Spring 2015

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40 CINEMONTAGE / SPRING 2015 he wants smart, fast dialogue, so if a first cut of a scene is playing slow, we'll first take a pass at removing any redundancies. Then, if we're still a couple minutes over, we have more difficult choices about how to get the show down to time. This can be heartbreaking and difficult to do." THE EFFECT OF EFFECTS One crucial issue the editorial team grapples with is the large volume of visual effects shots, but the proximity of the visual effects team is a central component in navigating this issue and developing protocols each episode for learning early enough in the editorial process what the proper length and nature of each digital shot needs to be. This is crucial, according to Charson, because "We're on an incredibly tight schedule. Whereas, in a feature film, you might have six months to work on a VFX shot, we're lucky to have three or four weeks. Working closely with Kolpack is a central component in navigating the material and getting sequences locked down early enough for our artists to get the shots done." He adds that effects supervisor Kolpack himself used to be an assistant editor and has Agents of S.H.I.E.L.D. Michael Desmond/ABC Eric Litman.

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