Post Production

‘It is so important that we see things that are about us, that talk to us, that make us think about our lives’

Gillian Armstrong, The Age, 18 September 2017


The cloud paradox: is cloud-based post-production a future out of reach?

The potential benefits of a post-production pipeline in the cloud are irrefutable. As we touched on in our last article in this series, cloud technology has the ability to completely remove that tricky planning stage – where studios are forced into ‘finger in the air’ judgements on big decisions like workforce and compute capacity – while enabling global collaboration in real time.


Vary your video composition: 10 types of camera shots  engaged throughout the storyline because of the range of camera shots in the film

ART OF THE CUT with Oscar nominated editor, Lee Smith, ACE on DUNKIRK

LLee Smith, ACE has cut numerous films with Christopher Nolan, including Interstellar, The Dark Knight Rises, Inception (for which he was nominated for an ACE EDDIE), The Dark Knight (for which he was nominated for an Oscar for Best Editing), The Prestige and Batman Begins. He was also nominated for an Oscar for editing Master and Commander and we last spoke to Smith after he edited the James Bond film, Spectre. Art of the Cut catches up with Smith as he has teamed with Christopher Nolan again for the critically-acclaimed, Dunkirk.

ART OF THE CUT with the assistant editors and VFX editors of Kingsman: The Golden Circle

Occasionally, Art of the Cut features the assistant editors and others in the post-production team. These are some of the most popular interviews in Art of the Cut history – including Cheryl Potter, assistant to Pietro Scalia on The Martian, and John Lee on assisting Lee Smith on Dunkirk. As a follow up to our interview with Eddie Hamilton on cutting Kingsman: The Golden Circle, this installment of Art of the Cut features Riccardo Bacigalupo (first assistant editor), Tom Coope (first assistant editor), Chris Frith (assistant editor), Ben Mills (VFX editor), Robbie Gibbon (assistant VFX editor), and Ryan Axe (trainee assistant editor) on their roles in the post-production of the film. Most of this team has worked with Eddie Hamilton on his other films including the previous Kingsman and Mission: Impossible film and on the next Mission: Impossible which most of them are working on now. This is probably the most in-depth description of preparing and executing the post on a movie that you’ve ever read.

ART OF THE CUT with the editor of “War for the Planet of the Apes”

William Hoy, ACE got into the editor’s seat on feature films back in the mid-‘80s. One of his first major feature films was Dances With Wolves. Since then he’s edited a string of box office and critically acclaimed hit films: Star Trek VI: The Undiscovered Country, Patriot Games, Se7en, The Man in the Iron Mask, The Bone Collector, Dawn of the Dead, Fantastic Four, 300, Watchmen, and Dawn of the Planet of the Apes. Art of the Cut caught up with William recently to discuss his work on War for the Planet of the Apes.



ART OF THE CUT with “IT” editor, Jason Ballantine, ASE  The unique rhythms and challenges of editing horror and suspense By Steve Hullfish September 16, 2017 Post Production

Jason Ballantine, ASE (Australian Screen Editors) has been in the film industry since 1992 and is currently living in Los Angeles. He has won and been nominated for several Australian Awards for The Great Gatsby, Wish You Were Here and Wolf Creek.  He was also a part of the Oscar winning team for Mad Max: Fury Road.  In this installment of Art of the Cut, Jason and I discuss his most recent feature, Stephen King’s IT.


I have to keep a very careful diary of these things. In fact, this film is two diaries long.  This diary is like my day-to-day work and versions and all my notes about what comes in. It says here, that we set up on the 15th of November last year (2016). Actually, I had done a week before that in October because we shot some tests, which we entered into a little six-minute film. Ken shot on a stage and a small set to get make-up and hair and things like that, so we had done that prior to this pre-week, but we started shooting on the 18th of November.


A day in the life of an online editor on a live show is a day of balancing.

Do I take the time to do this “the right way,” or is “good enough” going to have to suffice in order to make air? It’s a day of calculating; a typical two- to four-minute package takes a certain amount of time to color, polish and prep. It’s a day of assessing: What’s the likelihood of things happening within the timeframes needed, and what do I do when those timeframes are compromised? I must have backup plans in place.

