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When you ask an editor what they DO in the edit suite, the answer is often something like, "Well, it's intuitive." To become better editors, though, we need to be more specific. Editor, author, and professor Dr. Karen Pearlman breaks down the process into five specific steps that editors must take in order to turn a mass of material into something coherent. You can learn to hone the specific skills of observation and self-awareness that distinguish editors from other observers, and make unexpected connections that move stories in compelling new directions. Sven Pape of "This Guy Edits" presents his conversation with Karen in the form of a powerful video essay that you will find illuminating and inspiring, and will be able to start using right away.
Karen holds a Doctorate of Creative Arts and is currently a lecturer in Screen Production at Macquarie University. She is a former President of the Australian Screen Editors Guild and a three-time nominee for Best Editing at the Australian Screen Editors Guild Annual Awards. Karen is also a full member of the Society for Cognitive Studies of the Moving Image, and the Film Critics Circle, Australia.
When you ask an editor what they DO in the edit suite, the answer is often something like, "Well, it's intuitive." To become a better editor, we need to be more specific about what's going on. Karen breaks down the process into the specific step that editors undertake to turn a mass of material into something coherent. You can learn to hone the specific skills of observation and self-awareness that distinguish editors from other observers, and make unexpected connections that move stories in compelling new directions.
Sven Pape of "This Guy Edits" presents their conversation in the form of a powerful video essay that you will find illuminating and inspiring, and will be able to start using right away.
THIS GUY EDITS is by film editor Sven Pape, an A.C.E. award nominee, whose credits include work for directors James Cameron, Joseph Gordon-Levitt and James Franco.
In this series, you can follow along as Sven cuts his latest film for Sundance filmmaker Mark Webber. Flesh & Blood is their third collaboration.
Several times a week THIS GUY EDITS (T.G.E.) will post update videos at his YouTube channel, This Guy Edits. You get to see the timeline and the editor's play-by-play-commentary as he cuts scenes. It shows work in progress.
TV workflow supervisor Kylee Peña (Jane the Virgin, Colony) visits Adobe's "Make It" talk show to chat with host Jason Levine about the evolution of motion picture workflows, from the days of film and tape to our modern digital world of crazy-high shooting ratios and constantly evolving technology. She also expounds on the upside to creative constraints and tight deadlines. And don’t miss the lightning round!!!
Music can elevate the emotion of a film scene. As a film editor, should you first cut to music or focus on dialog and visuals alone? In this tutorial, This Guy Edits shares his point of view by example with a rough cut using some temp music by Max Elto.
We talk a lot about things like “accessible tools” and the “democratization of video production” -- what has this meant for the emerging talent whose creative development has taken place largely, or even entirely, within this democratized landscape? Mae Manning is one such editor, who taught herself to edit music videos, and caught the eye of a local production company. Several years later and now their Senior Editor, she cuts corporate and industrial training videos, promotional videos, sketch comedy, short films, and everything else that gets thrown her way. Mae’s story is an inspiration for anyone that thinks there is only one path to success in the industry.
Greg Ondera produces, directs, and edits medical video programs specializing in surgical procedures. From his wide ranging experience in the medical sciences and broadcast arts, Greg shows you how to create better surgical broadcasts.
Katie Toomey takes Creative COW members inside the world of the advertising editor, where being a generalist means you are often not only a video editor, but a designer and audio editor, problem solver, as well as tech support professional. Join Katie as she takes you inside her world.
Sven Pape, aka @ThisGuyEdits, joins Dr. Karen Pearlman -- former President of the Australian Screen Editors Guild and a three-time nominee for Best Editing at the Australian Screen Editors Guild Annual Awards -- for a provocative look at "Editor's Thinking," a cognitive skill set that you can use to improve your screenplay before you start principal photography of your film.
It's happened to you. The first cut sounds noisy, has compression artifacts, actors aren't giving their best performances -- and the director has notes about all this and more. Follow along as Sven Pape from "This Guy Edits" works through some of these very issues on the film he's working on, with tips on how deliver exactly what YOUR director is looking for.
More and more, films that are currently in production are working alongside with their marketing teams to establish a strategy months in advance of its release. That means that there’s more time to explore several options when crafting a trailer, but the workload also becomes heavier, and the stakes become higher. Avid Media Composer editors Christian Jhonson and Patricio Hoter (The Jungle Book, The Last Witch Hunter, Green Room, Titanic 3D, and more) explore this evolving artform.
Accomplished editors tend to point to instinct and experience when it comes to the exact edit point. Here are 5 tips from veteran editor Sven Pape of "This Guy Edits" that may help you get there. Some editors say that great editing is invisible. So is the right frame the one we don't notice?
What if you wouldn't have to stop procrastinating? Sven Pape of "This Guy Edits" demonstrates how to use procrastination to achieve some of your best film editing work. "Why do I procrastinate?" asks Sven, "I give you Aaron Sorkin who has one of the best procrastination quotes: "You call it procrastination I call it thinking.""