Creative Editorial, Visual Effects & Finishing for the Advertising, Film & Television Industries
El Tinklenberg Campaign Ad Edited by Josh Thacker from Fischer Edit on Vimeo.
Fischer Edit and Runner Runner’s Josh Thacker shot and edited this spot for El Tinklenberg’s campaign for Congress in Minnesota. Fischer FX’s Alicia Reece made the still images 3D and created the motion graphics. Music was created by Modern Music’s John Hermanson.
St. Ives Edited by Randy Kramer from Fischer Edit on Vimeo.
This is one spot of a series of ads edited by Fischer Edit’s Randy Kramer for St. Ives products for air outside the United States. They were shot on the Phantom camera for it’s high frame rate, producing the stunning images seen here.
Will Steger Tour edited by Tim Taylor from Fischer Edit on Vimeo.
This spot for The Longest Summer Tour presented by the Will Steger Foundation was edited by Fischer Edit’s Tim Taylor to generate excitement and information about Will Steger’s upcoming college tour.
by Tony Mills
Visual FX Supervisor - Fischer Edit/FX
(see the trailer here.)
In 2002 when I was working for Hi-Wire, Bill Slichter approached a group of us in the post industry in Minneapolis to discuss his ambitious plans to direct a short film to be named “Flourtown”. Armed with his vision, and a short story he persuaded many of us to sign on for the adventure of producing an all-green-screen film on essentially no budget. He managed to come up with the money to pay for needed gear Rentals, got Ice House to contribute use of their greenscreen space, and persuaded director Rich Michel to shoot a couple of minutes of the story. From this we produced a proof of concept clip, that then led to Bill being able to raise more money and win a small grant or two, that led to the monies necessary to complete the film.
At the outset, the decision was made to shoot on Sony’s Cine-Alta camera, a video camera capable of shooting filmic motion of 24 fps, with a color response much like a film camera. Few companies at the time were attempting fx work with digital motion cameras, and the efficiency afforded by shooting on tape as opposed to film made it an attractive idea.
Cut to 6 years later… now it’s 2008 and “Flourtown” is finally making the Festival rounds. It has been an official selection of the Florida Film Fesitival, the Palm Springs International Film Fesitval, and Dances with Films, and impressed one film critic enough to call it “ A dense, beautiful, hypnotic combination of live action and animation, not unlike some of the visions of Dali. Director Slichter incorporates both fantastical and anachronistic images in this animation tour-de-force”.
Although a Minneapolis premiere is in the works, there is not a date set yet or specific local festival it will screen in…
Next time I’ll discuss the production and post production processes and workflow that allowed the film to be made…
Being that I’m in public relations normally I would execute some kind of formal release, but Carlos won’t really open up about this. He just sent this video but he won’t give me the facts. So there you have it…no details.
But here’s what I would have written if he’d have let me:
Fischer Edit’s Assistant Editor Carlos Lamas edited this new video featuring Lazerbeak and Mike Mictlan of Minneapolis-based hip hop group-extraordinaire Doomtree. This video directed by Isaac Gale coincides with the release of their collaborative album “Hand Over Fist.”
To celebrate the duo will be holding their CD Release party Saturday, September 28th at the 7th St. Entry. For more info click here.
“Hand Over Fist” video from Fischer Edit on Vimeo.
“The Story is Happening” is a moving collage of work by artist Sabrina Ward Harrison in collaboration with editor Katie Carpenter. Original music for the film was composed by Modern Music’s John Hermanson. This film is an homage to the lifelong adventure of handmade “true living.” Harrison’s True Living Project inspires a generation of mindful pioneers through global collaboration and generational partnership. This is the first film created by the True Living Project.
The Beacon Art Salon & Fovea Exhibitions presents
The Beacon Film Flam
An arts-crafts-puppet village & outdoor film festival
Saturday, September 13, 2008, Noon – 10:00 pm
At the lot on Main Street’s West End at Cross Street
Arts Village: Noon – 6pm
Film Festival: 7pm (dusk) – 10 pm
Fine arts and crafts vendors will sell their wares throughout the day.
