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Baby Driver editors sync cuts to music
By Mel Lambert

Writer/director Edgar Wright’s latest outing is a major departure from his normal offering of dark comedies. Unlike his Three Flavours Cornetto film trilogy — Shaun of the Dead, Hot Fuzz and The World’s End — and Scott Pilgrim vs. the World, TriStar Pictures’ Baby Driver has been best described as a romantic musical disguised as a car-chase thriller.

Wright’s regular pair of London-based picture editors, Paul Machliss, ACE, and Jonathan Amos, ACE, also brought a special brand of magic to the production. Machliss, who had worked with Wright on Scott Pilgrim, The World’s End and his TV series Spaced for Channel 4, recalls that, “very early on, Edgar decided that I should come along on the shoot in Atlanta to ensure that we had the material he’d already storyboarded in a series of complex animatics for the film [using animator Steve Markowski and editor Evan Schiff]. Jon Amos joined us when we returned to London for sound and picture post production, primarily handling the action sequences, at which he excels.”

Developed by Wright over the past two decades, Baby Driver tells the story of an eponymous getaway driver (Ansel Elgort), who uses earphones to drown out the “hum-in-the-drum” of tinnitus — the result of a childhood car accident — and to orchestrate his life to carefully chosen music. But now indebted to a kingpin named Doc (Kevin Spacey), Baby becomes part of a gang of bank robbers, including Buddy and Darling (Jon Hamm and Eiza González), Bats (Jamie Foxx) and Griff (Jon Bernthal). Debora, Baby’s love interest (Lily James), dreams of heading west “in a car I can’t afford, with a plan I don’t have.” Imagine, in a sense, Jim McBride’s Breathless rubbing metaphorical shoulders with Tony Scott’s True Romance.

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Dailies and post for IFC’s Brockmire
By Randi Altman

When the name Brockmire first entered my vocabulary, it was thanks to a very naughty and extremely funny short video that I saw on YouTube, starring Hank Azaria. It made me laugh-cry.

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Is TV versioning about to go IMF?
By Andy Wilson

Like any workflow and format change, IMF has taken time to be adopted, but it is now becoming the preferred way to share high-quality file masters between media organizations.

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Behind the Title: Midnight Sherpa creative director Miguel Lee

A creative director who can design, animate and experiment alongside his team will inevitably come up with more groundbreaking and nuanced ideas. Read on to find out more about how Miguel works...

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Lucasfilm, ILM release open source MaterialX library

2017 HPA Engineering Excellence Award winners

Catherine Finkenstaedt
joins Slim as EP

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