(ACE) American Cinema Editors

WINNERS IN RED FOR 61st ANNUAL ACE EDDIE AWARDS
BEST EDITED FEATURE FILM (DRAMATIC):
The Social Network
Angus Wall, A.C.E. & Kirk Baxter
Black Swan
The Fighter
Pamela Martin
Inception
Lee Smith, A.C.E.
The King’s Speech
Tariq Anwar
BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):
Alice in Wonderland
Chris Lebenzon, A.C.E.
Easy A
Susan Littenberg
The Kids Are All Right
Jeffrey M. Werner
Made In Dagenham
Michael Parker
Scott Pilgrim vs. the World
Jonathan Amos & Paul Machliss
BEST EDITED ANIMATED FEATURE FILM:
Toy Story 3
Ken Schretzmann & Lee Unkrich, A.C.E.
Despicable Me
How to Train Your Dragon
Maryann Brandon, A.C.E. & Darren T. Holmes, A.C.E.

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:
Modern Family: “Family Portrait”
Jonathan Schwartz
Nurse Jackie: “Years of Service”
Anne McCabe
The Big C: “Pilot”
BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:
The Walking Dead: “Days Gone Bye”
Hunter Via
Breaking Bad: “Sunset”
Friday Night Lights: “I Can’t”
Mark Conte, A.C.E.
Glee: “Journey”
Bradley Buecker, Doc Crotzer, Joe Leonard & John Roberts
The Good Wife: “Running”
Scott Vickrey, A.C.E.

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION:
Treme: “Do You Know What it Means”
Kate Sanford, A.C.E. & Alexander Hall
Boardwalk Empire: “Pilot”
Dexter: “Take It!”
Louis Cioffi, A.C.E.

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
Temple Grandin
Leo Trombetta, A.C.E.
The Pacific: “Okinawa”
You Don’t Know Jack
Aaron Yanes
BEST EDITED DOCUMENTARY:
Exit Through the Gift Shop
Tom Fulford & Chris King
Inside Job
Chad Beck & Adam Bolt
Waiting for “Superman”
Jay Cassidy, A.C.E., Greg Finton & Kim Roberts

BEST EDITED REALITY SERIES:
If You Really Knew Me : “Colusa High”
Rob Goubeaux, Jeremy Gantz, Hilary Scratch, Ken Yankee, Mark S. Andrew, A.C.E., Heather Miglin, John Skaare & Paul J. Coyne
The Deadliest Catch: “Redemption Day”
Kelly Coskran & Josh Earl
Whale Wars 3: “Vendetta”
Yvette Mangassarian-Amirian, Eric Myerson, Michael Caballero, David Michael Maurer & Edward Salier, A.C.E.
Marta Evry, A.C.E. & Alan Cody, A.C.E.Sidney Wolinsky, A.C.E.Kelley DixonBrian A. Kates, A.C.E.Gregory Perler & Pamela Ziegenhagen-SheflandAndrew Weisblum, A.C.E.

Hollywood, Calif. – To no one’s surprise, “The King’s Speech” took home the Oscar gold last night, earning the statuette in four categories, including Best Picture. In a more heated race, “Inception” won for Best Visual Effects, beating “Alice in Wonderland,” “Harry Potter and the Deathly Hallows Part 1,” “Hereafter,” and “Iron Man 2.” Meanwhile, “Toy Story 3″ bested the competition in the Animated Feature category, beating “How to Train Your Dragon” and “Illusionist.” In the Film Editing slot, Angus Wall and Kirk Baxter won for their work on “The Social Network.” The work on “Inception” received the gold for Sound Editing (Richard King) and Sound Mixing (Lora Hirschberg, Gary A. Rizzo and Ed Novick). The award for Best Art Direction went to Robert Stromberg (production design) and Karen O’Hara (set decoration) for “Alice in Wonderland.” And, “The Lost Thing” was selected as the Best Animated Short Film.

