Today on Art of the Cut we speak with Oscar-winning editor, Stephen Mirrione, ACE about editing the summer blockbuster, F1.

Stephen’s been on Art of the Cut before when he edited The Revenant, for which he was nominated for an Oscar, a BAFTA and an ACE Eddie. He was nominated for a BAFTA and an ACE Eddie for Birdman. He was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel. In 2006 he won the Cannes Film Festival technical Grand Prize for editing. And he won the Oscar and was nominated for a BAFTA and an ACE Eddie for editing Traffic. Not to mention - though I guess I AM mentioning - editing The Monuments Men, August: Osage County, Hunger Games, and Oceans 11, 12 AND 13.

This episode includes discussions of how editing pace is contextual, the value of editors speaking into the script, and how in the HELL do you cope with a 2000:1 shooting ratio!? Director Joseph Kosinski’s previous blockbuster, “Top Gun Maverick” was 800 hours of film for about a 200:1 ratio. And Apocalypse Now was notably insane at just 95:1.

And if you want to read along with this podcast and also see exclusive images, timeline screenshots - with explanations of each track, and trailers and clips, please check out the BorisFX blog:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with BAFTA, Emmy and ACE Eddie-winning editor, Michael Harte, ACE about the SXSW Audience Award-winning documentary, Deaf President Now, currently streaming on Apple TV+.

Michael’s been on Art of the Cut before for his ACE Eddie-winning show Beckham. He won an ACE Eddie and was nominated for a BAFTA for Still: A Michael J. Fox Movie. He won a Grierson Award and was nominated for an Emmy and an ACE Eddie for Three Identical Strangers.

This episode includes the answers to some interesting questions: When does real sound design need to be done during picture cut? When archival and interviews are equally strong, how do you choose? And when - and how - does it make sense to take the POV of your deaf protagonists?

You can read along with this podcast and see trailers, clips and images on the BorisFX blog:

borisfx.com/blog/aotc

Today on Art of the Cut, Eddie Hamolton, ACE, discusses editing Mission: Impossible — The Final Reckoning.

Eddie’s been on Art of the Cut numerous times before for Mission: Impossible - Dead Reckoning. He was also on to discuss Top Gun Maverick - which was one of the most listened to episodes in Art of the Cut history. He’s also talked with Art of the Cut about Mission Impossible: Fallout, Kingsman: The Golden Circle, Mission Impossible Rogue Nation, and Kingsman: Secret Service.

This is an in-depth discussion with Oscar-nominated editor Eddie Hamilton, ACE, about how to cull through 450 hours of footage to build a riveting 15-minute aerial sequence, the need to deliver powerful emotional scenes along with the exposition, and when exactly does an editor need to carry an airsick bag.

You really should go to BorisFX.com's blog site and read along with this interview to see some gorgeous timeline screenshots, exclusive photos from the movie you won't see anywhere else and clips and trailers.

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borisfx.com/blog/aotc

Today on Art of the Cut, we’re speaking with the editorial team of Sirens. With us are Editors Catherine Haight, ACE, Laura Zempel, ACE, and Isaac Hagy, ACE. Jen Bryson is also credited as an editor on the show, but wasn’t with us for the interview.

Cate has been nominated for an Emmy and an ACE Eddie for her editing of the pilot of the TV series Transparent. She also was nominated for an ACE Eddie for the pilot of Girls. She also edited the TV series High Fidelity and feature films like The Good House and Puzzle.

Laura has been on Art of the Cut several times for the TV series Beef for which she won an Emmy and an ACE Eddie, Euphoria, for which she was nominated for an ACE Eddie. She also edited Lessons in Chemistry.

Isaac has been nominated for an Emmy and an ACE Eddie for the TV series Mr. And Mrs. Smith, won a Peabody Award and was nominated for an Emmy and an ACE Eddie for the TV series Atlanta.

You can read along with this interview and see great additional video and images on the BorisFX blog:

borisfx.com/blog/aotc

Today on Art of the Cut, we’re speaking with the editorial team of Daredevil Born Again. With us are Emmy-winning editor Stephanie Filo, ACE, Melissa Lawson Chueng, and Cedric Nairn-Smith.

