Category Archives: Interviews

New York Comic Con AMV Tour!

Posted by Rina Svet:

According to Wikipedia, an AMV is “a music video consisting of clips from one or more animations set to an audio track (often songs or movie/show trailer audio); the term usually refers to fan-made unofficial videos.”  But an AMV is so much more than that simple definition.

I made my first AMV a long time ago. It was a sad little thing with terrible quality and editing  – made in Widows Movie Maker when I had just turned 16. If you were to show me this video today and ask me to claim it, I would deny its ownership totally and completely, but that badly edited little video was the beginning of everything for me.   Jumping forward seven years, I took my camera to New York Comic Con last weekend where I shot a little exposé about their AMV contest.  The room was jam-packed with only standing room left and I could barely navigate through it with my gear. The AMV contest is popular to say the least.

The AMV community, known collectively as “the .Org” is large and rich and fascinating. It’s full of gifted editors of all ages, races, religions and nationalities who are striving to make a name for themselves; to achieve something; to always improve; to tell a story.  In short, editors who love to edit.  The lifetimes of their videos are filled with contests and big screens. With large audiences and fans. And their shelves are lined with trophies – proofs of their winnings.

The process of making an AMV is long and painstaking and the results are as different as the editors who create them. There are AMVs specializing in effects or 3D animation. There are videos centered on storytelling.  Videos that are dramas or comedies or action adventure pieces. There are videos that are terrible and videos that are so amazing it’s hard to believe they weren’t made by a pro. And the outlets for these videos are endless.  The screenings at conventions are only the tip of the iceberg.

As AMVs took me along the path to editing and filmmaking seven years ago, they are still bringing hundreds of young editors into this movement today.

Check out some of these great AMVs below!

Posted by Rina Svet:

Brad’s “Time Waits for No One”

Terrell’s “A Little Late

Jay’s “Skittles

Tiffany’s “Giving In

Rina’s “Chained to the Sun”

Kareef’s “Zetsumo”

Katie’s “Double Dutch

Max Vanderwolf in Last Man Standing & Naked Sun

Posted by Paul Devlin:

I met my good friend Max Vanderwolf at University and made this music video of his band Naked Sun when we were both living in New York in the late ‘80s, early ‘90s. I’m proud of this piece, shot on Super-8 film, because it captures the flamboyant, edgy East Village that I remember so well, but which no longer exists.

And the second part shows Max still at it, making great music with his latest band, Last Man Standing.

CBS Behind the Scenes

Posted by Paul Devlin


Alongside making independent films, my other career is with CBS Sports.  I work as a video editor, mostly weekends, in the Broadcast Center in New York City on the studio shows – NFL Today, Road to the Final Four and others. Of course, I do a lot of work on non-linear edit systems (Avid, Final Cut Pro), especially for my movies, but my primary role at CBS is old-school, on-line, tape-to-tape, linear editing.  

For those of you who know what that means, it may seem hard to believe. Most people assume that style of editing is ancient history. It used to be the norm, though – big, expensive suites that looked like the bridge of the Enterprise in Star Trek and cost up to $500/hour for agency work. This was before video editing migrated to PCs and laptops, collapsing the post-production industry as we knew it at the time.   

To a get a sense of linear editing workflow, read this article “THE ZEN OF LINEAR ONLINE EDITING”  by Dennis Ho.  And if you want to reminisce about what the TV and post-production worlds were like when linear editors were Masters of the Universe, check out the article “NO COUNTRY FOR OLD CUTTERS” by Jonathan Moser.

I’m probably one of maybe a few dozen people in the world (if that?) who still use this kind of high-end equipment regularly. But the fact is, there are some applications, where fast-turnaround, linear editing is still the best solution, and a live sports show is one of them.  The way I see it, in this capacity, I’m no longer a video editor; I’m a “linear specialist.”

I’ve been with CBS Sports since 1997 and with NBC Sports before that. Working on live sports shows is high-pressure and exciting and man, do I have some hair-raising stories about close calls trying to get to air in time. This behind-the-scenes piece from will give you a sense of what that experience is like.