LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Metadata & The Future of Filmmaking

COW Library : Art of the Edit : Dave Stump, ASC : Metadata & The Future of Filmmaking
CreativeCOW presents Metadata & The Future of Filmmaking -- Art of the Edit Feature

Los Angeles California USA All rights reserved.

Editor's note: Although this interview was first published in 2008, we've found that the ideas explored here are becoming more relevant by the day, as large parts of the future that David Stump ASC imagined at the time are coming to pass — while other parts of it seem more urgent than ever. This conversation with Creative COW Editor-in-Chief Tim Wilson and longtime Creative COW host and camera expert Gary Adcock is also one of the most engaging looks you'll find at the technical side of filmmaking, seen through the eyes of one of the industry's most respected VFX cinematographers and industry thought leaders.

Pictures and sound are data. Information about them is metadata — the data about the data.

Metadata can begin with information as simple as reel name, clip name, date, duration. However, with new cameras skipping video and film as we’ve known them and recording straight to digital files, the potential complexity of the metadata skyrockets.

This is why metadata collection is moving closer and closer to the beginning of image capture, to lenses, cameras, even cranes.

Dave Stump is the chair of the Camera subcommittee of the American Society of Cinematographers, and co-chair of the Metadata subcommittee. His message to Hollywood is how critical it is that camera issues and metadata issues be addressed at the same time.

Creative Cow’s Gary Adcock assists Dave on these two committees, and told us about a presentation that he and Dave gave during NAB 2008 to illustrate metadata. Dave held up a photograph, and askedEarl Stump, grandfather of Dave Stump, ASC (American Society of Cinematographers if anyone in the audience could figure out who it is. After some guessing, someone in the audience suggested looking at the back of the photo to see if a name was written there.

Dave said, “Ah, you mean check the metadata.”

(On the back of the photograph is written "Earl Stump, 1918." It's Dave's grandfather.)

As his “day job” Dave has served as the visual effects director of photography and VFX supervisor for dozens of films, as diverse as “X-men” and “X2,” “Batman Forever,” “Stand by Me,” “Free Willy,” and 2008’s James Bond film, “Quantum of Solace.”

Regardless of a film’s scale or genre, Dave’s task is the same, enabling the realistic combination of camera footage with CGI. Until very recently, much of that work was done by hand, guided by informed guesswork, hoping to match camera position, lens length, focus and more— typically all of them in motion at once over the course of a shot.

In 2000, Dave was part of a team that received a Technical Achievement Award from the Academy of Motion Picture Arts and Sciences, for hand-development of advanced camera data capture systems, which he describes below. We’ve come a long way since then, in no small measure thanks to the concerted efforts of Dave and his colleagues.

As he tells it, his primary goal in that ongoing effort was simply to explain what metadata is, and why it matters.

David Stump, American Society of Cinematographers (ASC)Dave Stump: Privately, my secondary goal was to shame the proprietary sense of everyone in the manufacturing community who builds our tools. Because everyone who builds a machine, every one who builds a computer-driven device, everybody who uses metadata, builds their own metadata scheme, and no two of them talk to each other.

You know the saying, “Standards are great. That’s why we have so many of them.” If no two standards can talk to each other, there’s no uniformity to the metadata. It becomes meaningless.

Gary Adcock: It’s not only that they can’t talk to each other. Even when they do create and handle metadata, they don’t store it in the same place.The ASC is trying to maintain the integrity of the workflow.

: That’s right. What we end up making now, out of pictures, is data. Whether we are shooting on films or digital camera, the pictures end up as files. Nobody finishes the pictures on analog media anymore, nobody photochemically carries a movie all the way through really. You don't take a negative and cut it and print it and and time it and make an answer print. That's not the way you make movies anymore. That's not the way you're ever going to make movies again.

You put it on a scanner, you save it as data. Some of it you send out to a visual effects house, some of it, you run through an Avid or a Final Cut system. Whoever is working on it at one visual effects house puts it in a Shake system, or some of it goes in Maya. Some of it goes into an Autodesk Flame, some of it goes into Inferno, some of it goes into Matador.

