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.
Editor Kevin Tent discussed his career and long-collaboration with Alexander Payne during an event at this year's Sight, Sound & Story.
Top editors discuss their craft and give their thoughts on the state of cinematic TV.
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.
After EditFest NY moved to London, Manhattan Edit Workshop picked up the reins with its Sight, Sound & Story (SS&S) conferences. The first post production event premiered in June of 2013. The format was similar — top-of-their-craft editors and post specialists participating in panels focusing on specific areas of the industry. Over the years there have been great panels on TV editing, sound effects and audio editing, VFX and virtual reality. I have attended these events since they began. They are a great chance to get inspired, learn more about my industry and meet great people.
He has shot more than 200 films and is a frequent collaborator with Ken Burns. Buddy Squires, ASC is an Oscar-nominated and Emmy-winning Director of Photography. If you have seen a great documentary lately than more than likely it was shot by Buddy. He is known for his work on The National Parks, The Civil War, The Vietnam War, Salinger, and The Central Park Five.
If you are in the New York City area you can hear Buddy talk at the Manhattan Edit Workshop “Sight, Sound, and Story.” This December 6th, the Manhattan Edit Workshop’s acclaimed speaker series continues with an evening devoted to the art of cinematography. At the workshop, MEW will honor the craft of visual storytelling by talking to the masters behind the camera. Tickets for the afternoon/evening event only cost $45 and audience members will also hear from Joan Churchill ASC, Igor Martinovi, and Martin Algren. If, however, you cannot make it to NYC to listen to Buddy in person PVC had the opportunity to talk to him this week for this edition of “Art of the Shot.”
The Manhattan Edit Workshop (MEWShop) has announced the return of “Sight, Sound and Story: The Art of Cinematography,” which will take place on December 6 at the NYIT Auditorium Theater on Broadway.
Michael Berenbaum, ACE won two Emmys and two Eddies for Best editing for Desperate Housewivesand Sex and the City. His work also includes editing both Sex and the City movies, and other TV series including The Wire, Nurse Jackie, The Americans and Marco Polo. Art of the Cut interviewed Berenbaum before he spoke at the Manhattan Edit Workshop’s Sight, Sound and Story post-production event.
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.
Maya Mumma has worked on numerous documentary projects including as an associate editor on Restrepo, and as an editor on Which Way Is the Front Line from Here?, The Life and Time of Tim Hetherington, Moms Mabley: I Got Somethin’ to Tell You, Mr. Dynamite: The Rise of James Brown, A Journey of a Thousand Miles: Peacekeepers, and ESPN Film’s Oscar-winning: O.J.: Made in America. Mumma will be speaking at Manhattan Edit Workshop’s Sight, Sound and Story event June 10th at the NYIT Auditorium.
Away from the major tradeshow cycle, there are any number of smaller events that have grabbed themselves deserved places on the calendar and offer something a bit more niche and perhaps a bit more special too. New York's Sight, Sound & Story this weekend is one of them.
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).
One lovely Saturday this summer, over 300 editors, filmmakers, and post-production professionals opted to pack the NYIT Auditorium on Broadway for a full day of panels focused on the art of editing documentary films, episodic TV and visual effects.
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.