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	<title>Below the Line &#187; Editing</title>
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		<title>Boris FX Introduces New AAF Transfer Plug-In for Avid</title>
		<link>http://www.btlnews.com/crafts/post-production/boris-fx-introduces-new-aaf-transfer-plug-in-for-avid/</link>
		<comments>http://www.btlnews.com/crafts/post-production/boris-fx-introduces-new-aaf-transfer-plug-in-for-avid/#comments</comments>
		<pubDate>Tue, 08 Jun 2010 14:03:53 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=10774</guid>
		<description><![CDATA[Boris FX announced Boris AAF Transfer, a new plug-in designed for seamless transfer of Apple Final Cut Pro sequences to Avid Media Composer. Boris AAF Transfer uses Avid’s new AMA (Avid Media Access) architecture to transfer Final Cut Pro sequences without the need for transcoding or rewrapping. “Improved integration between Adobe, Apple, and Avid continues [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Neil Marshall&#8217;s Epic Thriller Centurion Takes Editshare&#8217;s Lightworks into Battle</title>
		<link>http://www.btlnews.com/crafts/post-production/neil-marshalls-epic-thriller-centurion-takes-editshares-lightworks-into-battle/</link>
		<comments>http://www.btlnews.com/crafts/post-production/neil-marshalls-epic-thriller-centurion-takes-editshares-lightworks-into-battle/#comments</comments>
		<pubDate>Tue, 08 Jun 2010 13:02:04 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Postproduction]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=10764</guid>
		<description><![CDATA[<strong>EditShare</strong> announced that award-winning editor <strong>Chris Gill</strong> utilized Lightworks to edit <strong>Neil Marshall</strong>'s latest adrenaline-fused thriller, <em>Centurion</em>. Released in the United Kingdom in April 2010, and scheduled for a domestic release in August 2010, <em>Centurion</em> relays the gripping tale of a Pict camp raided by Romans, in an effort to rescue a captured General during their 2nd century conquest of Britain. ]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Contenders – Editors Bob Murawski and Chris Innis, The Hurt Locker</title>
		<link>http://www.btlnews.com/awards/contender-portfolios/contenders-%e2%80%93-editors-bob-murawski-and-chris-innis-the-hurt-locker/</link>
		<comments>http://www.btlnews.com/awards/contender-portfolios/contenders-%e2%80%93-editors-bob-murawski-and-chris-innis-the-hurt-locker/#comments</comments>
		<pubDate>Tue, 02 Mar 2010 16:55:40 +0000</pubDate>
		<dc:creator>Mary Ann Skweres</dc:creator>
				<category><![CDATA[Contender Portfolios]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[Featured]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=10345</guid>
		<description><![CDATA[Editor <strong>Bob Murawski</strong> was finishing <em>Spiderman 3 </em>when he got a call from friend, <strong>Paul Ottosson</strong>, who had been hired as sound designer on <em>The Hurt Locker</em>. ]]></description>
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		<slash:comments>1</slash:comments>
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		<title>The ACEs of Editing Shine at the 60th Annual Eddie Awards</title>
		<link>http://www.btlnews.com/awards/the-aces-of-editing-shine-at-the-60th-annual-eddie-awards/</link>
		<comments>http://www.btlnews.com/awards/the-aces-of-editing-shine-at-the-60th-annual-eddie-awards/#comments</comments>
		<pubDate>Tue, 16 Feb 2010 01:05:54 +0000</pubDate>
		<dc:creator>Mary Ann Skweres</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=10173</guid>
		<description><![CDATA[The 60th Annual ACE Eddie Awards, Feb. 14, recognized the outstanding editing of 2009. Top honors for Best Edited Feature Film, Drama went to <em>The Hurt Locker</em>, edited by <strong>Bob Murawski</strong> and <strong>Chris Innis</strong>, while Best Edited Feature Film, Comedy or Musical went to <em>The Hangover</em> editor <strong>Debra Neil-Fisher</strong>, A.C.E.
