Six Week Students will have the opportunity to work with the Oscar-nominated Editor for MEWShop’s April workshop
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.
In 2004, Manhattan Edit Workshop began a four-week editing workshop for aspiring professional editors. In 2006, it became their six-week workshop. During the six weeks, the students receive training on the most-used editing tools of the industry. They are also given a chance to explore the art of editing. An important aspect of the workshop is the Artist in Residence. A successful professional editor visits the class to offer some insights into their own career, as well as look at the work the students are doing and provide them with some feedback.
Brian A. Kates was the artist in residence for the January/February 2018 workshop. He is an Emmy award-winning editor for his work on Taking Chance, as well as a two-time Eddie award winner for his work on Bessie and Lackawanna Blues. He is also known for his work on The Savages, Shortbus, Killing Them Softly, How to Talk to Girls at Parties and The Marvelous Mrs. Maisel.
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.
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.
Manhattan Edit Workshop launched its “Inside the Cutting Room” series last month with a sit down with editor Andrew Weisblum, ACE. Hosted by author/film historian Bobbie O’Steen, the two-hour event looked at Weisblum’s career as a film editor and his relationships with two very different directors: Wes Anderson (The Darjeeling Limited, Fantastic Mr. Fox, Moonrise Kingdom) and Darren Aronofsky (The Wrestler, Black Swan).
Ross Shain of Imagineer Systems and Jeff Krebs of eyeon Software to give presentations and demos of mocha Pro and eyeon Fusion, respectively; attend the FREE demo night for a discount on the mocha Pro AE workshop on January 12, PLUS a chance to win a full seat of mocha Pro (value $1495) and a full seat of eyeon Connection/Fusion (value $2495)
Content and Communications World (CCW) 2012 is just around the corner and Manhattan Edit Workshop is looking forward to presenting free workshops to all conference attendees! At the intersection of creativity and technology, these workshops will help all attendees learn in-depth the technology and techniques behind the art they create.
ON June 8 and 9, the American Cinema Editors and Manhattan Edit Workshop held the fourth annual EditFest NY at the Directors Guild Theatre in Manhattan. Well-known editors from the worlds of documentary, features, and television presented five Q & A panels and stayed for informal chats with the audiences. They also attended a cocktail party at Le Parker Meridian Hotel Friday night.
Learn the art and science of documentary film from top working professionals in the industry; Early bird special ends Friday, July 13th
A bit late getting my notes up, but Manhattan Edit Workshop held its yearly EditFest NY this past weekend, hosting a number of discussions with feature film, documentary, and commercial editors. The Friday night kickoff at the Director’s Guild of America Theatre, titled “The Lean Forward Moment”, had moderator Norman Hollyn (The Cotton Club; Heathers;), leading a panel of 4 editors who each shared a 5-10 minute scene that inspired them to become an editor. Here are some of the highlights that they shared…
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
Please join renowned author Bobbie O’Steen (“Cut to the Chase”, “The Invisible Cut”) for an in-depth discussion with master film editor Jay Rabinowitz, ACE who will screen footage and talk about his work on Night on Earth, Affliction, Requiem for a Dream and I’m Not There. This event is presented by Manhattan Edit Workshop and will take place at NYU’s Cantor Film Center on April 26th from 7 to 9 pm.
Manhattan Edit Workshop's (MEWShop) next Tech Talk Evening: 'Shared Storage and Media Workflow Platforms - What is Right for Your Post Facility' will be held on: Wednesday, March 28, 2012.
EditFest NY, the east coast version of American Cinema Editor’s successful EditFest series, (launched in June 2009 at The Director’s Guild Theater in Manhattan) is returning June 8 - 9, 2012. EditFest NY is presented by American Cinema Editors (ACE) and Manhattan Edit Workshop (MEWShop). Over the course of the weekend, EditFest NY will present some of the best known and highly regarded east coast film editors who turned out to mingle, mentor, and present. Last year's event kicked off with an industry insider’s view of how to break into the editing business. The panel was followed by an opening night gala, a wall-to-wall party where panelists from every EditFest NY panel mingled with rapt attendees.
New tools and technologies are making editing a greater part of the creative process, providing new opportunities to create, edit and distribute content for every type of screen. Yet many still struggle with how to leverage these new tools in a way that integrates with their current technology investments.
Whenever editors begin a film, they enter into completely new territory and must adjust to and understand the director's way of working and thinking. Editor Jay Rabinowitz, ACE, has traveled among a particularly diverse group of directors and has been able to immerse himself in their worlds - while showing the courage and ingenuity to surprise them,, which is what really sets and editor apart. All of this was in evidence when we discussed and screened some of Rabinowitz's work in December for my "Inside the Cutting Room" series, produced by ProductionCONN and Manhattan Edit Workshop.