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The A-List: Director Danny Boyle
on posting Steve Jobs
By Iain Blair

Danny Boyle, who won the 2008 Oscar for Best Director for Slumdog Millionaire, has always been attracted to controversial stories and to pushing the cinematic envelope as far as he could, as such eclectic films as Trainspotting, Shallow Grave, The Beach, A Life Less Ordinary, 28 Days Later, Trance, Sunshine and 127 Hours make very clear.

His latest film, Steve Jobs, continues in that tradition with its complex portrait of the visionary co-founder of Apple. Starring Michael Fassbender in the title role, it eschews the usual lazy Hollywood conventions of biopic storytelling — taking a strictly linear approach and throwing in some flashbacks — and instead presents, thanks to Aaron Sorkin’s impressionistic script, Boyle’s inspired direction and editor Elliot Graham’s fluid cutting (which is getting a lot of Oscar attention), a visually and thematically audacious take on its notoriously enigmatic subject.

I met up with Boyle recently about making the film, his love of post production, and the Oscars.

You took a very complex anti-hero and threw away the usual biopic rulebook. Can you talk about that?
I’m glad you said that, because you always want your form and your subject to be the same, and here’s a guy whose mantra was, “Think different.” So right there, that’s a command to not do the same old biopic treatment — and Aaron Sorkin wrote this brilliant, unorthodox script, which really attracted me to the project. I felt this had to rock you back on your heels right away about how you approach this story and personality.

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Review: Nugen Audio’s Halo Upmixer
By Robin Shore

Upmixing is nothing new. The basic goal is to take stereo audio and convert it to higher channel count formats (5.1, 7.1, etc.) that can meet surround sound delivery requirements. The most common use case for this is when needing to use stereo music tracks in a surround sound mix for film or television.

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Top 3: My picks from Adobe's
Creative Cloud update
By Brady Betzel

Adobe’s resolve to update its Creative Cloud apps on a regular basis has remained strong. The latest updates, released on December 1, really hammer home Adobe’s commitment to make editing video, creating visual effects and color correcting on a tablet a reality, but it doesn’t end there. They have made their software stronger across the board, whether you are using a tablet, mobile workstation or desktop.

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Sony gives Rita Hayworth a 4K make-over in Cover Girl

A rebrand pep talk
By Drew Neujahr

Utopic's Suzie Moore: editing multiscreen Nissan film

The pipeline experts behind Two Guys and a Toolkit

Andrea D’Amico at FuseFX, working on Marvel show

When video editors tackle CALM-compliant mixes

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