All of these systems will bring in a DPX file or Cineon file. Sure we know that this is, but the data in it that would have told you when and where it was created, and who it belongs to, and how it was named in accordance to standards set for the particular movie, and what the original colorscape of it was, or what the original camera settings were, or how quickly it was panning from left to right in degrees or frames -- all of the information put in there is discarded the moment its fitted into another new machine. Thrown in the thrash.

“What do I need that for?," [someone asks.] "I’m just here to do some compositing.”

So when you get back a file, all that information has been decimated. And there is no reason why we can't all agree on the value of the data like that. And agree to do no harm to it.

Tim Wilson, Creative Cow
: What are some of the specific kinds of things you want to preserve?

: Dozens of things. For starters, preserve the naming convention of a particular movie or particular studio or a particular post house or particular vendor.

Naming is vastly more important than we think it is because that's how you find things. That's the first thing you look for in databases. "Go look for a file called 'The Buddy White Story' We started off naming the third and fourth characters in the names in the string as 'bw.'"

If the last place that you sent the file stripped the name and used their own naming convention, which is some UNIX string of number or random number or date that they used, the "bw" is gone. Now you can't find it with the computer!

So naming conventions are the first thing that's really, really important. But the kind of things that we expect to put on file of our pictures goes vastly vastly deeper than that. Have you for example read the menu structure of a Sonly F900 or a Panavison Genesis. The menu tree of the Genesis is, I don't know Gary what would say? Probably 100 different criteria.

Gary Adcock, Creative Cow
: Minimum. I think its closer to 200. With the Sony F23, it’s something like 262 items.

: So yeah, 262 menu entries. The F23 is almost the same back end menu structure as the Genesis, so call it 260 fields of metadata that ought to be included in every picture the camera makes.

That's 260 fields of metadata that ought to be included in every picture that it makes. Just for starters. Just for that camera alone. And that doesn't even include the main menu criteria that also ought to be there. There are criteria ought to be there that Sony hasn't even though to put in yet.


The problem is that so few of the people who are part of this process have sat down and agreed on how the data ought to come out. Most of them want to build the machines where the data comes out themselves, and fit them into another proprietary box which you have to buy from them. So the monetary interest in being the only solution for metadata prevents the universalization of standards.

And, excuse me, that’s what standards mean! Something that’s open source and universal. When you say “our standard,” it’s no longer a standard.



Dave: What we are discovering now is the truth in what I proposed years ago, that you can make cameras that are smart enough to know what lens you are putting on. You plug a lens into the camera and little contacts in the back go here it is, Panavision lens, 15mm, Serial number 119 and here is its mustache curve, here is the distortion map for this lens, it is focused at 7 ft., stopped at f8, and so on.

: I was struck by your earlier example of following the degrees of the angles that the camera moves through during a shot.

: Yes, on a frame-by-frame basis. Because the visual effects people then have to take whatever pictures you’ve created at 24 or 29 or 120 frames per second, put them into a tracker, Boujou or PFTrack or who knows what, and solve for movements including dolly and tilt, focus, zoom, boom, swing, track and everything else that goes into a shot. It’s a horribly complicated equation to figure out after shooting.

Yet in the grand scheme of things, that’s a minuscule amount of data to collect while shooting. You only have to remember to ask, “O’Connor, the next time you build a pan head, we want it with a plug for a data recorder.” Or “Panavision, do you have a GPS set that you can build into the base plate?”

GPS apparently takes very little real estate because it’s there in my iPhone sitting on my desk.


Gary: I look at it from the post side. Cooke Optics has this little box, the “/i dataLink.”

Cooke i /dataLink with the Arri 235 film camera
Cooke Optical i /dataLink with the Arri 235 film camera

It records focus, zoom and all that from the lens, and then everything from the camera too. It records all that to this little SD card.

Cooke Optical i /dataLink

Now you have the actual data. Instead of having to recreate it, you can do motion matching and everything in VFX long before the footage itself actually gets there. There’s not somebody waiting for the footage, and then starting to do all this work manually for weeks and weeks on end.

