Apple has posted a new page profiling the use of Final Cut Pro to edit Julia Roberts new 'Eat Pray Love' film.
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“I want to go someplace where I can marvel at something.” That’s Julia Roberts as Elizabeth Gilbert in the new feature film Eat Pray Love — based on Gilbert’s best-selling memoir — signaling both her frustration with her current life and her intention of taking the journey that will famously turn it around.
The movie, like the book, follows Gilbert from New York to Italy, where she indulges her senses; to India, where she explores her spirituality; and to Bali, where she finds love and the balance she has been seeking.
But punching that ticket cinematically was a daunting challenge for director Ryan Murphy and producer Dede Gardner. And logistics were easily their biggest challenge. To faithfully translate Gilbert’s journey from page to screen, the filmmakers lobbied to shoot the movie entirely on location in chronological order. And after nine months of intense scouting and preproduction planning, Murphy led 40 cast and crew members — including Oscar-winning cinematographer Robert Richardson — on a four-and-a-half month rolling production effort that generated 422,000 feet of film, or roughly 70 hours of footage.
Left behind in Los Angeles, and charged with assembling and shaping the footage, was first-time feature film editor Bradley Buecker. Rarely is an editor with no feature experience hired onto such a high-profile production, but Buecker had edited several seasons of television for Murphy for the hit shows Nip/Tuck and Glee. “Ryan and I had a bond,” says Buecker. “So when the movie came along, he said, ‘I really want you to do this.’”
Buecker decided to edit the film using nearly the same Final Cut Pro-based editorial workflow that had worked so well for the TV series, equipping himself and each of his two assistant editors with mirrored Mac Pro and MacBook Pro computers running Final Cut Studio. “Both Nip/Tuck and Glee were Final Cut shows, and Final Cut Pro has proven to be a great editing system,” says Buecker. “It’s my system of choice.”
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“I want to go someplace where I can marvel at something.” That’s Julia Roberts as Elizabeth Gilbert in the new feature film Eat Pray Love — based on Gilbert’s best-selling memoir — signaling both her frustration with her current life and her intention of taking the journey that will famously turn it around.
The movie, like the book, follows Gilbert from New York to Italy, where she indulges her senses; to India, where she explores her spirituality; and to Bali, where she finds love and the balance she has been seeking.
But punching that ticket cinematically was a daunting challenge for director Ryan Murphy and producer Dede Gardner. And logistics were easily their biggest challenge. To faithfully translate Gilbert’s journey from page to screen, the filmmakers lobbied to shoot the movie entirely on location in chronological order. And after nine months of intense scouting and preproduction planning, Murphy led 40 cast and crew members — including Oscar-winning cinematographer Robert Richardson — on a four-and-a-half month rolling production effort that generated 422,000 feet of film, or roughly 70 hours of footage.
Left behind in Los Angeles, and charged with assembling and shaping the footage, was first-time feature film editor Bradley Buecker. Rarely is an editor with no feature experience hired onto such a high-profile production, but Buecker had edited several seasons of television for Murphy for the hit shows Nip/Tuck and Glee. “Ryan and I had a bond,” says Buecker. “So when the movie came along, he said, ‘I really want you to do this.’”
Buecker decided to edit the film using nearly the same Final Cut Pro-based editorial workflow that had worked so well for the TV series, equipping himself and each of his two assistant editors with mirrored Mac Pro and MacBook Pro computers running Final Cut Studio. “Both Nip/Tuck and Glee were Final Cut shows, and Final Cut Pro has proven to be a great editing system,” says Buecker. “It’s my system of choice.”
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