SOCIETY NEWS VIRTUAL GLASS OF WINE
been released on Hulu in the US and will air on Channel 4 in the UK. The production that catapulted Hallam
Martin’s career as an editor was Queer as Folk. “I was given a ton of freedom to play and experiment and it honed my story-telling skills.” It led to “edgier things,” including The Tudors and The Borgias. Hallam Martin has edited 23 out of 57
The Handmaid’s Tale. Season 5
The Virtual Glass of Wine talks are BFE’s online forum, where the audience meets successful craftspeople in the world of film and television. Most recently, Emmy and ACE Eddie award-winning editor Wendy Hallam Martin shared her story. Hallam Martin, who grew up partly in
England, is best known for her work on the Golden Globe winning series, The Handmaid’s Tale. Season 5 has recently
episodes of The Handmaid’s Tale, Margaret Atwood’s story which is set in a dystopian future. “Every director says it’s the hardest show,” says Hallam Martin. “I had to re-learn how to edit…It was so delicate, every moment mattered.” Point of view is the key. “You really have to learn the language of The Handmaid’s Tale.” There’s a determined and supportive
crew. Hallam Martin has brought through two assistants to become editors on the series. “It’s not a hierarchy, it’s teamwork.” She describes her “strong, collaborative
relationship“ with actor-turned-director on the series Elisabeth Moss. Beyond The Handmaid’s Tale, Hallam Martin
recently completed the pilot for comedy series The Consultant for Amazon and is working on limited series Fellow Travelers for Showtime. Upcoming Virtual Glass talks include Iain
Kitching, editor of The Swimmers and Joanna Crickmay, editor of Elizabeth: A Portrait in Part(s). See BFE website for details.
The Swimmers, Netflix
MENTORING
Committed to helping build the careers of editors, the BFE Mentoring Scheme provides guidance and support to all members, at any stage of their professional career. The programme matches mentors and mentees for one year and provides resources via the BFE website. The mentee drives the
TRAINING
UPCOMING EVENTS
BFE offers members the opportunity to attend training events. One recent session was hosted by Adobe, with 50 freelance editors attending at Soho Editors across a day. The long form Premiere Pro switcher
process, checking-in with their mentor at least six times across the twelve months. BFE mentoring is led by Malcolm Crowe BFE, Cristina Balduin and Laura Spini. Alongside the scheme, BFE organises
annual career advice panel events and in- person and on-line networking opportunities.
154
televisual.com Autumn 2022
training session gave editors a low-down on the Productions toolset, integrations with
Frame.io and Creative Cloud, and remote or local editing workflows with LucidLink. Trainers Mike Butler and John Williams
demonstrated long form techniques and After Effects integration. While Sam Holding, trailers editor from No Time to Die, demonstrated Speech-to-Text for the forthcoming Sound of 007 documentary.
Future BFE events include a Motus Music in-person event, 27th October, on how editors approach music in film and TV. A Mentoring Launch Event, hosted by Adobe, 17th November, for future mentors, mentees and sponsors (register at
britishfilmeditors.co.uk). Acclaimed composer Nainita Desai (For Sama, The Reason I Jump, American Murder) will talk about her work, 30th November, in an online special. And BFE members gather at The Old
Crown, New Oxford Street, on the first Tuesday of each month and every Tuesday online, for the virtual kitchen club.
Nainita Desai will be online in November
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156