MEWShop proudly announces that acclaimed editor Anne McCabe, ACE, will join our January/February 2019 Six Week Intensive.
MEWShop proudly announces that television & film editor Tim Streeto, ACE, will join our November/December 2018 Six Week Intensive.
As a working editor always looking to learn, I attend numerous industry events throughout the year, but this one has become one of the “can’t miss” items on my list. They bring in top-notch panelists sharing their work and their insights. This year’s post event was once again a chance to hear from professionals at the top of their craft across documentary, scripted television and feature film.
Manhattan Edit Workshop, the east coast leader in training for content creators, held its annual “Sight, Sound & Story: Post Production Summit” symposium on June 14th at the NYIT Auditorium on Broadway. Nearly 300 attendees watched three panels covering TV, documentary and feature film with legendary editors discussing their craft, followed by a networking party sponsored by American Cinema Editors.
Editor Kevin Tent discussed his career and long-collaboration with Alexander Payne during an event at this year's Sight, Sound & Story.
This year, I was asked to live tweet from Sight Sound & Story on behalf of Blue Collar Post Collective. As part of their mission to make post events as accessible to members of our industry as possible, they often attend events like this one and provide live blogging, tweeting and recaps of the events for their members via their Facebook group. What follows are the recaps that I posted to that group after the event and massaged a bit for the sake of postPerspective.
Dylan Tichenor, Oscar-nominated editor of 'There Will Be Blood,' 'Magnolia,' 'Brokeback Mountain,' and more, breaks down clips from his movies.
During a wide-ranging discussion at Saturday's Sight, Sound & Story panel in New York, Academy Award-nominated editor Dylan Tichenor, ACE revealed to moderator Bobbie O'Steen that he first began to comprehend film editing while watching classic films like Nosferatu with his father. It was during these formative viewing experiences—including holding a piece of film from Orson Welles' The Magnificent Ambersons up to the light—that Tichenor realized movies were composed of different shots.
New York, New York – Manhattan Edit Workshop (MEWShop), the east coast's top school in the post-production industry, for cutting edge certified training and for filmmakers learning the art and craft of editing, has just announced weekend dates for the ‘Making the Cut with Bobbie O’Steen’ class series this January 2017. The purpose of this course is to understand the art and technique of master editors through screening and discussion of their work. How do they decide what shot to use and when exactly to cut in and out of that shot? How do they shape actors’ performances and fit the puzzle pieces together to make a story work? O’Steen will reveal the wisdom and strategies of master editors by taking you through a cut-by-cut analysis of many classic movie scenes, based on interviews from her popular books, panels, and event series. Ultimately, you’ll develop a deeper knowledge of the thinking behind the editing process, empowering you to become a better editor and storyteller yourself.
In Equity, the new woman-centric Wall Street potboiler from director Meera Menon and production company Broad Street, shot after shot and cut after cut line up to reinforce a feeling of suffocating isolation. This is by design, according to editor Andrew Hafitz.
In Captain Fantastic, Viggo Mortensen plays a survivalist father raising a brood of six kids off the grid in the forests of the Pacific Northwest, whose life is thrown into disarray after his wife commits suicide. The film, written and directed by veteran character actor Matt Ross (Silicon Valley, Big Love) earned major praise at Sundance and Cannes, and for good reason: it's by turns intense, funny, and genuinely moving. I recently caught up with editor Joseph Krings to talk about his career and the process of cutting the film.
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.
Sometimes Manhattan Edit Workshop will ask Artist in Residences to return again and again, because of their unique interaction with our students and their amazing ability to critique and mentor aspiring editors. In this edition of “Spotlight on an Editor,” one such Artist in Residence, Peter Frank, ACE, who has returned several times to work with our Six Week Intensive students to share his experiences.
Manhattan Edit Workshop is proud to announce that acclaimed edtior Joe Klotz, ACE, will be our September 2015 Artist in Residence. Joe's work includes Lee Daniels' The Butler and Precious, in which he was nominated for a 2009 Academy Award for Best Editing. Some of Joe's other work includes Chappelle's Show, Rabbit Hole, Upright Citizen's Brigade, Choke, and Happyish. MEWShop Owner and Six Week Intensive Instructor Josh Apter adds, "Our Artist in Residence program always brings in some of the best in the business and Joe is among those at the top of their game. I look forward to seeing him working hands-on with our students." Our next Six Week Intensive starts September 14th!
MEWShop recently sat down with our September 2014 Six Week Intensive Artist in Residence Sabine Hoffman, ACE.
Sabine has edited independent feature films for over 12 years, including Rebecca Miller’s films Personal Velocity (Sundance Grand Jury Award and Best Cinematography winner and also the winner of the John Cassavettes Award) , and The Ballad of Jack and Rose (starring Daniel Day Lewis). She edited Morgan J. Freeman's Desert Blue and Hurricane Streets (which won the Audience, Best Director and Best Cinematography awards at the Sundance Film Festival), Alex Sichel's All Over Me (a Teddy Award winner at the Berlin Film Festival), The Day the Ponies Come Back, directed by Jerry Schatzberg (also director of Panic in Needle Park) and Harlem Aria (winner of three Audience Awards: Urban World Film Festival in NYC, the Chicago International Film Festival, as well as the Los Angeles Pan African Film Festival), directed by William Jennings, starring Damon Wayans and Gabriel Casseus.
New York — Red Car in New York has added editor Michael Sullivan to its team. Most recently at Gramercy Park, he brings a range of editorial experience to Red Car as well as a resume that includes audio mixing and recording and sound design. The signing was announced by Managing Director and EP Scott Spanjich. Sullivan joins an editorial roster at the company that includes Deirdre Bell, Charlie Cusumano, Greg Letson and Keith Olwell.
Bobbie O'Steen Discusses Edits that made American Cinema Classics.
The first and only class of its kind, Preditor from Manhattan Edit Workshop begins September 17th
Read Dan Ochiva's article on our Inside the Cutting Room event featuring Editor Andrew Weisblum, ACE!
Jason Banke, MEWShop’s General Manager, will now be taking over as Vice President of Operations; Janet Dalton, who’s been teaching at MEWShop for over eight years, will be the new Director of Education. Together, they will work towards expanding MEWShop’s course offerings to include the latest in editing and visual effects software as well as improve overall operations.