Vashi Nedomansky, ACE

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Feature Film Editor / Ex-Pro Hockey Player / Storyteller & Problem Solver

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Vashi Nedomansky, ACE

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The first "Texas Switch" of a flag in film history.

Perspective Compression in cinematography is a visual effect where a telephoto lens makes foreground and background elements appear closer together. It helps to create tension during dramatic moments.

THE SUGARLAND EXPRESS (1974) One year before his famous Dolly Zoom shot in JAWS, Spielberg dropped this sniper Dolly Zoom into his first official theatrical feature film. Spielberg showed his film to Brian De Palma, who commented, "You stole that shot from Hitchcock's VERTIGO!"

LAWRENCE OF ARABIA (1962) The best day-for-night shot in cinema history. Cinematographer Freddie Young underexposed the film and used military aerial reconnaissance filters + ND filters to help craft this shot.

Cinematographer Roger Deakins had a camera platform with a soft buffer built on the railroad tracks so the train could run into it safely and push the camera down the track for this incredibly visceral shot. Movie Magic!

AIRPLANE! (1980) Seven comedy writers documented and ranked all 178 jokes in the film. This landed safely at #2

RONIN (1998) A sneaky 'hidden cut' occurs when an extra walks past the camera to wipe the frame. The first shot is one location and the second shot is in a completely different part of the French town. A cool way to seamlessly connect different real-world locations.

Ladies and Gentlemen... The Dolly Zoom

Quentin Tarantino's favorite edit in film history is the cut to the wide shot of the three gunslingers in the climactic cemetery showdown...a full reveal of the final location after numerous close-ups.

PULLING FRAMES - a film editing technique where a couple of frames are removed after a point of impact to amplify and exaggerate the energy of the moment. Shown here in HEAT as the bad guy spins around when shot. 🎞️✂️

This perfect Match Cut belongs in the Film Editing Hall of Fame. Love the little bell sound right on the cut.

Low Budget Forced-Perspective Shot • 1:18 scale Hummer model ($23) • 24mm lens with aperture set to f/11 • focus favors foreground object • lots of light. Thank you sun! • camera 3 feet from Hummer • camera 40 feet from background • car door sound effect helps sell it

CATCH-22 (1970) The only 'Split Diopter Shot' of an egg in film history.

Carlito embracing the Panavision anamorphic flare fest

THE SPY WHO LOVED ME (1977) Practical filmmaking used in this shot: - lens flares - matte paintings - scale model - optical printer composite

Testing out the Generative Fill feature of Photoshop (beta). Took an iconic film image and did a little set extension to see what AI thinks lives beyond the frame's edges. Impressive results in one minute. Very realistic shadows, textures and lighting. #Firefly #possibilities

GOLDFINGER (1964) DIRTY HARRY (1971) cinematic symmetry zoom out reveal

DUNKIRK (1958) - A well-crafted example of a 'deep focus shot' that looks like a 'split diopter shot'. The focus was set between the foreground and the first man in the chair. By using bright lights and a high f-stop, almost everything is in focus.

I ❤️ physical media in all its flavors!

LAWRENCE OF ARABIA (1962) One of the only visual effects shots in the film was a large painting of the Sun. Shooting directly into it for real would have burned the film stock.

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They don't make opening credits like this anymore

The GOLDFINGER Criterion 1991 laserdisc was discontinued and unsold copies were recalled because the bonus-feature commentary was "insensitive, inflammatory and potentially libelous." Here's editor Peter Hunt discussing Sean Connery's sex appeal:

In 2001, Hugh Jackman delivered the most realistic computer hacking scene in film history. To this day, it is used for training at the Cybercrime Division of the FBI.

ROGUE ONE (2016) All 46 shots and lines of dialogue used in trailers, teasers and promos that are NOT in the theatrical release of the film.

I miss John Candy...especially his portrayal of Djour Djilios.

THE AMERICAN FRIEND (1977) Dennis Hopper with Nicolas Ray and a stunning World Trade Center reveal...

Olivia Rodrigo performed a live "falling down the stairs" stunt and SNL revealed how they did it before cutting to a commercial. Practical filmmaking is alive and well!

🎥RAIDERS SHOT DESIGN🎥 Spielberg turns a cramped living room into 96 seconds of continuous cinematic choreography. A single moving shot gives Indy and Brody close-ups, wide shots, movement, exposition and visual variety without a single cut. Super elegant visual storytelling.

CONTACT The climax challenges the audience from two directions. If you believe only in science, it asks you to accept the unprovable. If you believe only in faith, it demands evidence. The film becomes a meditation asking: What if the most important truths can never be proven?

"Put the crosshairs on Charlize's nose."

LONGLEGS (2024) Director Osgood Perkins claims to have hidden 15 devils in the film. After a thorough search...I only found 10 of them. Super creepy. Has anyone found the other 5?

MAGNUM P.I. (1980) Most fans have never heard the original theme song. This jazzy version was replaced halfway through Season 1 by the famous guitar-driven version that became one of TV's most memorable themes ever.

THE ANDROMEDA STRAIN (1971) didn't have a traditional screenplay. It had the first example of a CINESCRIPT: an amplified screenplay that combined text and printed visuals to communicate the intended visual language before production began.

MASTER AND COMMANDER (2003) The Best Dad Joke of 1805

The Best 'Exposition Dump' in Film History. In 5 minutes, Spielberg lays out the characters, mythology, locations, artifacts and the entire narrative engine of the film. The audience discovers everything alongside Indy + each detail pays off later. A masterclass in storytelling.

CLIFFHANGER proved you could put lights wherever you wanted for night scenes in the 1990's.

Bring back overcranked and undercranked comedy gags!

In early 1980, John Williams watched the final cut of THE EMPIRE STRIKES BACK before recording the score. • He wrote the entire score in 7 weeks • All the music was recorded in 9 days • 124 minutes of original score for the film

MAGNUM P.I. (1988) In 1980, Tom Selleck lost the role of Indiana Jones because CBS wouldn't release him from his MAGNUM P.I. contract. Years later, the show playfully spoofed the role he almost had in the episode "Legend of the Lost Art."

As far as we have come in filmmaking, this shot from 1940 is still pure magic.