Behind the Scenes of Netflix’s Trollhunters  Written by Editor Graham Fisher

I come from a background in documentary editing, which, on the surface, is the polar opposite of animation editing. In documentary you will be given two hundred hours of footage and told to go make something. There’s no script and the story is found in the edit. Discovering the power of editorial in that environment, I came to animation with the sense that nothing is set in stone and that perhaps the director and I are Dr. Frankenstein, and all the various components of the episode from storyboards, to dialog, to sound and music are the various organs. It’s our job to knit them together in a way where our monster can come to life.

Award-Winning Sherlock Editor Unlocks the Secrets of Editing

For Miles, it all began with a love of cinema and television. He declares legendary director David Lean’s inspiring movies as a big influence. “I can’t tell you how many times I’ve watched The Bridge on the River Kwai.”

What makes a hot-shot editor or great edit?

The first Sydney Edit Royale event, hosted by Digistor, is available on-demand here.

Five emerging editors competed to show off their editing artistry and speed. Each edited a complete music video from unseen media in only two hours. The editor whose edit was voted the best edit of the night was Marlena Ianni using Avid Media Composer on PC. Congratulations Marlena!

Fitness & Editing Hollywood Blockbusters with Alan Bell, AC

How Editor Paul Machliss Cut Baby Driver in Real Time on Location

My brother and I were fortunate enough to stumble upon Machliss’s presentation at NAB 2017 at the Avid booth. He discussed Baby Driver being the most difficult edit he’s ever had to manage. He also talked about his previous experiences working with director Edgar Wright on Scott Pilgrim vs. the World, The World’s End, and Spaced. You may also recognize his comedic editing style from other television series, like The IT Crowd.


Joe Walker has established himself as the go-to editor for directors Denis Villeneuve and Steve McQueen. His relationship with McQueen includes cutting 12 Years A Slave (2013) and his short film Ashes (2014), while Villeneuve’s films include Sicario (2015) and more recently, Arrival. He’s currently working with Villeneuve on next year’s release, Blade Runner 2049, and recently took a short break to speak with Post about his career, his work with the director and how he achieved the final cut for Arrival, which has taken in more than $80 million since it debuted in mid November.

How To Edit A Video In SEVEN EASY Steps

A satirical look at the process of video editing that delves into areas not usually covered in your typical instructional video – the cycles of despair, procrastination and accomplishment that many editors experience.


Jill Bibcock:  The Art of Film Editing.  Focuses on the life of Jill Bilcock, one of the world’s leading film artists and Academy award nominated film editor. Features commentary from Cate Blanchett, Baz Luhrmann and Rachel Griffiths.

“Editing is the essence of cinema.”  Francis Ford Coppola

“Relating a person to the whole world:  that is the meaning of cinema.”  Andrei Tarkovsky

“The film editor is the gatekeeper to what the audience gets to see.”  Peter Greenaway

  • Have to establish style, the most important thing.  Way above sensational.  Wild, innovative, unusual and visually extraordinary making something emotional.
  • Having hundreds of options, what emotionally touches you, edit for structure and rhythm, guiding the audience’s perspective through where they look, how are they going to look and how they will feel about that moment.
  • How much backstory and character detail do you need?  A bit more detail about the character to invest in the character.
  • What to do in chronological narrative and how that will relate to audience.
  • How to make something travel from A to B, is about rhythm, delivering a story, the best way to deliver that story depending on style and what the content is that has been supplied.
  • Great sense of observation, extraordinary amount of patience, tune into how a director sees their vision and put something together that even surprises the director.
  • A director that has something to tell that no one else has told or can tell something in a way that has not been told in that style or context before.
  • Create a bit of magic in the workplace in order to create magic. Live the vision.
  • Teams only get boring when one member stops growing, pushing yourself into uncertainty.  Nourish creative life, bring together the strengths creating something new.
  • Language that is all about story telling.
  • Using style to keep the rhythm, creating devices to create the rhythm.  Creating patterns out of chaos and uncertainty.  Conducting the orchestra and also playing all the instruments.
  • Sometimes overt and sometimes invisible, not only about the large explosions also about the internal explosions that people might have.  Understand the character with the same ownership as the characters do.
  • Parallel stories and making you believe them.
  • Know when to get out, what do you want to achieve by the end of this and to know that you have go it.
  • Creating the tension between the visual and the rhythm is what makes exciting cinema.  Rhythm, classical or chaotic.  Cutting style that does not interfere.  People want to communicate, a story that connects and emotionally touches the audience.  It is the audience in the end and the editor is responsible for that.

It aims to promote, improve and protect the role of editor as an essential and significant contributor to all screen productions.