Or conversely you could take VFX information of files that have already been created, and program existing queries from master shots or something that's already been approved. Everything gets more and more efficient down the line. You can streamline the cost and expenses and redos and everything else further down the food chain thereby saving money in the long run.

: Exactly. This is the classic mistake that studio bean counters make. “We need to get the budget down, so let’s beat this guy up for more of his wages.”

Instead, for a shot that used to be a Boujou problem, you create a sync frame, like the bloop on the slate. Now comes the rest of the data: here’s the center shutter open pulse, here’s the pan, tilt, focus, zoom, f-stop, dolly, boom — synchronized with every frame of the film that you shot.

The artist who would have spent six weeks tracking this out by hand, and reverse engineering camera position and focal length anecdotally or from someone’s handwritten notes, can now simply take the metadata file, plug it in and start doing the work. The real work.

This is the way that I love to frame the discussion, as an invitation to the producers and the studios who want to save money. You know, we can all stand around and haggle over 50 cents an hour for every employee on the staff and you can feel like you’ve saved some money.

Or we can automate those people’s work, get it done in a week’s less time or a month’s less time, and then save some real money.

Everyone asks, well, who’s going to pay for developing all of this new automated metadata collection? I say, we already pay for it anyway. How often do you buy computers and cameras and lenses? We renew and replenish this stuff on a daily basis. At least ask manufacturers for what you want in the updates, rather than just taking what you’re handed.



In one sequence, James Bond and Camille (Daniel Craig and Olga Kurylenko) are tossed from an airplane with only one parachute between them. A typical approach to this in the past would have been to use stunt people for the most difficult sequences, and intercut with greenscreen footage. The problem is that it looks a lot like a combination of stunt people, with two flat layers composited together for the inserts -- each of which could only last for a second or two before the "seams" would show.

The filmmakers wanted something much more realistic: "real" bodies falling in "real space," allowing the camera to move around them, and holding the shots for as long as it took to tell the story.

To create the illusion, the actors and their doubles were trained to free fall inside an ex-military vertical wind tunnel, six stories tall with a wind machine blowing at 150 MPH. “We took out all the windows and and some of the walls and painted it white to suit our purposes,” says Dave, “and we strung lights everywhere — in the bottom, all around the walls. We put in 8 Dalsa Origin 4K cameras and 7 Sony F900Rs, all of them locked in place. We also had an Arriflex 435, which was mounted on a Steadicam and flown in freefall alongside the actors.

"Not only that, this wind tunnel amounts to a metal thermal bottle. So when you when you start stringing high frequency, high energy digital image cables around the same structure, you quickly discover that with all of that wind rushing through it at 150 miles an hour it becomes a cross between a transformer and a Ver Der Graf generator. There were tense moments.

"But aside from one bad BNC cable that started causing me trouble, the next biggest problem I had was, at the point half way through the day, a fan in the top a the machine blew a seal and started dripping oil. So we had to stop for an hour while they changed that.

"For everything else, we got everything that they wanted to get shot, and it was an truly an astounding sight to behold. The physics of watching Daniel and Olga in this wind tunnel was absolutely spot on for two human bodies falling from an airplane.

“The heart of the challenge was to synchronize all of those cameras, so that running with 90 degree shutters, they all have the same effective center shutter opening interval. And it had to be very, very precise.

"What we were attempting to do with the cameras was to create a data cloud. That is, we were creating a point cloud of metadata. We knew the focal length and the characteristics of every lens. We set them more or less locked off for the spot inside the tunnel inside the tunnel where we wanted the actors to float. I built the stop deep enough so that we wouldn't have to rack focus. And we solved for every pixel from every camera for its position in space throughout the entire synchronized shot.

"A double negative was taken of that data and solved for the position of the actors, who were then regenerated as CGI characters and inserted into real aerial photographic backgrounds from the film’s locations.

“It’s pretty astounding.”

Daniel Craig and Olga Kurylenko star in Metro-Goldwyn-Mayer Pictures/Columbia Pictures/EON Productions? action adventure QUANTUM OF SOLACE. Photo credit: Karen Ballard. © 2008 Danjaq, LLC, United Artists Corporation, Columbia Pictures Industries, Inc. All Rights Reserved.