Stephanie has been on Art of the Cut to talk about her work on the film We Grown Now. And before that to discuss her Emmy and ACE-winning work on A Black Lady Sketch Show, her Emmy-nominated work on Dahmer: Monster - the Jeffrey Dahmer Story and History of the World Part II. Stephanie has also won an Emmy and a Peabody Award for her documentary editing work.

Melissa has been on Art of the Cut before for her editing of the film Mile 22, and for the TV series Outlander. She also edited the series Mr. Robot.

Cedric was an editor on Moon Knight and The Boys.

This discussion includes the power of sound design, the benefits of having an assistant editor who’s a great vocal impersonator, and when to start a scene on a close-up instead of on an establishing shot.

You can read along with this interview and see trailers, clips, exclusive photos and timeline screenshots at the BorisFX blog!

borisfx.com/blog/aotc

Today on Art of the Cut, we’re speaking with the editorial team of Beast Games. Including lead editor, Mack Hopkins, Nolan Ritter, Charles Kramer, ACE, Beast post supervisor Joshua Kulic, on-line post supervisor Lydiane Heckly.

Mack Hopkins is lead editor, co-host, and co-creator of Beast Games.

Nolan Ritter is a senior editor at the MrBeast YouTube channel in addition to his editing of Beast Games. He was also an editor on the upcoming series “The Larry David Story.”

Charles Kramer, ACE, is an Emmy-nominated editor of such shows as The Voice, The Osbourne’s, Project Greenlight and Big Brother.

Joshua Kulic is the Post Production supervisor and Executive Producer on Beast Games and MrBeast. His other TV work includes World of Waves and What Drives You.

Lydiane Heckly was a post production supervisor on Sneaker WarsL Adidas vs Puma, Pretty Baby: Brooke Shields, and History’s Crazy Rich Ancients.

This discussion includes how to coordinate the creative vision of more than 20 editors and 22 assistant editors, the role of probability when dealing with 1000 contestants and more than 1000 cameras, and the key ingredient in the Mr. Beast editorial style.

You can read along with this interview and see trailers, clips and exclusive images on the BorisFX blog:

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with the lead editor, David Palmer, and two additional editors, Sierra Neal and Jason Summers, about the Disney +/Amblin Television documentary, Music by John Williams.

David Palmer edited The History of the World… for now…, The Making of Close Encounters of the Third Kind, The Music of Indiana Jones, The Light and Magic of Indiana Jones, and The Making of Jaws.

Sierra Neal has been on Art of the Cut several times, including for Jim Henson: Idea Man, and Ron Howard’s Pavarotti. She also edited Guns N' Roses: Live in New York and was an additional editor on the documentary, Carlos.

Jason Summers edited 40 Years of E.T. The Extra-Terrestrial, Schindler's List: 25 Years Later, The Fabelmans: A Family in Film, and The World of Jurassic Park.

This discussion includes delivering a 90 minute first cut in under 2 months, the difficulties of dealing with licensed music and films, and the painful power of killing a fantastic story beat.

You can read along with this podcast on the BorisFX blog site! See clips, trailers and exclusive photos along with the transcribed text.

borisfx.com/blog/aotc

Today on Art of the Cut, ACE Eddie-nominee Angela Catanzaro, ACE, and ACE Eddie-winner Harry Yoon, ACE discuss editing the latest entry into the Marvel Cinematic Universe, Thunderbolts*.

Angela’s been on Art of the Cut before for Prey, The Protege, and Five Feet Apart. She also edited The Foreigner.

Harry’s been on Art of the Cut in the past for The Fire Inside, Shang-Chi and the Legend of the Ten Rings, Minari, The Best of Enemies, Detroit, and for the TV series Beef.

This discussion includes the benefits and drawbacks of editing on set, why this was a rare VFX-heavy movie with no previs, and how to prep your assistant editors to be ready to step into the chair.

You can also read along with the podcast on the Boris FX blog site to see exclusive on-set photos of the editors, clips, trailers and timeline screenshots.

borisfx.com/blog/aotc