X-Men First Class and Kick-Ass Editor Eddie Hamilton Explains and Shows How He Cut
Eddie Hamilton, the editor of recent hits such as X-Men First Class and Kick-Ass talk at NAB about the workflow he used and how he cut this movies.
In 9 months time, X-Men First Class was shot and released, 7 months for spent shooting, they locked picture 9 days after the end of the shoot, and the rest was used to finish all the post-production work, subtitles included, before global release.
Hamilton worked with Dark Knight Rises and Inception‘s editor Lee Smith and six assistant editors, all linked to Avid Media Composer with different set ups on different locations.
Hamilton talked about the tools Avid Media Composer offered that allowed him to do more as an editor and have a movie coming out of the editing bay that could immediately be shown to Studio Producers. The codec DNX36 that he has been using since Kick-Ass, the mouse with shortcuts integrated, the colored clips etc. are some of the tools Hamilton mentioned as helping him to cut faster (and, we can assume, better).
Hamilton works in a reverse process to edit a scene: he first cuts it, then determines what is missing and needs tweaking and only then watches the dailies trying to find elements to take the scene to the next level.
Just like Sally Menke, Hamilton spends a lot of time working on sound and trying to make it as good as it can be at his stage, and he goes into greater details about how he works on sound and visual effects. Hamilton broke down every sound and score from the previous X-Men, built a library that he used on X-Men First Class to stick with the X-Men universe.
During the second half of the presentation, Hamilton takes examples of scenes from Kick-Ass and goes through them, showing how much is accomplished on the Avid.
Watch the full presentation below:
check the archives for a taste of it.