The ASE is a national organisation formed in 1996. It has members across Australia as well as overseas. The Guild is an association of professional screen editors and assistants working in a wide range of disciplines including:  Feature Films, Documentary, Television, Commercials, Corporate Video, Short Films, Music Video, Multimedia, Online Content, Education and Training

Nashville Filmmakers Guild NLE Debate, 3 local filmmakers taking the stage and each representing their NLE of choice: Adobe Premiere Pro CC, Apple Final Cut Pro X and Avid Media Composer.

How Star Wars was saved in the edit

3 Mistakes All Beginner Editors Make

State of the NLE: Which Editing Software is Best?

Final Cut Pro vs Adobe Premiere: Best Video Editor?

The Rule of Six


Jump cut examples

Blade Runner: Pan & Scan vs. Widescreen

Clip 2: Five-Shot Method

How to edit a video sequence


Five shot sequence: Tutorial and example

Useful Tools for Editors By Scott Simmons 11.21.15

A Student Interview with Alan Edward Bell A.C.E. link

Behind the Scenes with Gravity link

Digistore  Australia

Editing – the chemistry behind the cut of Breaking Bad

Film and Video Post-Production technology explained – link to videos

Full workflow for editing the #1 Feature Film, “War Room”


NAB 2014 – digistore

Nuke Tutorials


HOW  TO  BURN  SUBTITLES  INTO  VIDEO:  If you get you captions as a standard captions file (.srt, .ass, etc) then you can do it with ffmpeg, or one of the gui versions of ffmpeg.  You can combine the compression to whatever output format you’re creating into the subtitle burning stage.  So for example if you wanted to create a good quality mpeg4: ffmpeg -i -c:v libx264 -preset slow -profile:v main -crf 20 -pix_fmt yuv420p -vf “” output.mp4.   SUBRIP:  Leave it as a separate SRT file, most TV’s now would just play ‘movie’ with a ‘’ file in the same folder…Or as with vast number of mkv files, use
mkvtoolnix to merge in the srt file into the mkv file, you’ll still retain vid/audio/subs tracks, not burnt in.

SUBTITLE  EDIT:  is a free (open source) editor for video subtitles – a subtitle editor. Has OCR for corrections, edit/resync any subs. Export stl/scc formats ? if so,
then  read it in and you can edit it like a text editor….then you can save it out as another bunch of other formats.


CHOCOLATEY Software Management Automation:  A package manager like apt-get on linux or home-brew for mac. A script that will install it for you, and from then you can add tools like ffmpeg by just typing choco install ffmpeg.  Unfortunately ffmpeg doesn’t seem to like .stl or .scc subtitles, but it’s pretty easy to translate stl to srt using a word-processor and find and replace (or sed / awk on the command line).


You need to find out what the actual Codec is. You can do this by finding an application that can query the MXF.

For example:

Or if you know the camera it came from you can determine the format this way.  If the files are from a camera that has a plugin for premiere then you should just be able to download the plugin from the camera vendors website.

Paper Stories 

Testing the new Grease Pencil tools for upcoming Blender 2.73

Red Giant – go to 1 December 2014

Autodesk 2015 Releases

Nuke 8 Recording of Life Digital Event

LTO Archiving for Digital Media

The Great Gatsby – VFX before and after


Media 100 Suite Now Available FREE, New macOS Sierra Support


Light works

In the spotlight: Jill Bilcock

Shotlister – Cinema Papers No 70 November 1988 Page 6

Shotlister User Manual

Template-based edit decision list management systems.  These days, linear video editing systems have been superseded by non-linear editing (NLE) systems which can output EDLs electronically to allow autoconform on an online editing system

Edit Decision Lists or EDL is used in the post-production process of film editing and video editing. The list contains an ordered list of reel and timecode data representing where each video clip can be obtained in order to conform the final cut.  EDLs are created by offline editing systems, or can be paper documents constructed by hand such as shot logging.


ABC, Gore Hill in the Fifties.  Some of the major items of broadcast equipment installed in the Gore Hill television studios from 1956 to 1959.

Double-system recording is a form of sound recording used in motion picture production whereby the sound for a scene is recorded on a machine that is separate from the camera or picture-recording apparatus.

flatbed editor is a type of machine used to edit film for a motion picture.  Picture and sound rolls load onto separate motorized disks, called “plates.”

Audio editing with double system audio

The dramatic ways that technology has changed editing


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