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.
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.
Go behind the scenes with the editors from The Avengers, Moneyball, All That Jazz, Treme and many more as they discuss techniques behind cutting critically acclaimed projects and industry blockbusters
As the editor of Focus Features' fall release Hollywoodland, Michael Berenbaum can empathize with the plight of the film's real-life character, George Reeves and perils of being typecast. Television's first Superman, Reeves (played by Ben Affleck) slowly deteriorates throughout the film's flashbacks as his dreams of becoming a serious actor are crushed by the very public weight of his red cape.
This past fall, Michael Berenbaum served as Manhattan Edit Workshop Artist-in-Residence for the Six Week Art-of-Editing course. Berenbaum mentored a class of students and worked with them on a unique project.