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Yan Miles, ACE: Emmy-Nominated
Editor of The Crown‘s ‘Fairytale’

Since its premiere on Netflix four seasons ago, The Crown has become a favorite of critics and an addiction for its audience. Historical fiction based on real events, this series gives viewers a glimpse at what “might” have been going on behind closed doors with England’s royal family. The Emmys have loved the show as well, with this year being no different — it was nominated for 24 awards. One of those nominations belongs to Yan Miles, ACE, who has edited six episodes of The Crown since the series began. For this most recent season, he cut Episode 3, “Fairytale.”

Season 4 of The Crown first aired in November of 2020, giving those still in Covid lockdown something to binge. Fortunately, production was nearly finished by the time the UK shut down completely back in March of last year, avoiding many of the delays that hindered other productions.

“Ordinarily, every season’s editing workflow is to shoot and assemble at the same time, and then once filming wraps, it goes into final cut, then color and audio finishing,” explains Miles, who already owns an Emmy for his work on PBS’ Sherlock: His Last Vow. “However, Season 4’s workflow took a dramatic turn due to the outbreak of Covid-19, forcing the post portion to be altered significantly and everyone to adapt to working from home.”

Fortunately for Miles, he was used to working remotely. “I always do the assembly in my home studio,” he explains. “So it was less of an upheaval for me, as it might have been for others.” However, the suddenness of the rest of the team working from home didn’t allow much time to create a specific remote workflow. They sorted it out on the fly.

“We worked in an old-fashioned way,” he says. “The assistant editors and I worked locally — and none of us were networked together — so whenever anyone added music or effects, we shared the files through an FTP and pulled them in.”

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Resorts World Vegas Uses
Virtual Production for Short Film

As part of its prepro, studio ERG created and programmed several different "baked" lighting scenarios for instant activation on the set.

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Composer Mikel Hurwitz on Comedy-Horror Film Too Late

As a composer, there is a risk of being typecast. “So if you experiment on every score, it’s a clear path to continue your artistic evolution.”

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Tribeca: False Positive
Editor Jon Philpot

“There is more room to shape and modify in film than there is in television. What you don’t see is as important as what you do.”

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Director Courtney Hoffman
on WhatsApp Campaign

MTI Film Updates Cortex
Media Management Software

Cut+Run Austin Adds
Editor Andrea Mendoza

Behind The Title: Audio
Pro Scottie Richardson

Chaos Intros USD Support
V-Ray 5 for Maya and Houdini

SoundOn's Audio-for-Video
Tool Updated to v.1.7

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