Daniel Craig and Olga Kurylenko star in Metro-Goldwyn-Mayer Pictures/Columbia Pictures/EON Productions’ action adventure QUANTUM OF SOLACE. Photo credit: Karen Ballard. © 2008 Danjaq, LLC, United Artists Corporation, Columbia Pictures Industries, Inc. All Rights Reserved.

Tim: I'd like to get into some specifics. I know you started working with Viper in their early on days, right?

Dave:: Yes. And when it was introduced, there was one recorder, called the Director's Friend, which sort of disappeared immediately, and there was nothing to record it to.

Tim: So what happened?

Dave: So I took the camera and made a picture with it. And I made the picture the best way I could. I dumbed it down to 422 and recorded in D5 machines where there's much rich metadata accompanying the images, even if they're separate files on disks. I made a virtual movie. And I used that movie to proclaim loudly to the entire community, this is a 4:4:4 camera and because you didn't build the machine, I had to it at 4:2:2. Who's gonna build me a machine to record this?

How many recorders are there now that can not only do 4:4:4 but for that matter 16 bit TIFF? Just by virtue of having made demands from the community. I won't take the credit for the fact that maybe a dozen machines like this exist. But I will take credit for having spoken into that vacuum very early on.

And I can tell you what the looks are what you get when you do that.


Dave: One of the obstructions to automating the motion picture workplace is that we don’t have a tradition of metadata on set. We have a tradition of what I call “metapaper.”

For example, script supervisors for the most part take a paper copy of the script, and note vast A "lined script," as marked on-set by a script supervisorquantities of metadata in real time just by watching the movie being filmed: script changes, which actors are in each shot, and so on. And they notate that using lines and squiggles and arrows and notes all over the typed script, with hand written notes to elaborate. They accumulate vast quantities of paper that people have to keep in notebooks.

The first assistant and the second assistant, all the cameramen, the loader — these people keep vast amounts of paper notes too. If you want to know what lens they were shooting with, or if you want to know what filters were on the camera or what settings they shot with, you have to dig out that notebook and find the page that you want, and hopefully it’s in the right place.

Now you want to find out the tilt angle for this particular CGI shot, approximately in degrees -- the best that the visual effects’ people were able to determine by standing there and looking at the heightened crane, which is 20 feet in the air and trying to guess what the tilt angle was for the given shot. Visual effects people have data wranglers to keep vast amounts of their own paper notes.

And you have to find that notebook and dig it out -- sometimes the notebooks for a production aren’t even all in the same place!

All of this metapaper exists separately and independently of the images themselves!

Once you don’t have to have those notebooks stacked in shelves, it becomes a downhill rush to automate all metadata coming to the editors. It’s a small step from there to attach the metadata to the picture files themselves, and to preserve that information as it passes from machine to machine in post.



Dave: The Tim Burton Batman movies were where I first used my hand-created data capture system.

In the earliest days of live action motion control and data capture, we had a shot that started in a macro closeup, then boomed up to 60 feet in the sky. The question everyone asked was, how in the world are we ever going to focus this thing?

We ended up attaching an encoder to the crane arm to give us a numerical value for the position of the camera at any given azimuth. We then wrote a lookup table as an “if/then” equation. If the arm has boomed up 6 feet, then the focus should be set at 6 feet. If the arm has boomed up 12 feet, then the focus should be set at 12 feet.

I’m oversimplifying, but it’s easy to put a motor on a focuser. What we ended up doing was going down to the arm and attaching an encoder, so that for any position of the arm swinging up we had a numerical value for that position. We then wrote a lookup table, or translation table, as an if-then equation.

Once you write that lookup table, and you swing the arm, and the arm data drives the focuser, there’s no mistake to be made. You have the numbers. It’s just an equation.

And while there was a motor involved in that task, ultimately we realized that that was all you ever needed, and you could figure out the rest.

But if someone is actually focusing the camera and someone's actually pushing a dolly and actually hand- filtering the camera, that doesn't mean you can't record it.

