THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE SUMMER MOVIE FEATURING ISSUE Christopher IN THIS ISSUE Robin Mamma Mia! Here We Go Again The Darkest Minds Incredibles 2 AND MUCH MORE! US $8.95 / Canada $8.95 QTR 2 / 2018 / VOL 68 FOR YOUR EMMY® CONSIDERATION OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A COMEDY SERIES CINEMA EDITOR MAGAZINE, COVER 2 NETFLIX: GLOW PUB DATE 06/04/18 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” FOR YOUR EMMY® CONSIDERATION OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A COMEDY SERIES “SLOW-BURNING, DARK, DENSE, GRAPHIC AND CHARACTER-DRIVEN. ITS SHOTS ARE MOODY AND WELL-COMPOSED.” A NETFLIX ORIGINAL SERIES CINEMA EDITOR MAGAZINE, COVER 2 CINEMA EDITOR MAGAZINE NETFLIX: GLOW NETFLIX: MINDHUNTER PUB DATE 06/04/18 PUB DATE 06/04/18 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” QTR 2 / 2018 / VOL 68 stock footage editor’s cut 04 12 Letter from the Editor 49 In Memoriam Editors Without Borders William B. Stich, ACE BY EDGAR BURCKSEN, ACE BY JACK TUCKER, ACE 08 26 What’s New! ACE Internship News & Announcements 46 Program Preps Short Cut Comic the Next BY JOHN VAN VLIET Generation of Editors BY EDGAR BURCKSEN, ACE 14 Aspects of Editing 30 Midnight in Mercy Invisible Art/ BY BONNIE KOEHLER, ACE Visible Artists BY NANCY JUNDI 18 40 Tech Corner 34 OLLIE is not just a dog Meet Kristin Bye BY HARRY B. MILLER III, ACE Karen Schmeer Film Editing Fellowship Recipient 22 BY NANCY JUNDI Global Editing Perspectives 36 South Africa NAB Show BY DR, NIKKI COMINOS, S.A.G.E. ACE’s Black Panther panel is a hit, as suppliers such as 52 Adobe, Avid and Blackmagic Cuts We Love meet in Las Vegas The Sixth Sense BY ELLEN GALVIN BY ADRIAN PENNINGTON 43 features 40 43 46 49 The Darkest Minds Incredibles 2 Mamma Mia! Christopher Robin Maryann Brandon, ACE, Stephen Schaffer, ACE, Here We Go Again Matt Chessé, ACE, scares up a and Brad Bird reunite Peter Lambert enjoys the reunites a grown-up supernatural actioner the superhero family insane endorphin rush of Christopher Robin with his BY WALTER FERNANDEZ JR. BY ADRIAN PENNINGTON creating an ABBA musical “willy, nilly, silly old bear” BY ADRIAN PENNINGTON 02 CINEMAEDITOR QTR 2 / 2018 / VOL 68 Cover image: Christopher Robin (Ewan McGregor) and his longtime friend, Winnie the Pooh. Photo by Laurie Sparham. ©2018 Disney Enterprises, Inc. All rights reserved. FOR YOUR EMMY® CONSIDERATION OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES CINEMA EDITOR MAGAZINE REVISION 1 NETFLIX: OZARK PUB DATE 06/04/18 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” LETTER FROM THE EDITOR Editors Without Borders t is one of ACE’s main goals to propagate, inform and educate Ithe moviemaker and society in general with events such as the Eddie Awards, Invisible Art/Visible Artists, EditFest and, of course, CinemaEditor. Next up is EditFest London, which takes place June 30 at BFI Southbank. The day will feature several editor panels including such talent as Una Ni Dhonghaile; Andrew J. McClelland; Eddie Hamilton, ACE; John Venzon, ACE; and Martin Walsh, ACE; as well as a featured conversation with Chris Lebenzon, ACE. Another ACE initiative that has truly transcended international borders is the Petition for Editors’ Recognition in cooperation with the Motion Picture Editors Guild, which aims to give editors their creative due at film festivals all around the world by pushing for editing award categories. Establishing contacts around the globe to persuade all kinds of international film festivals to honor editors has familiarized us with lesser-known communities and organizations of editors that helped in the effort. It turns out that there’s a vibrant array of formal and informal groups of editors that gather to advocate all the professional and creative aspects of our jobs. This led to the genesis of an idea to find ways to connect all these organizations, clubs and communities. As the preeminent honorary society of editors, ACE seems to be the perfect organization to take a leading role in bringing all the creative challenges, struggles and concerns of other editors together. On the recommendation of the International Relations Commi- ttee of the ACE Board of Directors, last year CinemaEditor inaugurated the Global Editing Perspectives column, each time featuring another country’s editors organization; in this issue we highlight South Africa. The ACE Board of Directors has been diligently working with the International Relations Committee to find ways to strengthen our bond with editors around the world because we realize that motion pictures are not bound by borders and so neither should we be. –Edgar Burcksen, ACE 04 CINEMAEDITOR QTR 2 / 2018 / VOL 68 Photo by Peter Zakhary. FOR YOUR EMMY® CONSIDERATION OUTSTANDING SINGLECAMERA PICTURE EDITING FOR A DRAMA SERIES “ON EVERY LEVEL, ‘THE CROWN’ IS DESERVING OF PRAISE.” VULTURE CINEMA EDITOR MAGAZINE NETFLIX: THE CROWN