{"id":92476,"date":"2017-07-11T07:00:00","date_gmt":"2017-07-11T12:00:00","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=92476"},"modified":"2018-02-15T12:52:48","modified_gmt":"2018-02-15T18:52:48","slug":"editing-and-sound-baby-driver","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/editing-and-sound-baby-driver\/","title":{"rendered":"How Editor Paul Machliss Cut Baby Driver in Real Time on Location"},"content":{"rendered":"

Dive into the real time production and post-production workflow of this\u00a0tightly synced film.<\/h2>\n

Top image via Paul Machliss \/ Avid.<\/em><\/p>\n

Editor Paul Machliss, ACE<\/a> has cut some of the most ambitious film and television projects. Most recently, he cut the hit musical thriller\u00a0Baby Driver<\/a>.<\/em><\/p>\n

\"How
\nImage via TJ Maher.<\/em><\/p>\n

My brother and I\u00a0were fortunate enough to stumble upon Machliss’s presentation at NAB 2017<\/a>\u00a0at the Avid booth. He discussed Baby Driver<\/em><\/a> being the most difficult edit he’s ever had to manage<\/strong>.\u00a0He also talked about his previous experiences working with director Edgar Wright<\/a> on Scott Pilgrim vs. the World<\/a>,<\/em>\u00a0The World’s End<\/a>, <\/em>and Spaced<\/em><\/a>. You may also recognize his comedic editing style from other\u00a0television series, like The IT Crowd<\/em><\/a>.<\/p>\n

Cutting Baby Driver <\/em>on Set<\/h3>\n

There’s a very good chance you’ve already heard plenty about Baby Driver<\/em> and the film’s rave reviews. If not, here’s a look at the trailer.<\/p>\n