Manhattan Edit Workshop’s recent Sight, Sound & Story: Art of Cinematography in New York City featured two one-hour panels: “Thinking In Pictures — Perspectives, Compositions, Lighting and Mood” and “Life Behind the Lens: DPs Talk Careers and Creativity in Film and Television.” The first focused on documentary work and the second on narrative-based storytelling. Both sparked questions and ideas in the head of this DP, including what roles and responsibilities cinematographers play in the storytelling process.
The DP of Lovelace, Knocked Up, and Bosch talks life, work, and vintage cinema lenses.
You have seen Eric Alan Edward’s work. I would go so far as to say you have likely watched more than one of his films. This has been my journey discovering the cinematography of Eric Edwards. As I did my research I realized I have, on more than one occasion, sat in a theater and watched his work flicker by on the screen in front of me while I stuffed my mouth with salted popcorn. The big comedies “Knocked Up,” “The Break-Up,” and “Delivery Man” are just a few big budget films he has lensed. Then there is his more dramatic work on “Lovelace,” the Amazon Original series “Bosch,” and “The Slaughter Rule.” Edwards also shot music videos for Bruce Springsteen, Elton John, Michael Jackson, Donna Summers, Alanis Morissette, Paul Simon and the Red Hot Chili Peppers video Under the Bridge which won a MTV’s best music video of the year. Like I wrote, you have likely seen Edwards work.
If print does not do you justice you have an option to listen to Eric in person by heading over to Sight, Sound, & Story. Manhattan Edit Workshop’s speaker series. The workshop will dive into the craft of visual storytelling from masters behind the lens. Joining Eric Edwards will be Eric Lin (My Blind Brother), and Vanja Cernjul (Marco Polo.)
The cinematographer of “My Blind Brother” talks his most difficult shot with PV
Recently, I had the opportunity to talk to Eric Lin who is a cinematographer best known for his work on I Smile Back (2015), Equity (2016) and Rudderless (2014). His latest film “My Blind Brother” hit theaters earlier this year and can currently be seen on Video on Demand. The conversation between Eric and myself not only touched on his most difficult shot from “My Blind Brother,” but also about life as a cinematographer who is trying to balance work and life. To focus topics and for better understanding, I edited the transcribed audio from our interview. I tried to keep Eric’s voice and answers as true to our conversation as possible.
If after reading this transcribed interview between Eric Lin and myself and you want to hear more from Eric then head over to Sight, Sound, & Story. Manhattan Edit Workshop’s speaker series. The workshop will dive into the craft of visual storytelling from masters behind the lens. Joining Eric Lin will be Eric Alan Edwards (My Own Private Idaho) and Vanja Cernjul (Marco Polo).
Earlier this month, Manhattan Edit Workshop held its yearly Sight, Sound & Story conference in New York City. It was a full day of panel discussions featuring editors and visual effects pros at the top of their game. The conversations were refreshing and helpful — the panelists focused on their individual journey to where they are now, as well as the craft of filmmaking rather than tools and techniques.
Is TV an "editor's medium"? The industry's top cutters think so.
Between the three of them, Kelley Dixon, Kate Sanford, and Leo Trombetta have cut thousands of hours of television and movies. Dixon has worked on Breaking Bad and Better Call Saul, Trombetta on Wayward Pines, and Kate Sanford on The Wire and, most recently, Vinyl. At the recent Sight, Sound & Story panel, 'TV Is the New Black: Television's Cinematic Revolution', each discussed their careers and recent work, and gave tips for those looking to get into the industry. Here are the three top takeaways we learned from them.
Legendary editor Anne V. Coates has won two and been nominated for five Oscars (including a Lifetime Achievement Award in 2007). The nonagenarian editor refuses to use Avid; instead, Coates said she "has her own system" which was custom-made to her preferences—much like the one made for Thelma Schoonmaker—though she refuses to elaborate on the details.
How does the most unnoticed job in Hollywood actually work? Four VFX veterans break it down.
Leo Trombetta, ACE has professional credits dating back into the mid 1980s and has been in the editor’s chair since the early 1990s. He has edited more than a dozen feature films, like “Twin Falls Idaho” and a range of TV shows like WB’s “Roswell,” Michael Mann’s “Luck” for HBO, AMC’s “Mad Men,” FOX’s “Wayward Pines,” and Netflix’s “Narcos.” He has also worked as a sound editor on such films as “Bonfire of the Vanities” and David Mamet’s “Homicide.”
Trombetta won an Emmy and an ACE Eddie for editing “Temple Grandin” for HBO Films as well as additional Eddies in 2011 and 2012. He will appear at the Manhattan Editor’s Workshop’s “Sight, Sound and Story” event in NYC, June 11th.
Editor Kate Sanford, ACE, has been working as a professional in post since 1987 and has been in the editor’s chair since 1994. Her credits include “Sex and the City,” “Brooklyn Rules,” “The Wire,” “Boardwalk Empire,” “Show me A Hero” and – most recently – HBO’s “Vinyl.” Her next project is David Simon’s “The Deuce” starring James Franco. She’ll be a panelist at the Manhattan Editor’s Workshop “Sight Sound and Story” event, June 11.