PUB DATE 06/04/18 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” Official Periodical of the American Cinema Editors, Inc. Founded November 28, 1950. EDITORIAL STAFF EDITOR IN CHIEF INTERNATIONAL EDITOR EDITORIAL CONSULTANT Edgar Burcksen, ACE Adrian Pennington Carolyn Giardina ART DIRECTOR EDITORIAL ASSISTANT Luci Zakhary Peter Zakhary BUSINESS AFFAIRS PRESIDENT Stephen Rivkin, ACE PRODUCTION MANAGER PRODUCTION COORDINATOR PRODUCTION ASSISTANT ADVERTISING & DISTRIBUTION Jenni McCormick Marika Ellis Gemmalyn Brunson Peter Zakhary VICE PRESIDENT Alan Heim, ACE ADVISORY BOARD SECRETARY Lillian Benson, ACE Edgar Burcksen, ACE Harry B. Miller III, ACE Andrew Seklir, ACE TREASURER CONTRIBUTORS Stephen Lovejoy, ACE Edgar Burcksen, ACE, is the Editor in Chief of and Bonnie Koehler, ACE, has been a film editor for a regular contributor to CinemaEditor magazine. He also five decades, from Moviola to digital, from Star Wars to serves on the ACE Board of Directors. Law & Order: SVU. She is currently at work on an essay collection about her experiences on the cutting room BOARD OF DIRECTORS Walter Fernandez Jr. was the Editor in Chief of floor:Nobody Dies Tonight. CinemaEditor magazine from August 2010 until June Anita Brandt Burgoyne, ACE 2013. He has worked in marketing and distribution at Harry B. Miller III, ACE, serves as an associate Jacqueline Cambas, ACE IMAX and the MPAA. He has written for CinemaEditor on the ACE Board of Directors. His recent credits include since 2003. Turn: Washington’s Spies and The Predator. Tina Hirsch, ACE Maysie Hoy, ACE Ellen Galvin, After working in the TV and enter- Adrian Pennington is a journalist, editor and mar- tainment industry for more than 40 years – the past keting copywriter whose articles have appeared in the Bonnie Koehler, ACE 13 years as ACE Sponsorship & Advertising Director – Financial Times, British Cinematographer, Screen Inter- Carol Littleton, ACE Ellen moved to Henderson, NV with her husband, Gary. national, The Hollywood Reporter, Premiere, Broadcast, Travel, family and friends now take top spots on her RTS Television and The Guardian. He is co-author Mary Jo Markey, ACE bucket list, along with finishing a novel based on her of Exploring 3D: The New Grammar of Stereoscopic Michael Ornstein, ACE parents’ lives. She continues to support and consult with Filmmaking (Focal Press, 2012) and his favorite film of ACE and CinemaEditor. all time is Gilda. Sabrina Plisco, ACE Kevin Tent, ACE Carolyn Giardina is an award-winning journalist and Jack Tucker, ACE, Emmy®-nominated editor and first- author who serves as tech editor at The Hollywood ever recipient of the ACE Robert Wise Award, was Reporter, for which she writes its Behind the Screen at the helm of CinemaEditor magazine at the close of blog. She is also co-author of Exploring 3D: The New the 20th century. He has recently produced the docu- Grammar of Stereoscopic Filmmaking (Focal Press, mentary feature, American Empire, with his partner, 2012). One of her first assignments at the start of her director Patrea Patrick. ASSOCIATE BOARD career was a feature story about editing – and she has Kate Amend, ACE enjoyed covering editors ever since. John Van Vliet has worked in animation and visual effects for more than 32 years. Although his involvement Mark Andrew, ACE Nancy Jundi has been a contributing writer to Cinema- on bad pictures far outnumbers the good ones, all have Editor since 2006. She is a technical consultant and provided raw material for his drawings – for which he’s Edgar Burcksen, ACE communications strategist in the Los Angeles area for grateful. Visit MigrantFilmWorker.com for more. Harry B. Miller III, ACE post-production facilities, non-profit organizations and tech start ups. SUBSCRIPTION, ADVERTISING & CONTACT INFO EXECUTIVE DIRECTOR LETTERS, SUBSCRIPTIONS, OR SUBSCRIPTION RATE Jenni McCormick OTHER CORRESPONDENCE $39 for one year. Subscription cost includes CinemaEditor Magazine printed magazine and online access. 5555 Melrose Avenue Marx Brothers Building, Room 108, BACK ISSUES Los Angeles, CA 90038 Please indicate which issue(s). Cost is $10 per issue. THE ACE CREDO PH 323.956.2900 MAKE CHECKS PAYABLE TO American Cinema Editors The objects and purposes of TO ADVERTISE OR FOR ADVERTISING RATES Credit cards accepted. CinemaEditor is complimentary Peter Zakhary [email protected] to ACE members. the American Cinema Editors are to advance the art and science DIGITAL ADVERTISING QUESTIONS ACE WEBSITE QUESTIONS Libby Higgins [email protected] Kate Higgins [email protected] of the film editing profession; to increase the entertainment CinemaEditor Magazine is published quarterly by the American Cinema Editors. The views expressed in this value of motion pictures by periodical do not necessarily reflect the views of the Board of Directors or the membership of ACE. Reproduction in whole or part without written permission is prohibited.