{"id":155786,"date":"2021-06-16T07:00:00","date_gmt":"2021-06-16T12:00:00","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=155786"},"modified":"2021-06-16T12:40:32","modified_gmt":"2021-06-16T17:40:32","slug":"editor-james-k-crouch-editing-feature-film-during-covid","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/editor-james-k-crouch-editing-feature-film-during-covid\/","title":{"rendered":"Editor James K. Crouch on Editing a Feature Film During COVID"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\" id=\"h-we-chat-with-editor-james-k-crouch-about-what-he-learned-from-editing-the-tribeca-feature-film-12-mighty-orphans-during-covid-19-lockdowns\"><span id=\"we-chat-with-editor-james-k-crouch-about-what-he-learned-from-editing-the-tribeca-feature-film-12-mighty-orphans-during-covid-19-lockdowns\">We chat with editor James K. Crouch about what he learned from editing the Tribeca feature film <em>12 Mighty Orphans<\/em> during COVID-19 lockdowns.<\/span><\/h2>\n\n\n\n<p>One of the highlights of this year\u2019s <a href=\"https:\/\/tribecafilm.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Tribeca Film Festival<\/a> is the heartwarming tale of \u201cthe Mighty Mites\u201d football team in <em><a href=\"https:\/\/www.imdb.com\/title\/tt8482584\/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">12 Mighty Orphans<\/a><\/em>. <\/p>\n\n\n\n<p>Harkening back to period sports dramas like <em><a href=\"https:\/\/www.imdb.com\/title\/tt0210945\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Remember the Titans<\/a><\/em>, <em><a href=\"https:\/\/www.imdb.com\/title\/tt0758745\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Friday Night Lights<\/a><\/em>, and <em><a href=\"https:\/\/www.imdb.com\/title\/tt0329575\/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Seabiscuit<\/a><\/em>, <em>12 Mighty Orphans<\/em> tells the true Depression-era story of a ragtag football team of Fort Worth orphans that went from playing without shoes to playing for the Texas state championship.<\/p>\n\n\n\n<p>And, while the film includes a star-studded cast of A-listers like <a href=\"https:\/\/www.imdb.com\/name\/nm0005561\/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Luke Wilson<\/a>, <a href=\"https:\/\/www.imdb.com\/name\/nm0000640\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Martin Sheen<\/a>, and <a href=\"https:\/\/www.imdb.com\/name\/nm0000380\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Robert Duvall<\/a>, it was still an outsider&#8217;s production, shot on location in north Texas during the COVID-19 pandemic.<\/p>\n\n\n\n<p>However, as revealed in a chat with <em>12 Mighty Orphans<\/em> editor <a href=\"https:\/\/roadwingspost.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">James K. Crouch<\/a>, the final edit of the film actually benefited from the various setbacks and production lockdowns, as it gave <a href=\"https:\/\/www.imdb.com\/name\/nm6480889\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Crouch<\/a>, director <a href=\"https:\/\/www.imdb.com\/name\/nm1010213\/?ref_=tt_ov_dr\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Ty Roberts<\/a>, and producer <a href=\"https:\/\/www.imdb.com\/name\/nm3931375\/?ref_=ttfc_fc_cr11\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Houston Hill<\/a> a chance to deeper explore how to best build an inspirational, book-based period sports drama from the ground up.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-discovering-new-ways-to-work-together\"><span id=\"discovering-new-ways-to-work-together\">Discovering New Ways to Work Together<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/cgM_oyXE0d0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>We were in the thick of editing back in March and the city shut down. Ty Roberts is the type of director who wants to see every take and every option. Working remotely, even when we were in the same city, just made it that much harder. But, we were able to find a way. <\/p><cite><em>&#8211; James K. Crouch<\/em><\/cite><\/blockquote>\n\n\n\n<p>It\u2019s fair to say that, at any time, editing a feature film is quite an undertaking. This is doubly true when you\u2019re cutting together a large ensemble feature that shot over 120 terabytes of multi-camera coverage&#8212;as was the case with the <em>12 Mighty Orphan<\/em>s production. It gets even <em>more<\/em> daunting when you remove your hands-on director from the room due to pandemic protocols.<\/p>\n\n\n\n<p>As Crouch puts it, \u201cWhile nothing beats being in the room with the director,\u201d he and Roberts did indeed experiment with several different live editing software applications as they tried to remotely work together through the edit.<\/p>\n\n\n\n<p>The process certainly took some getting used to, especially due to the occasional issue with stability and audio delay, Crouch reports. Nonetheless, the duo eventually found their own unique system for collaborating remotely. The resulting hybrid workflow was a mix of using <a href=\"https:\/\/www.premiumbeat.com\/blog\/product-review-frame-io-solves-your-video-review-frustrations\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Frame.io<\/a> for longer scenes and actually just using iMessage to quickly send and review short sequences during the fine-cutting stage.