It turns out that you can record anything that you can measure. So for “Batman Forever” I built a little kit, and Panavision, to their credit, built me three encoded PanaHeads that had differential encoders onPanavision Technocrane, a successor to the Panavision Panahead primary axles, recording pan and tilt, and converting that to degrees, and saving that data.

Then I put a little puck wheel on a dolly. As it rolls, it can measure tracking distance usually within greater precision than16ths of an inch.

For swinging the arm of a crane, the same thing: you put an azimuth encoder to the chain of a Titan crane or you put inclinometer encoders on the side of the arm. When you read how many degrees of tilt the arm is going through, you know exactly what height the crane is at.

But we discovered there was inherent noise in those pendulum encoders. For example, if you start booming up and pushing the dolly at the same time, it generates an inertial noise -- a lurch as the movement begins.

I also discovered that if you put a pendulum encoder on the right side of the arm where it moves, and another pendulum encoder on the left side of the chassis where it doesn't tilt up, and you subtract the inertial noise, you have a noise graph that tells you how quickly the inertial jolt moved in addition to the tilt up of the arm. Subtract the noise from the arm movement, and you have pure arm movement. And that becomes extraordinarily valuable.

So we were able to record all these axes of movement, unobtrusively. There was a little extra wiring on the dolly that we ran through a nice little cable harness, on down to an RS 422 line connected to a computer sitting off to the side.

: How did we get from your hand-crafted systems to something more universal?

: I had a meeting with some of the fellows from the Fraunhofer Institute in Europe. They saw that I was building and developing my own hardware and encoding systems, and then strapping it all onto dollies and cranes and arms. They said, “We get that you like to tinker and build this stuff yourself, but your greater value to the community is in making articulate demands of the rest of the hardware community, so that they get other people to build it for you.”

That was very liberating to me, very freeing, just realizing that the community can make demands of manufacturers.

And now, Panavision have a data port out of every Technocrane they own. You can walk up and plug a data capture system into the base of a Technocrane and record every move for every frame. I wrote the connector standard for them, so I know. [Laughs]

Panavision Technocrane motion capture interface
Motion capture interface on the Panavision Technocrane

More than that, it’s just a big conduit, a data pass-through for anything attached to the Technocrane, including any camera and lens data that can be collected off those machines.

Tim: Can you also collect metadata from non-Panavision cameras and their lenses on the crane?

Dave: Yes! If the camera and lens and head send out data, it will pass through the crane. So you can put an Arriflex camera on that crane and record all the data.

Tim: Now you’re talking!


Dave: You know, Panavision actually got involved very early on with putting encoders in their lenses. The guys at Fujinon also developed a system to output data from their lenses for George Lucas to use on the first digital Star Wars movie. Arri have taken a somewhat a proprietary approach to packaging their data. But they’re starting to see the logic of open source.

So there have been baby steps, but the Cooke /i Lenses are the first committed, open source invitation to everyone to embrace gathering metadata from lenses. If you look on the Cooke Optical website, you can download a PDF file. “Here is the standard, here are the connectors, here is how it’s wired, here’s how the data comes out. Do with it what you will. It’s open source.”

They completely have the right idea. It’s up to us in the community to demand that the rest of imaging chain deliver data recorded to the images themselves as they’re gathered on set, in ways that everybody else can use.

Tim: It sounds like you’ve done an awful lot in terms of moving film production into the future with on-set metadata so, what do you want to do now?”

Dave: The problem is that in order to capture metadata, you have to agree how to name it, what it means and where to put it. There are over 2000 fields of metadata defined in the industry dictionary. What we did in committee was apply for and receive an ASC node to the metadata dictionary so that we could define the fields of metadata that we felt were important on set, for inclusion into the metadata header

We wanted to be able to assure that our work and visual effects work could be automated. And the only way to ensure that is to include it in the dictionary.



Dave: Once we have metadata everywhere, everyone will look around in shock and awe and ask each other, “How did we ever make movies without this stuff?

On-set metadata collection will become as ubiquitous as the walkie-talkie. You know, how did we make movies before we had walkie-talkies? Well, we shouted and stood on the side of the mountain and sent semaphore to the guy on the next hill. We sent smoke signals! Fire a gun — that means “GO!”
And now, you look at all the walkie-talkies on a set and don’t even think to ask anymore how we ever made movies without them!

