Issue link: https://digital.copcomm.com/i/309120
6 CINEMONTAGE / MAY-JUN 14 pub issue/ post date time (est) insert/ air date size bleed trim live line screen special info: and job# Chris Miller 323-963-5199 8240 Sunset Blvd Los Angeles, CA 90046 prod artist client # A-004 1537F CHRISTINA SCHIERMANN LAX FLIGHT PATH 9.01.08 N/A 250' w X 65' h 9.18.08 SUNDAY 150 68.75" X 17.875" 62.5" X 16.25" ALL 1/4"=1' 4c A-004 1537F BRIAN S. LAX FLIGHT PATH N/A 250' w X 65' h 150 68.75" X 17.875" 62.5" X 16.25" ALL 1/4"=1' 4c Version: AMC 3826 CHRIS M. CINE MONTAGE MPEG FULL PAGE BLEED 150 8.75" X 11.125" 8.5"W X 10.875"H 4/COLOR 1 BEST SOUND EDITING IN TELEVISION SHORT FORM Sound Effects & Foley Breaking Bad EP 516 "Felina" Supervising Sound Editor: Nick Forshager Foley Artists: Gregg Barbanell, Dominique Tabach Decaudain Sound Effects Editors: Mark Cookson, Cormac Funge Foley Editors: Timothy Boggs, Jeff Cranford © 2014 AMC Network Entertainment LLC. All rights reserved. CONGRATULATIONS TO BREAKING BAD 2014 MPSE AWARD WINNER by Tomm Carroll S ay what you will about the Academy Awards, and upon whom they are (or aren't) bestowed in the annual competitive race, and why (or why not) you speculate that reason to be. But when it comes to the Academy's honorary awards — including the separate ceremony at which the Scientific and Technical Committee honors are given out — they are usually spot-on, and roundly applauded by even the most cynical of Oscar- watchers. This February, at the much- less-hyped Sci-Tech Awards, the Academy saw fit to honor "all the men and women involved in laboratory work and in the processing of film…" with an Award of Merit, in the form of an Oscar statuette. "We're talking hundreds of thousands of people and thousands of labs that have come and gone over the years around the world," said Sci-Tech Awards Committee chairman Richard Edlund at the ceremony. "Everybody who's worked in a lab can [now] say, 'This is my Oscar.'" It is a fitting and deserved, if bittersweet, tribute to the Film Laboratory Technicians and Cinetechnicians of IATSE Local 683, who were merged into the Editors Guild in August of 2010. Bitter because the days of the film labs — and the format of celluloid film itself — are drawing to a close. Deluxe, the last union film lab in Hollywood, is closing its doors in May. In our cover story, writer Debra Kaufman details this historic honor, which was accepted on behalf of the labs and their workers by director Christopher Nolan (The Dark Knight, Inception), a staunch advocate of working on film — even in these digital days of the 21st century. She talks to several of our longtime lab employees about their thoughts on being feted with the Oscar as well as seeing their — and in some cases even their parents' and grandparents' — industry basically fade away as an antiquated process, an unfortunate victim of the relentless march of technology. Also, Scott George, the Guild's Western Assistant Executive Director — and a former lab worker himself, as well as Business Representative of Local 683 at the time of the merger — also weighs in on this momentous occasion and the challenges of the digital aftermath in his column on page 5. No stranger to Oscar is legendary picture editor Arthur Schmidt, A.C.E., who has been nominated for Best Film Editing three times and won the Academy Award twice (Who Framed Roger Rabbit, 1988; Forrest Gump, 1994). Taking a break from his retirement, Schmidt — who is also known for his work on the Back to the Future trilogy — goes back to his past as he discusses the memorable moments of his illustrious career with our writer Garrett Gilchrist. Back to the present — or at least the very near future. Last year's Oscar host, funnyman Seth MacFarlane, has his second feature film as a director, A Million Ways to Die in the West, opening in cinemas May 30 through Universal Pictures. His editor Jeff Freeman, A.C.E. — who also cut MacFarlane's feature debut Ted in 2012 — is interviewed by our writer Peter Tonguette about the new film. Freeman also discusses working with the director, the acclaimed editors he has assisted early in his career, and his refusal to be labeled a "comedy editor." On the technical side, with this issue we launch a series on the latest plug-ins available to our members, who must remain on the leading edge of post-production technology. Our sound-minded writer Mel Lambert kicks things off by talking to a cross-section of sound editors and designers about their favorite tools and tricks of the trade to achieve just the effect or sonic texture their directors are seeking for a show. Subsequent articles will consider add-ons for picture editors and re-recording mixers. Until next issue, thanks for reading. f POST SCRIPT Recognition — and Respect — for the Film Laboratories CineMontage_May-Jun_14-3.indd 6 4/15/14 2:41 PM