Music performances, puppet shows and film showings are free to the
public. Featured fine arts include photography, painting, art gifts,
ceramics and more. The film festival will include a video presentation
by Fovea Exhibitions, followed by a screening of selected short films.
Special World Premiere Screening - “The Story is Happening”
a moving collage of work by artist Sabrina Ward Harrison as part of the True Living Project.
Read more from Fischer Edit’s Katie Carpenter here.
On the three year anniversary of Hurricane Katrina “Left Behind Without a Choice” premieres. “Left Behind Without a Choice” is a feature-length documentary about the animal rescue effort in New Orleans focusing particularly on a group of Minnesotans who volunteered through Utah based Best Friends Animal Society.
Fischer Edit’s Katie Carpenter offered her expertise to Director Kim Walsh-Borgan’s project, putting together an 80-minute film she is excited to share with the world. “I’m glad that it’s finally here. It’s been a long process but I’ve learned through all of it.” Carpenter like many arriving to tomorrow’s premiere is also quick to point out the reality that many may have forgotten. “It’s exciting to celebrate after spending time and effort, but it’s also important to spread the message that there’s still a lot of need.”
Throughout the editing process, Carpenter went through over 20+ hours of interviews and b-roll footage as there were so many different stories to tell. “It was hardest to cut some of the characters because each person interviewed had something very special to share from their experiences in New Orleans,” she explains. And of the animals themselves? “There were some tears. It’s very touching…I tried to craft a sense of hope from this story.”
“Left Behind Without a Choice” premieres with a red-carpet event Friday, August 29, 2008 at 7PM in two theaters at Carmike Cinemas in Oakdale. The premiere is sponsored in part by Fearless Filmmakers of Minneapolis and Animal Ark, a Minnesota-based no-kill shelter. Proceeds from the event will benefit the shelter: tickets are available at the theater or can be reserved here.
Take a look at Katie’s blog for more information.
Contact:
Natalie Kane
612-332-4914
Natalie@fischeredit.com
Editorial is by it’s nature a function of finding pieces and putting them together in a (hopefully) aesthetically interesting way. Sometimes the way the pieces go together is more obvious than others. Sometimes the obvious way is in fact the only way.
That certainly was not the case with the Cox business spots I recently worked on for Periscope. Terry Windell, the director had a very clear vision for what he wanted to accomplish and he designed some really great and elegant gags. However, given the amount of work to be done with the relatively short shooting schedule the clarity of the vision as provided in script notes or director boards was somewhat… lacking.
Like most editors it’s important to me to have a few days to rough together the spots to get a sense of the feel and find what appeals to me in terms of performance, composition, pace, whatever. So after I loaded and organized the dailies I started building spots. At Terry’s suggestion I started with “Acrobat” since this was the most straight forward and had the least amount of compositing necessary to tell the story. That said I still ended up with about fifteen layers in one of my first comps, but I digress. ”Acrobat” came together pretty quickly and in fact the air version did not veer that far from my initial edit. That was not the case with the other two.
The other two spots were huge collections of green screen elements and backgrounds. Even after they were organized they presented a daunting array of possibilities. Now don’t get me wrong, lots of options are what you want as an editor, but then there would be other pieces that were in the boards that just didn’t seem to be there. After several days and WTF?!? moments I did have edits that were working (barely) but I kept feeling like I was missing something, which in fact I was.
Anyway, long story short…
As any good editor will tell you, working with a director can be a great or a miserable experience. When Terry came in, it was like the lights came on. He was all like, “See here I wanted you to take this guy from “Trapeze”, flop him and blow him up and then see he’ll match for that part of “Jumps” …” The amount of stuff he had in his head was stunning. We had a great time together and as his process became clear to me we could practically finish one another’s sentences. So this was one of those cases where it really was collaborative, and the spots are better because of it.