Well, when on-set metadata becomes useful and ubiquitous, we’ll be saying the same thing about it then. Instead of waiting for all the pieces of paper from the script supervisor and everyone else on the set to arrive in an envelope at the production office each night, we can have digital metadata, collected automatically on-set, delivered even as we’re shooting.

You know, if you can turn the focus barrel of a lens into data, you are to be able to turn the meaning of a script supervisor's wavy line on a tablet computer into the proper kind of data as well. In fact, that should be a trivial task compared to encoding a lens.

The amount of information in today’s physical metadata — script notes, camera movements, camera settings — is trivial, insignificant in size compared to the actual picture or sound data we’re already collecting. But getting it attached to the picture and sound data is NOT trivial. And it won’t happen unless you ask for it.

The question is being asked. The answers are being provided. It just takes time for the herd to move in that direction. So, every chance that I get, I speak to the herd, and I speak to the possibility of what we could be doing.

The tools of metadata can and will enable authorship of images, control of look management, efficiency in visual effects and editorial, and make better movies while saving the producers and studios money!

Workflow 3.0

Also in Creative Cow Magazine's
"Workflow 3.0" issue:

  • South Park: TV's Longest Week
  • 3 Network Shows, 1 Team, Every Week
  • Fix it in "Pre"
  • And much more!

Download your complimentary PDF!

And don't forget to subscribe here!


Metadata & The Future of Filmmaking
by John Baumchen
Really interesting article. I can see the day when the encoders will be wireless as well, feeding the metadata into post equipment via the internet as the scene is being shot. Thanks.

Related Articles / Tutorials:
Art of the Edit
Why Does An Edit Feel Right?  (According to Science)

Why Does An Edit Feel Right? (According to Science)

In this episode from the series The Science of Editing, Sven Pape of "This Guy Edits" and Dr. Karen Pearlman, author of "Cutting Rhythms: Intuitive Film Editing" discuss three cognitive concepts that go beyond continuity, including rhythm, subtext, and kinesthetic imagination. Packed with examples from Ridley Scott's Blade Runner, Alfred Hitchcock's Notorious, and many others, the Science of Editing will help even the most seasoned editors -- and viewers -- unlock new dimensions in the cinematic experience.

Sven Pape
Art of the Edit
Unearthing Apollo 11 in Large Format: An Interview with Director Todd Douglas Miller

Unearthing Apollo 11 in Large Format: An Interview with Director Todd Douglas Miller

Director-Editor Todd Douglas Miller creates more than just another space documentary with his film Apollo 11. He has helped expand the horizons of what we thought we knew about one of humankind's signature achievements by unearthing nearly 300 reels of previously unseen large-format film, up to 65 and 70mm, digitized with a first-of-its-kind 8K scanner, along with 11,000 hours of previously unheard audio recordings to provide previously only-imagined perspectives on our first mission to the moon. Creative COW's Courtney Lewis reveals how he put it all together with NASA, the National Archives, post house Final Frame, and tools from Adobe.

Courtney Lewis
Art of the Edit
Editing Eye of the Beholder: The Art of Dungeons & Dragons

Editing Eye of the Beholder: The Art of Dungeons & Dragons

Kelley Slagle began her career in entertainment as an actor, so it’s not surprising the communal storytelling of Dungeons and Dragons caught her eye. She both edited and co-directed the prizewinning documentary "The Eye of the Beholder: The Art of Dungeons & Dragons", speaking to overe 40 artists across the 45-year span of the game's history. Creative COW Managing Editor Kylee Peña spoke to Kelley about the challenge of managing that much material into a 90-minute film, balancing indie filmmaking with the demands of a day job in video production, and the power of art to sustain a community.