]]></description>
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		<slash:comments>1</slash:comments>
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		<title>A.C.E. Awards Reception Honors Nominees</title>
		<link>http://www.btlnews.com/awards/a-c-e-awards-reception-honors-nominees/</link>
		<comments>http://www.btlnews.com/awards/a-c-e-awards-reception-honors-nominees/#comments</comments>
		<pubDate>Fri, 12 Feb 2010 00:24:16 +0000</pubDate>
		<dc:creator>Mary Ann Skweres</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=9950</guid>
		<description><![CDATA[In advance of the A.C.E. Eddie awards, the American Cinema Editors, the honorary organization of distinguished film and television editors, held its 10th annual nominees&#8217; reception at the Kodak Atrium in Hollywood. The evening was an opportunity for the 2010 Eddie Nominees to come together and celebrate their art and craft while enjoying the company [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Fix It In Post Edits The Bannen Way</title>
		<link>http://www.btlnews.com/crafts/editing/fix-it-in-post-edits-the-bannen-way/</link>
		<comments>http://www.btlnews.com/crafts/editing/fix-it-in-post-edits-the-bannen-way/#comments</comments>
		<pubDate>Wed, 10 Feb 2010 21:21:42 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Editing]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=10170</guid>
		<description><![CDATA[Los Angeles-based editorial boutique Fix It In Post recently edited The Bannen Way, a series of 16, 5-7 minute-long webisodes created by filmmakers Mark Gantt and Jess Warren airing on Sony Digital’s Crackle.com. Editor Zack Arnold, owner of Fix It In Post, responded to a Craig’s List ad looking for an editor that would work [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>The Invisible Art of Cutting Films</title>
		<link>http://www.btlnews.com/awards/for-your-consideration/the-invisible-art-of-cutting-films/</link>
		<comments>http://www.btlnews.com/awards/for-your-consideration/the-invisible-art-of-cutting-films/#comments</comments>
		<pubDate>Mon, 23 Nov 2009 20:32:07 +0000</pubDate>
		<dc:creator>Mary Ann Skweres</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[For Your Consideration]]></category>
		<category><![CDATA[98]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=2284</guid>
		<description><![CDATA[“Every editor is going to tell you the same thing,” says <strong>Sheldon Kahn</strong>, A.C.E. “If you don’t notice the editing, that’s good editing. Whether it’s an animated picture o]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>Contender &#8211; Editing &#8211; Dana E. Glauberman &#8211; Up in the Air</title>
		<link>http://www.btlnews.com/awards/contender-editing-dana-e-glauberman-up-in-the-air/</link>
		<comments>http://www.btlnews.com/awards/contender-editing-dana-e-glauberman-up-in-the-air/#comments</comments>
		<pubDate>Thu, 19 Nov 2009 03:15:00 +0000</pubDate>
		<dc:creator>Mary Ann Skweres</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Contender Portfolios]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[98]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/sean/wordpress/?p=556</guid>
		<description><![CDATA[As a film studies major at UC Santa Barbara, Dana E. Glauberman knew she wanted to pursue editing. After graduation she secured a production assistant position and began working her way up the ladder, eventually assisting Ivan Reitman’s, long-time editor Sheldon Kahn, (One Flew Over the Cuckoo’s Nest). In a case of being in the [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Contenders – Editors, Angus Wall &amp; Kirk Baxter, The Curious Case of Benjamin Button</title>
		<link>http://www.btlnews.com/awards/contender-portfolios/contenders-%e2%80%93-editors-angus-wall-kirk-baxter-the-curious-case-of-benjamin-button/</link>
		<comments>http://www.btlnews.com/awards/contender-portfolios/contenders-%e2%80%93-editors-angus-wall-kirk-baxter-the-curious-case-of-benjamin-button/#comments</comments>
		<pubDate>Mon, 09 Feb 2009 02:29:33 +0000</pubDate>
		<dc:creator>Scott Essman</dc:creator>
				<category><![CDATA[Contender Portfolios]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[89]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/awards/contender-portfolios/contenders-%e2%80%93-editors-angus-wall-kirk-baxter-the-curious-case-of-benjamin-button/</guid>
		<description><![CDATA[Benjamin Button tells the unusual tale of a its titular character (played by Brad Pitt), who ages in reverse. With a character who gets younger as he gets older and a multitude of visual effects shots, Benjamin Button was no simple chronological edit. Such was the challenge presented to the film’s two editors, Angus Wall [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Contender – Editor, Chris Dickens, Slumdog Millionaire</title>
		<link>http://www.btlnews.com/awards/contender-portfolios/contender-%e2%80%93-editor-chris-dickens-slumdog-millionaire/</link>
		<comments>http://www.btlnews.com/awards/contender-portfolios/contender-%e2%80%93-editor-chris-dickens-slumdog-millionaire/#comments</comments>
		<pubDate>Mon, 08 Dec 2008 17:54:28 +0000</pubDate>
		<dc:creator>Jack Egan</dc:creator>
				<category><![CDATA[Contender Portfolios]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[86]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=9607</guid>
		<description><![CDATA[For Chris Dickens, the editor of Slumdog Millionaire, the challenge was to create fast-paced montages out of an abundance of footage and myriad cinematic images supplied by director of photography Anthony Dod Mantle, who shot in both digital and film formats. Director Danny Boyle “asked me to make the film feel like a bullet coming [...]]]></description>
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