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-fitting-as-much-of-the-source-book-into-the-film\"><span id=\"fitting-as-much-of-the-source-book-into-the-film\">Fitting as Much of the Source Book into the Film<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2021\/06\/Mighty-Orphans-Timeline1.jpg\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" width=\"755\" height=\"970\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2021\/06\/Mighty-Orphans-Timeline1.jpg\" alt=\"Mighty Orphans Timeline\" class=\"wp-image-155827\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Mighty-Orphans-Timeline1.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Mighty-Orphans-Timeline1.jpg?resize=234,300 234w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Mighty-Orphans-Timeline1.jpg?resize=277,356 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Mighty-Orphans-Timeline1.jpg?resize=359,461 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Mighty-Orphans-Timeline1.jpg?resize=543,698 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Mighty-Orphans-Timeline1.jpg?resize=560,719 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Mighty-Orphans-Timeline1.jpg?resize=150,193 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/a><figcaption><em>A view of Crouch\u2019s editing setup for working on <\/em>12 Mighty Orphans. <em>Image via James K. Crouch.<\/em><\/figcaption><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>I had learned on my last film with Ty (<a href=\"https:\/\/www.premiumbeat.com\/blog\/shooting-period-film-tight-budget\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\"><em>The Iron Orchard<\/em><\/a>) that adapting a book into a film is just hard&#8212;there\u2019s just so much information, so many great beats to include. There was just no way we could fit everything in. Our first cut of the movie was around three and a half hours before we were eventually able to cut it down to an hour and fifty minutes.<\/p><cite>&#8211; <em>James K. Crouch<\/em><\/cite><\/blockquote>\n\n\n\n<p>The story of <em>12 Mighty Orphans<\/em> is one that sounds too good to be true. However, as recounted in <a href=\"https:\/\/us.macmillan.com\/books\/9780312384876\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">the non-fiction book<\/a> on which the film is based, the story of the sensational Depression-era football team draws from real events and people. And, while this makes amazing source material when writing, shooting, and ultimately editing a feature film based on a book and true story, eventually a tricky balance must be found when deciding what to leave in and what to cut out.<\/p>\n\n\n\n<p>Still, despite no one wanting to go through a pandemic shutdown, the fact that the production of <em>12 Mighty Orphans<\/em> came to a sudden halt also worked a bit in the production team&#8217;s favor. It didn&#8217;t just give them more time to find different ways to cut down their movie, it also gave opportunities to sneak more of the source material back in. There&#8217;s that balance we mentioned.<\/p>\n\n\n\n<p>Crouch estimates the editing process was expanded to around seven months, and they were actually able to revisit many of their favorite sequences and beats that had been cut in the past. Moments they weren\u2019t initially able to include as full scenes found their way back in through <a href=\"https:\/\/www.premiumbeat.com\/blog\/soviet-montage-theory-types\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">montages<\/a> and other transitional sequences.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-getting-creative-with-footage-and-resources\"><span id=\"getting-creative-with-footage-and-resources\">Getting Creative with Footage and Resources<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2021\/06\/Storyboard-1.jpeg\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" width=\"755\" height=\"499\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2021\/06\/Storyboard-1.jpeg\" alt=\"Mighty Orphans Storyboard\" class=\"wp-image-155829\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Storyboard-1.jpeg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Storyboard-1.jpeg?resize=300,198 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Storyboard-1.jpeg?resize=277,183 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Storyboard-1.jpeg?resize=359,237 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Storyboard-1.jpeg?resize=543,359 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Storyboard-1.jpeg?resize=560,370 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/Storyboard-1.jpeg?resize=150,99 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/a><figcaption><em>A look at the extensive storyboards guiding the editing process for <\/em>12 Mighty Orphans<em>. Image via James K. Crouch. <\/em><\/figcaption><\/figure>\n\n\n\n<p>With such a big story and so much source material to cover, shooting <em>12 Mighty Orphans<\/em> was a gigantic operation in terms of coverage. Crouch estimates that he worked with \u201cover 120 terabytes\u201d of multi-camera footage captured with two <a href=\"https:\/\/www.premiumbeat.com\/blog\/new-arri-alexa-mini-lf\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">ARRI Minis<\/a> (open gate RAW anamorphic).