Feature, People / Interview
Kylee Peña
Art of the Edit
Editing The Emmy Award-Winning Phenomenon, Wild Wild Country

Editing The Emmy Award-Winning Phenomenon, Wild Wild Country

Wild Wild Country premiered at the 2018 Sundance Film Festival to great acclaim, and when it hit Netflix a few months later, it quickly became a phenomenon, going on to win the Emmy for Outstanding Documentary of Nonfiction Series and netting editor Neil Meiklejohn an Emmy nomination for Outstanding Picture Editing for Nonfiction Programming. Creative COW's Matt Latham spoke with Neil about managing a project of this scope, treating the eight parts as a single film rather than episodes, his use of Adobe Premiere Pro, workflows with visual effects and music, and much more, including career advice for aspiring editors.

Feature, People / Interview
Matt Latham
Art of the Edit
What It Takes to Edit Big TV Shows: This Guy Edits

What It Takes to Edit Big TV Shows: This Guy Edits

Sven Pape of "This Guy Edits" joins TV editor Josh Beal (House of Cards, Bloodline) for a close-up look at editing Season 2 of Counterpart, the Starz series starring JK Simmons in a dual role -- which is only the start of the challenges presented by this high-energy sci-fi thriller. Josh dives deep into storytelling techniques, workflow, teamwork, organization, and even offers some insights for people wondering how to get started as TV editors themselves.

Sven Pape
Art of the Edit
Writer-Director Vidhya Iyer: Parents, Children, & Brown Love

Writer-Director Vidhya Iyer: Parents, Children, & Brown Love

Writer-director Vidhya Iyer is an Indian-Nigerian-American filmmaker, improv comic, AFI graduate, and CAPE (Coalition of Asian Pacifics in Entertainment) New Writers Fellow. Work on award-winning shorts has led to a comedy pilot called "PG 30" about authenticity, adult children learning to become honest with their parents, and the unique "brown love" between immigrant parents and their children. Creative COW Contributing Editor Clarence Deng explores all this and more, including the empowering community that grows up among filmmakers who are helping each other tell their truest stories.

Feature, People / Interview
Clarence Deng
Art of the Edit
The Top 5 Most Common Problems with Student Films

The Top 5 Most Common Problems with Student Films

What are the biggest mistakes of most student films? This "Science of Editing" episode may just have the answer. Join "This Guy Edits" Sven Pape and Macquarie University lecturer Dr. Karen Pearlman, author of "Cutting Rhythms: Intuitive Film Editing" and former President of the Australian Screen Editors Guild for a look at specific things to avoid to make your films your best.

Sven Pape
Art of the Edit
Editing Marvel's Black Panther: Debbie Berman ACE

Editing Marvel's Black Panther: Debbie Berman ACE

This is an epic tale spanning two decades, three countries, 12,000 miles -- and that's just the story of Debbie Berman, ACE, starting in reality TV and indie film in South Africa, making her way to Canada and then the US to edit Marvel's Spider-man: Homecoming and, most recently, Black Panther, already one of the most popular films of all time. In this exclusive interview with Creative COW Managing Editor Kylee Peña, Debbie talks about struggling toward US citizenship, a serendipitous meeting with an ambitious young director, helping to bring representation to the big screen and pride to her home country.

People / Interview
Kylee Peña
Art of the Edit
What Picasso Can Teach Us About Filmmaking

What Picasso Can Teach Us About Filmmaking

Feature film editor Sven Pape takes a unique, entertaining look at Pablo Picasso's approach to art, and offers specific examples from a variety of movies, as well as Picasso's own advice. As Sven puts it, success requires action. Make a film. Fail. Then fail harder. Of course, Picasso and Sven have great advice for succeeding too! You'll get a kick out of this one.

Tutorial, Feature
Sven Pape
Art of the Edit
Searching: Creating Cinematic Drama From Small Screen Trauma

Searching: Creating Cinematic Drama From Small Screen Trauma

The thriller "Searching" takes place on computer screens, but no screen captures were made. Instead, the team built the individual elements in Adobe Illustrator, animated in Adobe After Effects, and edited those elements together with live action footage in Adobe Premiere Pro. Creative COW Managing Editor Kylee Peña spoke to editors Nick Johnson and Will Merrick about the extraordinary lengths they went to to create this exceptionally compelling big screen drama from the family crisis being played out on small screens before us.

Kylee Peña
© 2020 All Rights Reserved