CinemaEditor Magazine

Cuts We Love – ET

14.02.2021 , CinemaEditor Magazine, Technology

[vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1613345124379{background-color: #000000 !important;}"][vc_column][vc_single_image image="20384" img_size="full" qode_css_animation=""][/vc_column][/vc_row][vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1613345161167{background-color: #000000 !important;}"][vc_column][vc_single_image image="27291" img_size="full" qode_css_animation="" css=".vc_custom_1613346164169{margin-bottom: 15px !important;}"][/vc_column][/vc_row][vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1613346386923{margin-top: 15px !important;}"][vc_column width="2/3"][vc_column_text css=".vc_custom_1613346172933{margin-bottom: 15px !important;}"]An instant classic, E.T. the Extra-Terrestrial’s depiction of a friendship between an alien stranded on earth and a young boy named Elliot continues to enchant audiences.[/vc_column_text][vc_single_image image="27293" img_size="full" alignment="center" qode_css_animation="" css=".vc_custom_1613346180935{margin-bottom: 15px !important;background-color: #000000 !important;}"][vc_column_text css=".vc_custom_1613346202400{margin-bottom: 15px !important;padding-top: 10px !important;padding-bottom: 10px !important;}"]“We knew there was one big problem when making the movie and that was the character of E.T.,” explains Carol Littleton, ACE, who earned an Oscar® nomination for the film. “It’s a puppet made of different parts and we knew that if...

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Tech Corner – A Complete Solution

14.02.2021 , CinemaEditor Magazine, Tech Corner

[vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1612813321630{padding-bottom: 15px !important;background-color: #000000 !important;}"][vc_column][vc_single_image image="20384" img_size="full" qode_css_animation="" css=".vc_custom_1612811281521{background-color: #000000 !important;}"][/vc_column][/vc_row][vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation=""][vc_column][vc_single_image image="27285" img_size="full" alignment="center" qode_css_animation="" css=".vc_custom_1613344339061{background-color: #ffffff !important;}"][/vc_column][/vc_row][vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1592682899490{margin-right: 15px !important;background-color: #ffffff !important;}"][vc_column width="2/3" css=".vc_custom_1592679310198{padding-right: 20px !important;}"][vc_column_text]Boris FX has released Boris Continuum Complete (BCC) 2021, a package of VFX plugins for Avid, Adobe, Apple, Blackmagic Design and other software NLE and VFX platforms. As in the past, Boris FX has added a considerable number of improvements, features and bug fixes to the latest release. Title Studio received a minor update where additional 3D models were added, along with ‘texture composite and noise shaders.’ None of that I entirely understand. But Title Studio is a powerful, complex...

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Minari

14.02.2021 , CE Features, CinemaEditor Magazine

[vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1613343616547{padding-bottom: 15px !important;}"][vc_column][vc_single_image image="20384" img_size="full" qode_css_animation="" css=".vc_custom_1612811281521{background-color: #000000 !important;}"][vc_single_image image="27279" img_size="full" alignment="center" qode_css_animation="" css=".vc_custom_1613343838537{background-color: #000000 !important;}"][/vc_column][/vc_row][vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1592682899490{margin-right: 15px !important;background-color: #ffffff !important;}"][vc_column width="2/3" css=".vc_custom_1592679310198{padding-right: 20px !important;}"][vc_column_text css=".vc_custom_1613343885659{padding-top: 15px !important;}"]Named for a peppery Korean herb, Minari is a tender, funny, evocative ode to how one generation of a family risks everything to plant the dreams of the next. It’s a tale of immigrants making a go at their own vision of the American Dream but director Lee Isaac Chung (Munyurangabo, Lucky Life, Abigail Harm) brings a fresh and illuminating take by using candidly detailed and personal family remembrances to tell a larger story about the impact of the immigrant journey on...

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Mank

14.02.2021 , CE Features, CinemaEditor Magazine

[vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1612813321630{padding-bottom: 15px !important;background-color: #000000 !important;}"][vc_column][vc_single_image image="20384" img_size="full" qode_css_animation="" css=".vc_custom_1612811281521{background-color: #000000 !important;}"][/vc_column][/vc_row][vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1613348222148{background-color: #000000 !important;}"][vc_column css=".vc_custom_1613348253340{background-color: #000000 !important;}"][vc_single_image image="27318" img_size="full" alignment="center" qode_css_animation="" css=".vc_custom_1613348283389{background-color: #000000 !important;}"][/vc_column][/vc_row][vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1592682899490{margin-right: 15px !important;background-color: #ffffff !important;}"][vc_column width="2/3" css=".vc_custom_1592679310198{padding-right: 20px !important;}"][vc_column_text css=".vc_custom_1613348331639{padding-top: 15px !important;}"]David Fincher’s Netflix drama about screenwriter Herman J. Mankiewicz (Gary Oldman) as he writes and takes a controversial credit as co-writer of Orson Welles’ 1941 classic Citizen Kane is certainly a ‘filmmaker’s film’ with a stellar cast and crew. And in so much as Mank is also a love letter to the Golden Age of Hollywood, it’s exactly the type of fare that Hollywood loves. Based on a screenplay by...

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Wonder Woman 1984

14.02.2021 , CE Features, CinemaEditor Magazine

[vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1612813321630{padding-bottom: 15px !important;background-color: #000000 !important;}"][vc_column][vc_single_image image="20384" img_size="full" qode_css_animation="" css=".vc_custom_1612811281521{background-color: #000000 !important;}"][vc_single_image image="27325" img_size="full" alignment="center" qode_css_animation="" css=".vc_custom_1613348490421{background-color: #000000 !important;}"][/vc_column][/vc_row][vc_row row_type="row" type="full_width" in_content_menu="" text_align="left" css_animation="" css=".vc_custom_1592682899490{margin-right: 15px !important;background-color: #ffffff !important;}"][vc_column width="2/3" css=".vc_custom_1592679310198{padding-right: 20px !important;}"][vc_column_text css=".vc_custom_1613348619598{padding-top: 15px !important;}"]Twenty-two months. That’s how long editor Richard Pearson, ACE, worked on Wonder Woman 1984 – the longest, by many months, he’d ever spent on a single project. “I had seven cutting rooms in locations as varied as Washington, D.C.; the Canary Islands; Soho in London; to the lot at Warner Bros. in Burbank,” he says. Granted, some of that time was living in scheduling limbo on account of the pandemic – the film was slated for release on December 13, 2019,...

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