Art Freed
- Editor
- Editorial Department
- Color Department
The edit bay is where the movie really gets made.
My career in the entertainment business started as a post-production intern working with legendary film director Richard Donner (Superman, Lethal Weapon). It was there that I got the opportunity to watch the amazing Frank Urioste edit the film "Conspiracy Theory" and I came to understand the impact that the editor has on a film. I was dazzled by the new technology of nonlinear editing and immediately understood that a revolution was about to take place. I wanted to be on the leading edge of the transition from analogue to digital.
With days filled working at major facilities and production companies, I spent my nights in the edit bay I set up in my dining room editing every independent project I could get my hands on.
At this point I was lucky enough to be approached by Bret Michael of the rock band "Poison" and asked to create music videos for them. It was an amazing experience which has integrated into all of my editing. The love I have for working music into my cuts is enormous. You can see this in the work I did for the series Dallas Cowboys's Cheerleaders on CMT. Here I was able to really take my passion for music and put it to use. In every episode there were several dance numbers and as an editor I would take full advantage of that shows great music.
I have spent years working on features and unscripted television as an editor and online editor. Cutting narratives has developed my sense of performance while cutting unscripted programs has allowed me to craft stories in a way that could never happen on a narrative project. The dialogue skills I honed from my non-scripted experience is prevalent in my narrative work today. I think that working in each genre, although very different, has helped me to bolster my skills.
Working as a freelance editor, good fortune showed up and I landed a job at The Walt Disney Studios working with the team that premiered all the Disney and Pixar films. In addition to editing their projects, I became an expert in film exhibition technology and continue to this day to assist the team.
As the needs of my clients got more sophisticated and my desire to cut more features with independent producers grew I saw the need for a studio where I could more efficiently service them and offer a comfortable place for us to collaborate. It was then that I decided to open my own production company "Hot Pixel Inc."
In the edit bay is where the movie really gets made, it is where I craft the performance, finely tune the dialogue, dial in the pace, set the tone and protect the story. Together with the director, we work to find the micro improvements that all add together to make the project stronger.
My career in the entertainment business started as a post-production intern working with legendary film director Richard Donner (Superman, Lethal Weapon). It was there that I got the opportunity to watch the amazing Frank Urioste edit the film "Conspiracy Theory" and I came to understand the impact that the editor has on a film. I was dazzled by the new technology of nonlinear editing and immediately understood that a revolution was about to take place. I wanted to be on the leading edge of the transition from analogue to digital.
With days filled working at major facilities and production companies, I spent my nights in the edit bay I set up in my dining room editing every independent project I could get my hands on.
At this point I was lucky enough to be approached by Bret Michael of the rock band "Poison" and asked to create music videos for them. It was an amazing experience which has integrated into all of my editing. The love I have for working music into my cuts is enormous. You can see this in the work I did for the series Dallas Cowboys's Cheerleaders on CMT. Here I was able to really take my passion for music and put it to use. In every episode there were several dance numbers and as an editor I would take full advantage of that shows great music.
I have spent years working on features and unscripted television as an editor and online editor. Cutting narratives has developed my sense of performance while cutting unscripted programs has allowed me to craft stories in a way that could never happen on a narrative project. The dialogue skills I honed from my non-scripted experience is prevalent in my narrative work today. I think that working in each genre, although very different, has helped me to bolster my skills.
Working as a freelance editor, good fortune showed up and I landed a job at The Walt Disney Studios working with the team that premiered all the Disney and Pixar films. In addition to editing their projects, I became an expert in film exhibition technology and continue to this day to assist the team.
As the needs of my clients got more sophisticated and my desire to cut more features with independent producers grew I saw the need for a studio where I could more efficiently service them and offer a comfortable place for us to collaborate. It was then that I decided to open my own production company "Hot Pixel Inc."
In the edit bay is where the movie really gets made, it is where I craft the performance, finely tune the dialogue, dial in the pace, set the tone and protect the story. Together with the director, we work to find the micro improvements that all add together to make the project stronger.
