awards, if the audience wants to watch production hardware and software – them out of this particular timeframe, a groundswell of new filmmakers is offering DVRs and streaming services make it their creations on a plethora of streaming possible to enjoy the programs at any websites like YouTube, Vimeo and Twitch. time of the day. Also the secrecy of the What becomes the defining standard for the streaming companies about the number popularity of a production? The number of eyes watching their product makes it of hits a streaming website receives on very hard to estimate the popularity of certain content? They’re all vying to go programs offered for Emmy® nominations viral through linking their URLs on social as big mainstream offerings worthy of networking sites like Facebook, Twitter and the ‘Primetime’ label. While the Nielsen Flixster. The popularity and recurrence ratings still try to determine the popularity of these shows or webisodes and their of a show to give value to advertising ability to attract advertising for their revenue, there’s no real spectator number streaming website, are gradually generat- that is attached to streaming content, which ing enough revenue to hire professional is available via a subscription model. crews and thus eventually also submissions Now with services like Sling TV, local into award shows. stations and major networks also stream their As apprentices and assistant editors content. So where does one get information seem to become endangered species about popularity and consequently maybe when it comes to receiving their share of even ratings? Aggregate sites like Rotten expertise from experienced professionals, Tomatoes and Metacritic seem to be the it seems that social media is slowly hen I voted for the Primetime go-to spots to gauge popularity for films, becoming the incubator for budding Emmys® this year, it occurred to TV, cable and streaming shows, music and talent. The drop in price for equipment W me that the number of entries even video games. and the drop in obstacles to distribute seem to be increasing. When I was inducted Most award-giving entities like ACE one’s creative cinematic endeavor have into the Academy of Television Arts & and ATAS use their members to submit and democratized motion pictures to a certain Sciences (ATAS) in the early ‘90s, it was thereby vet the entries, so given the fact extent but they also hold the danger that truly the organization that covered the that obtaining their membership guarantees experience and creative traditions fall awards for television and more importantly a professional opinion on what gets nomi- by the wayside. ACE considers it its for the three major networks. Local stations nated and awarded, the quality of what responsibility to nurture innovation in did not really compete and cable was still appears on the ballot should be more or less editing but also to protect the creative too scattered to play a major role. The local there. But what are the criteria that ACE conquests we have established in the art cable providers were slowly expanding and other organizations use to determine and craft of editing. The Eddie Awards, their lineup with nationwide broadcasters what can be submitted? ACE has a Blue EditFest, Invisible Art/Visible Artists like ESPN, Nickelodeon and Discovery but Ribbon committee that convenes several and also our magazine and blogs on our when the premium cable channels like HBO times a year to adjust the entry conditions as website, americancinemaeditors.org, are and Showtime started their programming content production and distribution is still the obvious promoters of the art and craft the competition rapidly started to expand. changing every season. They submit their of editing. We do not hesitate to embrace The floodgates of original programming recommendations to the board of directors innovations while safeguarding traditions, really started to open up when stream- who then set the rules for entry. The ever- accomplishments and hard-fought creative ing entities like Netflix, Amazon and Hulu changing criteria mostly deal with show and hierarchic confrontations. opened up shop. length and genre categorization. –Edgar Burcksen, ACE 04 CINEMAEDITOR QTR 3 / 2017 / VOL 67 Photo by Peter Zakhary. Stop wasting time Find the best takes and clips faster with Media Composer Sorting through dozens of takes, hundreds of shots, or thousands of hours of footage, locating the best material can take literally hours, every day. But it doesn’t need to. With the new ScriptSync™ and PhraseFind™ options—now available for Media Composer®—you can find exactly what you want in seconds. • Quickly match every take to every dialog line in your script using ScriptSync • Find clips fast by simply typing words or phrases of dialog using PhraseFind • Win back valuable time and focus on telling the best story possible Stop wasting time and give yourself the cutting edge—learn more at avid.com/edit-better © 2017 Avid Technology, Inc.
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