Anne-Sophie Bion and The Artist, a dream come true with Media Composer
Anne-Sophie Bion had a dream, that of becoming a film editor. Her Associate degree with a major in video editing opened the doors of the editing industry to her, and those of TV channel Eurosport. However, the film industry attracted her most. Consequently, she went on to do a BA in Film Studies for the theory aspect of it and worked in a photochemical lab for practice. In the end, it’s a job as a technical assistant in a post facility that helped her start making a name for herself—the place where she would get to know Avid workstations inside out, thanks to her “technical mentor”, Marc Boucrot.
“It allowed me to meet many editors, directors and assistant editors, and I was lucky to meet Hervé Schneid, who needed an assistant for the Mesrine series, directed by Jean-François Richet.” Working alongside the editor of Alien: Resurrection and Amélie, she then takes part to Micmacs, by Jean-Pierre Jeunet. “He [Hervé Schneid] became my artistic mentor. He taught me a lot. Every morning, I sat next to him and watched him watch the dailies. […] That's how I really learned to cut.”
This is 2010 and Michel Hazanavicius is looking for the editor that will cut his next movie: someone with a fresh set of eyes who is totally comfortable with the technical side of things. Anne-Sophie’s reputation precedes her, and she starts working by his side, as a co-editor, on The Artist in Fall 2010. “Michel was in Los Angeles shooting, and I was in Paris with my assistant, Camille.[…] As soon as he arrived, we watched the rough cut and we edited the movie together. Just working with Michel was in itself a magical experience.”
From June 2011 on, festival after festival, The Artist starts a fabulous international career and wins over a hundred awards, including 6 César Awards, 7 BAFTAs, 1 Goya, 3 Golden Globes and 5 Academy Awards. The Artist becomes the second movie not funded exclusively by English-speaking countries to receive the Academy Award for Best Picture. “February  was super intense. […] But most especially, winning the ACE Award, the prize for Best Editing from the American Editors' Guild, was incredible, truly unique, so thank you Michel!”
Apropos the tool she works with, Anne-Sophie is just as full of praise: “Media Composer is my one and only tool, so I use it all the time, from the first to the last day of editing. I have a Mojo DX box for capture and my assistants use two Nitris DX devices in order to input and output easily.” Her reasons for choosing Avid are self-explanatory: “Because it's simple, I mean I find it easy to use, and it's clear.” Another thing she likes about it is its media and format management capabilities. There’s also its advanced features and tools, namely those used to create special effects: “For instance for The Artist, we had a lot of crowd multiplication to do. I went as far as 20 tracks and managed to edit the shots, or at least do mock-ups within the Avid.”
And last but not least: “In fiction, many, many editors use Media Composer and most post facilities in Paris use Media Composer. So there you have it, it's the movie editing tool!”
In 2011, Anne Sophie also co-edited, alongside Yves Deschamps, War of the Buttons, by Christophe Barratier—a great commercial success. She is currently editing Stars 80, by Frédéric Forestier.