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At that point I went back to L.A., because the studio had opened back up, but we were still not really allowed to be in the same room. So, I got a hard drive, hand carried it back home and worked in Iceland until probably mid-June. It actually surprised me, but I’m very grateful. I politely pointed out that home for me was Iceland and they agreed to let me work from there. At the time the studios were closed and we were told we had to work from home. I’m very grateful to David and producer Kelly McCormick for waiting for me. Evan Schiff, another editor, held down the fort until there was maybe a week or two left of principal photography, then I came on at the beginning of February. Ronaldsdóttir: I was working on Marvel’s Shang-Chi in Australia when Bullet Train started shooting. Walk me through the timeline of your involvement with the project. Ronaldsdóttir: I gave some of them to the Icelandic Film School, but I probably still have a box left somewhere.įilmmaker: Let’s get into Bullet Train. I had four or five boxes, like shoeboxes, filled with them.
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There was an outline about what the movie was about-how it started, what happened in the middle and how it ended-because often they weren’t subtitled. We always got a program, which was four pages with pictures. There’s only one title that struck with me and it’s Dr.
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army barracks where they would screen all kinds of movies-mainly family-friendly movies, but we did see some cowboy movies as well, which I thought were fun. Ronaldsdóttir: It was when I was 9 to when I was 11, something like that. We worked so hard just to get that movie ticket.
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You had to go deliver the papers and also sell a certain number of them, then you got a free ticket if you met the quota. They probably had some kind of deal with the cinema. Ronaldsdóttir: It was from the newspaper.
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Were the free tickets a reward from your parents for having the job or were they from the newspaper? I’ve heard you tell the story a few times, but I wanted more details. With Bullet Train in theaters, Ronaldsdóttir spoke to Filmmaker about cutting with LED backgrounds versus greenscreen, editing scenes without the sound and her early days in flammable, cigarette-filled Danish editing sheds.įilmmaker: When you were a kid in Iceland, you delivered newspapers and one of the perks of the job was free movie tickets. For Elísabet Ronaldsdóttir, the Icelandic cutter of both Wick and Blonde, the degree of difficulty was further embellished by an array of flashbacks, Thomas the Tank Engine metaphors, surprise cameos and Engelbert Humperdinck needle drops. In Bullet Train, a half dozen assassins, the screw-up kid of a Russian crime lord and a lethally venomous snake are among the passengers on the titular mode of transport travelling from Tokyo to Kyoto.īalancing the sheer volume of characters and orchestrating the intricately choreographed tussles of action maestro David Leitch ( John Wick and Atomic Blonde) already present ample challenges for an editor.
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