This Frame.io piece is a broad workflow breakdown of all 11 films nominated for Best Picture and Best Editing at the 2018 Oscars, comparing everything from budgets and shooting schedules to editorial team sizes, post-production timelines, and film-versus-digital acquisition choices. It's a genuinely nerdy, technical deep-dive: it covers why nearly every one of these films, despite having the budget for it, still chose to edit in standard 1080p rather than 4K, and it unpacks unusually complex dailies workflows like the real-time, music-synced editing on Baby Driver and the dual-format 65mm dailies process on Dunkirk.
I, Tonya gets a specific mention in the piece, and it's where Steve comes in. The article notes that despite a small independent budget, the film carried over 200 tricky VFX shots, requiring elaborate tracking work to blend a stunt skater's performance with Margot Robbie's for the film's skating sequences, along with CG crowds and stadiums. Because of the tight budget, Steve pulled double duty as both first assistant editor and VFX editor, cutting in VFX shots in the mornings, moving to sound work in the afternoons, and staying late to prep shots for the VFX team. It's a great, specific window into just how much a lean independent crew has to stretch to compete with studio-scale visual effects.
CLICK HERE FOR THE INTERVIEW: Workflow Breakdown of Every Best Picture and Best Editing 2018 Oscars Nominee