David Fincher’s go-to editor Kirk Baxter helps achieve a new kind of subjective cinema with Michael Fassbender’s character in “The Killer.”

“Once you hear the word spoken, you hear the rhythms, you start to get an idea in your head, and you can begin visualizing an episode.”       

Editor Myron Kerstein, ACE helps turn Lin-Manuel Miranda’s exuberant celebration of NYC’s Latino culture into a big-screen block party.

“I think the reason that I love this process so much is that I’m the first person that gets to see a scene as it’s being created.”

“The merging of disciplines had to be constant and never-ending. It was truly next-level, not just because of the bells and whistles we were able to come up with, but in the techniques we used.”

Post-production consultant Jeff Greenberg reviews AI-assisted post-production tools to revolutionize your video and music editing process.

Filmmakers Donal Boyd and Frank Nieuwenhuis sought to help people understand the impact of climate change on Iceland’s glaciers and on Icelanders.

The “new” Beatles song “Now and Then” utilized the same AI technology that director Peter Jackson employed for documentary “Get Back.”

Proposals for conference sessions, panels, exhibition floor theaters, speakers and more are now being accepted for the 2024 NAB Show!

Even in short-form video, explains filmmaker and content creator Adrian Per, “You still want to keep the basic principles of storytelling.”

“Extremely Online” is WaPo columnist Taylor Lorenz’s creator-centric chronicle of social media and the birth of the creator economy.

Through “The Eras Tour,” Taylor Swift is “passing a $100M screen test,” according to Variety, and other critics agree the concert film is worth a watch.