<\/p>\n\n\n\n<p>However, even with that amount of RAW footage to work with, it actually could have been even more, as shutdowns hit the production with a few important scenes still left to shoot. The production and post-production teams had to get creative and experiment in order to make certain scenes work.&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>There\u2019s a flashback scene of Luke Wilson\u2019s character from when he\u2019s in World War I that we had been originally scheduled to shoot in mid-March in Austin, right before the city shut down. And, these scenes were pretty instrumental to the story. However, we were eventually able to find a way to mix and match a lot of the scenes together by scouring YouTube for short films about WWI and clips from WWI reenactors, which we were able to license and use.<\/p><cite><em>&#8211; James K. Crouch<\/em><\/cite><\/blockquote>\n\n\n\n<p>With production shut down, the <em>12 Mighty Orphans<\/em> team explored many different options for adding in stock clips, archival footage, and other stylistic elements to weave the narrative together. Crouch also credits a great deal of their ability to mix and match footage types to their meticulous storyboarding process, which \u201chelped us visualize the ever-so-changing structure throughout the process.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-experimenting-with-different-ways-to-tell-the-story\"><span id=\"experimenting-with-different-ways-to-tell-the-story\">Experimenting with Different Ways to Tell the Story<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2021\/06\/image-1.jpeg\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" width=\"755\" height=\"503\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2021\/06\/image-1.jpeg\" alt=\"12 Mighty Orphans Set\" class=\"wp-image-155830\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/image-1.jpeg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/image-1.jpeg?resize=300,200 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/image-1.jpeg?resize=277,185 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/image-1.jpeg?resize=359,239 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/image-1.jpeg?resize=543,362 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/image-1.jpeg?resize=560,373 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/image-1.jpeg?resize=150,100 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/a><figcaption><em>Luke Wilson, <a href=\"https:\/\/www.imdb.com\/name\/nm5015107\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Jacob Lofland<\/a>, and Martin Sheen on the set of <\/em>12 Mighty Orphans<em>. Image via <a href=\"https:\/\/www.sonyclassics.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Sony Picture Classics<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>After our first test audience screening, <a href=\"https:\/\/www.imdb.com\/name\/nm1460812\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Lane Garrison<\/a> (who co-wrote the film and plays the character Luther) had the idea of having a voice-over narration by Martin Sheen. Which proved to be a great breakthrough, but also a good deal of more work with writing, recording, and ultimately finding the right balance in the edit for just the right amount of voice-over that the story needed.<\/p><cite><em>&#8211; James K. Crouch<\/em><\/cite><\/blockquote>\n\n\n\n<p>As we\u2019ve covered in the past, voice-over narration can <a href=\"https:\/\/www.premiumbeat.com\/blog\/adding-voice-narration-to-film\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">seamlessly tie a film\u2019s narrative together<\/a>. It can also help trim the runtime, even while simultaneously providing context and story information that sometimes gets lost when working on book adaptations.&nbsp;<\/p>\n\n\n\n<p>As such, along with getting creative with different footage types and editing workflows, the <em>12 Mighty Orphans<\/em> team also experimented with other ways to tell their film\u2019s unique story. One of these breakthroughs was the time-tested approach of letting one of their biggest stars provide narration. Throughout the film, Martin Sheen\u2019s character, the orphanage\u2019s doctor and team\u2019s defensive coordinator, provides insight and inspiration via voice-over.