The Rough Cut

Recorded on-site at the 2008 Sundance Producers Conference, this episode of the Rough Cut features independent filmmakers Harvey Hubbell and Eric Gardner.  Harvey and Eric were at the conference to meet with agents, experts and insiders to discuss their film - Dislecksia: The Movie.  Making any kind of film is an uphill battle, but when you want that film to change the world that hill becomes a mountain.  Harvey and Eric tell us all about their cross-country collaboration, the tools and tricks of the trade, and what it's going to take to make their film a reality.

Jeff Roth, senior vice president of post production for Focus Features and Rogue Pictures, shares insight into why studios are taking productions in-house and what should be considered when adopting HD workflows.  Jeff discusses the factors that drove Focus Features and Rogue Pictures to standardize workflows on Avid DNxHD.

 Matt Holmes, visual FX supervisor for WETA Digital, discusses the challenges his team faces creating the stunning visual elements for major motion pictures.  Today, Weta Digital is one of the industry’s leading visual effects facilities with prior work including Lord of the Rings and X-Men.  Matt shares his experience moving into visual effects from his first role as a film editor.  He discusses the latest visual effects, collaboration with clients and the impact of the new DNxHD workflow.

 Recorded live at the 2008 Sundance Film Festival, Matt Feury (Avid) discusses the relationship between director and editor with Producer/Director, Doug Liman (Swingers, Jumper) and editor, Saar Klein (Almost Famous, Jumper).

Recorded live at the 2008 Sundance Film Festival, Matt Feury (Avid) discusses the relationship between director and editor with Producer/Director, Doug Liman (Swingers, Jumper) and editor, Saar Klein (Almost Famous, Jumper).

Recorded live at the 2008 Sundance Film Festival, Matt Feury (Avid) discusses the relationship between director and editor with Producer/Director, Doug Liman (Swingers, Jumper) and editor, Saar Klein (Almost Famous, Jumper).

Recorded live at the 2008 Sundance Film Festival, Matt Feury (Avid) discusses the relationship between director and editor with Producer/Director, Doug Liman (Swingers, Jumper) and editor, Saar Klein (Almost Famous, Jumper).

Recorded live at the 2008 Sundance Film Festival, Matt Feury (Avid) discusses the relationship between director and editor with Producer/Director, Doug Liman (Swingers, Jumper) and editor, Saar Klein (Almost Famous, Jumper).

Recorded live at the 2008 Sundance Film Festival, Matt Feury (Avid) discusses the relationship between director and editor with Producer/Director, Doug Liman (Swingers, Jumper) and editor, Saar Klein (Almost Famous, Jumper).

 Editor Chris Kroll discusses the Sundance 2008 indie film “Good Dick.” Chris shares his thoughts on breaking into the industry, how to approach a film’s preview process and why everyone loves a quirky story. His credits include the upcoming film “Mad Money” and span a variety of genres from teen comedy to sci-fi.

  Host, Matt Feury, talks with Caitlin Dixon about her work on the documentary "Flow: For Love of Water". "Flow" is in competition at the 2008 Sundance Film Festival.

 Pete Hentrich, editor on such shows as Access Hollywood, VH1’s "Behind the Music" and Comedy Central’s "The Man Show" gives listeners his take on breaking into the business and how Full Sail prepared him to take on his career in television.

 Phillip Neel, long time editor on shows such as Moonlighting, Twin Peaks, Ally McBeal and Boston Legal, talks about working with David E. Kelley and his unique style of writing and dialogue as well as his role as producer/editor.

 Patricia Barnett talks about her carreer editing shows such as Hearts Afire, Everybody Loves Raymond, and her current hit, the New Adventures of Old Christine.  Listen in as Pat takes us through the process of creating primetime sitcoms from the "table read" to the sometimes "last minute edit" and some insight into how she got to where she is today as an award winning editor.

  Stephen Semel shares some anecdotes and stories from his career spanning from his role as assistant editor on films such as "Apocolypse Now" to editor of the smash hit "Lost" and all his stops along the way.  Stephen also sheds some insight on working with multiple editors and keeping consistency in the edit on such shows as "Lost".