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.
Manhattan Edit Workshop (MEWShop), is the only school of it’s kind to offer one comprehensive, six-week course that includes all of the editing applications taught by certified instructors. The Six Week Intensive Course takes students through each program as they work on various real-world projects to illustrate the distinct strengths and nuances of each Non Linear Editing System. MEWShop also runs their annual one-day summit called “Sight, Sound & Story” on June 11, 2016 at the NYIT Auditorium on Broadway. This event includes the art and processes of editing documentary film and episodic television, and behind the green screen with VFX artists. Below is our interview with Jason Banke, President of Manhattan Edit Workshop:
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.
Paul is originally from Kalamazoo Michigan and now resides in Port Washington, NY with his wife Deb. Paul is primarily known for his work with comedian Louis CK, but has also shot features, documentaries and series-based shows such as the Hulu comedy, “Deadbeat”. Paul will be taking part in a panel discussion for the upcoming Manhattan Edit Workshop event September 30th, 2015 along side other cinematographers such as Nancy Schreiber, ASC (November, The Nines, The Comeback) Matt Porwoll (Cartel Land, Crisis Hotline: Veterans Press 1), Jerry Ricciotti (Vice, Vice News), and Bob Richman (An Inconvenient Truth, The September Issue, Paradise Lost: the Robin Hood Hills Child Murders).
I had the pleasure of speaking with Nancy Schreiber, ASC, who will be featured at the upcoming Manhattan Edit Workshop event September 30th, 2015. She will be presenting with other notable cinematographers like Hugo Perez (Betty La Flaca, Juliet Y Ramon), Matt Porwoll (Cartel Land, Crisis Hotline: Veterans Press 1), Jerry Ricciotti (Vice, Vice News), and Paul Koestner (Louie, Deadbeat, Better Things). Nancy has a huge list of work throughout her career ranging in short films, documentaries, TV and feature films.
2015's Sight, Sound and Story conference at the Manhattan Edit Workshop provided some real nuggets of wisdom that can be applied to every edit room.
The Manhattan Edit Workshop (MEW) continues to grow its reputation as the top spot on the East Coast to learn the editor's craft. So it’s perhaps not unusual that it offers a great service pulling together panels of top-notch working editors who provide insight into how they pull off the latest reality TV show, miniseries or feature.
What I love about these videos from the Manhattan Edit Workshop, is that not only do I get to hear from some of the film industry’s top editors, sound designers and visual effects artists, but that I can learn from them as they show how they handle the inherent creative challenges that every film project contains. And regardless of the scale of the budget, making sure what worked in the script works on screen, or overcoming production audio problems or even massaging the footage there is, to make a scene work is the same challenge the world over.
If you’re a fan of House of Cards, True Detective, Nurse Jackie or The Americans, then you’ll love these insights from some of television’s best editors on solving challenging edit problems. All of these clips were recorded at a recent Sight, Sound and Story event produced by The Manhattan Edit Workshop.
Manhattan Edit Workshop's Day for Learning.
As a young filmmaker and editor, I was very excited to be attending Manhattan Edit Workshop’s Sight, Sound & Story conference that took place right off of Madison Avenue in New York City recently. On my way to the event, I passed men in slick suits walking into shiny buildings, evoking thoughts of my favorite show, Mad Men.
A not very wise man once reflected that the strongest examples of film editing are the sequences where you don’t notice it. Day-long seminars such as “Sight, Sound & Story,” which took place last Saturday at the Florence Gould Hall in Manhattan, seek to pull back the curtain on the constantly evolving digital tools and techniques in need of demystification. Structured around a series of topical, industry-specific interests, the panels I attended approached the craft (and the difficulties of perfecting it) from a myriad of vantage points, none the least being narrative structure, the identification of theme and post-production sound design. Speaking to a house compromised primarily of similarly minded film craftsman, the panelists dug out their own portfolios to provide concise case studies.
Read Manhattan Edit Workshop's Director of Education Janet Dalton's take on editing 4k footage in Avid Media Composer.
Read Post Magazine's write-up on Manhattan Edit Workhop.
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.
Scary. Soiled. Scandalous. And basically shitty. This is how history not-so fondly remembers New York City of the 1970s. Drug use was rampant all across town; employment was not. Crime rates soared; faith in America’s greatest city plummeted. Bryant Park was referred to as “Needle Park,” and the 6 Train was appropriately termed “Mugger’s Express,” a place where armed bandits were known to have jumped turnstiles in a quest to rob hapless straphangers for free. Sorry kids, “Dave and Busters” and “TGI Fridays” were most definitely not the names of wholesome corporate establishments residing in Times Square, although such monikers likely echo those of the pimps and prostitutes (respectively) who once worked its corners. And when the financially devastated city teetered on bankruptcy in 1975, the nation’s president famously told New York to “drop dead.”
Read Dan Ovhiva's review of Sight, Sound & Story 2013!
Read ProductionHUB's review of Sight, Sound & Story 2013!