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-proxies-backups-and-editing-with-premiere-pro\"><span id=\"proxies-backups-and-editing-with-premiere-pro\">Proxies, Backups, and Editing with Premiere Pro<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2021\/06\/James-Crouch-1.jpg\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" width=\"755\" height=\"652\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2021\/06\/James-Crouch-1.jpg\" alt=\"Editor James Crouch \" class=\"wp-image-155831\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/James-Crouch-1.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/James-Crouch-1.jpg?resize=300,259 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/James-Crouch-1.jpg?resize=277,239 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/James-Crouch-1.jpg?resize=359,310 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/James-Crouch-1.jpg?resize=543,469 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/James-Crouch-1.jpg?resize=560,484 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2021\/06\/James-Crouch-1.jpg?resize=150,130 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/a><figcaption><em>Editor James K. Crouch in his home studio setup working on<\/em> 12 Mighty Orphans. <em>Image via James K. Crouch<\/em><\/figcaption><\/figure>\n\n\n\n<p>As he has on \u201cevery movie I\u2019ve ever done at this point,\u201d Crouch edited <em>12 Mighty Orphans<\/em> on <a href=\"https:\/\/www.premiumbeat.com\/blog\/an-in-depth-look-at-the-adobe-premiere-pro-editing-tools\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Adobe Premiere Pro<\/a>. And, while there\u2019s plenty to love about Premiere these days, Crouch admits that he did make some decisions on his workflow and how he backed-up footage to help mitigate any risks of crashes or stability.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>I have an extremely powerful Mac Pro, where you could edit natively in RAW if you wanted to. But, that\u2019s asking for stability issues. So, I always say, &#8216;use one type of gasoline for your car,&#8217; and always make proxies to edit in because it is much more stable and you can work that much faster.<\/p><cite><em>&#8211; James K. Crouch<\/em><\/cite><\/blockquote>\n\n\n\n<p>Crouch\u2019s setup included editing with proxies on RAID 0 SSDs and he reports that he didn\u2019t have a single issue or crash. Everything was backed up on RAID 5s, and he made sure to use the second to third most recent versions of <a href=\"https:\/\/www.premiumbeat.com\/blog\/premiere-pro-editing-hacks\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Premiere Pro<\/a> to avoid any issues with updates.<\/p>\n\n\n\n<p>With the peak of the pandemic behind him, and with the film industry returning to normal, Crouch feels that the extra time he had to work on the edit did indeed help the film overall, and he&#8217;s hopeful that the inspirational true story told in <em>12 Mighty Orphans<\/em> will help the film take its place among the timeless period sports dramas of the past.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p>For more filmmaking and editor interviews, insights, and resources, check out these articles:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/wolf-of-snow-hollow-filmmaker\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Filmmaker Interview: Jim Cummings Talks \u201cThe Wolf of Snow Hollow\u201d<\/a><\/li><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/walter-murch-how-to-edit-film\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Walter Murch and the Criteria for How to Edit a Film<\/a><\/li><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/diy-documentary-during-covid-pandemic\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">How Music Helped to Motivate This DIY Coronavirus Documentary<\/a><\/li><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/film-editing-legacy-anne-coates\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Honoring the Film Editing Legacy of Industry Pioneer Anne V. Coates<\/a><\/li><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/10-filmmaking-news-sites-you-should-visit-everyday\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">10 Filmmaking News Sites You Should Visit Everyday<\/a><\/li><\/ul>\n\n\n\n<p><em>Cover image of the <\/em>12 Mighty Orphans<em> via <\/em><a href=\"https:\/\/www.sonyclassics.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\"><em>Sony Picture Classics<\/em><\/a><em>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>We chat with editor James K. Crouch about what he learned from editing the Tribeca feature film 12 Mighty Orphans during COVID-19 lockdowns. One of the highlights \u2026<\/p>\n","protected":false},"author":76,"featured_media":155823,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[536,308,5376],"class_list":["post-class-post-155786","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-various","post-class-tag-filmmaking","post-class-tag-premiere-pro","post-class-tag-video-editing"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v21.5) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Editor James K. 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