Here’s a list of the winners:

• Best Picture: “The King’s Speech”
• Best Actor: Colin Firth, “The King’s Speech”
• Best Actress: Natalie Portman, “Black Swan”
• Best Director: Tom Hooper, “The Kings Speech”
• Best Original Song: “We Belong Together” from “Toy Story 3″
• Best Film Editing: “The Social Network,” Angus Wall & Kirk Baxter
• Best Visual Effects: “Inception,” Paul Franklin, Chris Corbould, Andrew Lockley & Peter Bebb
• Best Documentary Feature: “Inside Job”
• Best Short Film (Live Action): “God of Love,” Luke Matheny
• Best Documentary (Short Subject): “Strangers No More”
• Best Costume Design: “Alice in Wonderland,” Colleen Atwood
• Best Makeup: “The Wolfman,” Rick Baker & Dave Elsey
• Best Sound Editing: “Inception,” Richard King
• Best Sound Mixing: “Inception,” Lora Hirschberg, Gary A. Rizzo & Ed Novick
• Best Original Score: “The Social Network,” Trent Reznor and Atticus Ross
• Best Supporting Actor: Christian Bale, “The Fighter”
• Best Foreign Language Film: “In a Better World,” Denmark
• Best Original Screenplay: David Seidler, “The King’s Speech”
• Best Adapted Screenplay: Aaron Sorkin, “The Social Network”
• Best Animated Feature Film: “Toy Story 3″
• Best Short Film (Animated): “The Lost Thing,” Shaun Tan & Andrew Ruhemann
• Best Supporting Actress: Melissa Leo, “The Fighter”
• Best Cinematography: “Inception,” Wally Pfister
• Best Art Direction: “Alice in Wonderland,” Production Design: Robert Stromberg; Set Decoration: Karen O’Hara

Courtesy Digital Content Producer

Angus Wall and Kirk Baxter used Final Cut Pro to edit “The Social Network,” and one of the things they really like about the software is the ability to do multiple timelines.

“You don’t get to 500 million + friends without making a few enemies…”

Listen to the interview with Wall and Baxter

Angus Wall and Kirk Baxter have collaborated with director David Fincher several times before on movies such as “The Curious Case of Benjamin Button” and “Zodiac,” but it’s a safe bet neither has seen such momentum and critic/audience praise as the work they did on editing “The Social Network.” The film has been nominated for an Oscar for editing, and both are happy to have contributed to creating a quite remarkable film.

David Fincher’s film tells the story of Mark Zuckerberg, the college student who created Facebook.

While the story is not authorized, Zuckerberg has screened the movie with his employees, and no one is criticizing too much, leading many to believe it’s a fairly accurate presentation within the framework of a fiction movie.

But more importantly, the story works as a metaphor for how we all want to be “Liked” and how much of our lives are lived online. Wall and Baxter used Final Cut Pro to edit “The Social Network,” and one of the things they really like about the software is the ability to do multiple timelines.

“One of the best features of Final Cut Pro is the ability to tear off timelines,” Wall explains. “It’s very easy to customize your workflow and do multiple timelines of edited pieces. For example the opening scene of ‘The Social Network’ is an eight-page scene, and David shot about 60 takes of the six-minute scene. We ended up breaking the takes into smaller pieces of five or six sections, and once we are at that level, we start to work through and decide what sections from the multiple master takes work the best.

Final Cut Pro allows us to track all that quite efficiently.

David Fincher does tend to do more takes than other directors, so it helps to have a method to break it down.”

The Winklevoss twins, Cameron and Tyler, in the movie were played by (spoiler alert) not twins at all but one actor, Armie Hammer.

But even that is not entirely true, because a second actor, Josh Pence, actually was the other twin in the movie, but Hammer’s face was digitally superimposed over Pence’s face. So Hammer’s performance was a dual role for two characters.

“Editing those dual performances was very similar to any other type of performance. You just would pick the best takes from the many that were shot,” Baxter reveals. “One thing that helped was setting up the split screen for the early edits. Getting that in the timeline was important to get into the mode of seeing the performance of the two twin characters in the movie.”

Wall and Baxter use FCP pretty much as is with minimal plug-ins.

“We use it pretty stock as is,” Wall explains. “We tend to use only a few plug-ins here and there. Knoll Flare from Red Giant we’ve used on occasion for previous movies. We actually use Apple’s Motion at lot to stabilize shots. Fincher uses stabilization a great deal, so it’s very handy to round-trip that through Motion to smooth things out.”

Listen to the entire audio interview with Wall and Baxter above. I ask them about handling dozens of takes, working with Fincher, their favorite scenes from the movie, incorporating the music of Trent Reznor and if they are nervous about Oscar night.

UPDATE: Congrats on winning an Oscar from the Academy tonight! – DCFCPUG