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Five Lessons from Bill Pankow, ACE



Each six-week intensive class at MEWShop welcomes its own individual Artist in Residence -- an accomplished editor who sits in with the class for two sessions to screen student footage, offer constructive feedback, and share stories and wisdom from their own, often long and storied careers. For the six week class ending today, July 29, that editor was Bill Pankow, ACE. Pankow’s career spans decades and genres, beginning with assistant editor positions on Kramer vs. Kramer, Scarface, and Wise Guys, all the way up to recent action comedies like American Ultra and Let’s Be Cops. His other credits include The Untouchables, Carlito’s Way, and The Money Train.

This time around, the students screened two of his more recent films, American Ultra and Mesrine Part 2: Public Enemy #1. Here are five things we learned during his time at MEWShop:

  1. Cutting film in another language, as he did on Mesrine, isn’t easy. French wasn’t his first language - “I’m barely conversational,” he said - but Pankow had English translation script and a bilingual assistant. Despite his loose handle on French as a language, he didn’t know idioms and colloquialisms, and two particular scenes (the courtroom scene and kitchen scene) were so nuanced that they necessitated hiring another editor.
  2. “Pictures have to tell the story first,” according to Pankow. As an editor, he relies heavily on visual storytelling, and only delves into dailies for the best performances from each actor once he’s confident the story has been adequately communicated through images alone.
  3. When asked for a crash course on editing action films, this was his advice: First, get the audience engaged. It’s nice to start with a close-up shot (a gunshot, a single person) and then go wider to communicate the scope of the scene. The audience must understand the geography of the scene above all else -- they have to know where the characters are at all time and be able to follow the storyline as well as the action. Movement is key, and Pankow advises on keeping the camera moving in the POV of the main character. Fast cutting serves the energy of the picture, but it can’t be too fast or too random. Finally, keeping the object of interest in the same part of the frame and maintaining that frame position through longer shots or fast cuts makes an action sequence feel cohesive.
  4. One student asked for advice on working closely with directors. Pankow’s take: Lay scenes out in order according to the script, and don't move them around until after sitting with the director and working it out. Directors will give you room to work if you establish a creative flow with them.
  5. You do better work if you take a lunch break and actually leave the edit bay.

Pankow also shared a look at his line script from Snake Eyes:



Truly fascinating to see the annotations provided by the script coordinator and supervisors so as to hasten and ease the process of translating the director’s decisions on set to the editing room.

Our next Six Week Workshop starts September 12. You can find out more here.

VIDEO: How to Add a Media Browser Shortcut in Adobe Premiere Pro





Manhattan Edit Workshop Instructor Kiri Roberts shows how to add a shortcut in your Media Browser in Adobe Premiere Pro (CC15).

Manhattan Edit Workshop is a New York Film Editing School offering a full range of basic to advanced manufacturer certified training courses, from the Avid, Autodesk, Assimilate and Apple products to the complete suite of Adobe applications.

Manhattan Edit Workshop's mission is to provide the highest quality education for filmmakers and editors. Focusing on both the art and technology inherent to our craft. We foster a "learn by doing" approach in an atmosphere where mistakes are encouraged as part of the process and the only "silly" question is the one that isn't asked.

FULL VIDEO!! Editor Conversations V2: A Conversation with Legendary Film Editor Susan E. Morse, ACE



Susan E. Morse ACE, known as “Sandy,” graduated Yale with a degree in History before going to Film School at NYU. She never graduated film school, though, because she took an internship that turned into a job and she never looked back.

Early in her career she was an Assistant Editor, working on "Annie Hall" and Interiors. After assisting on a handful of films, she became Woody Allen’s film editor, across the 22-year height of his filmmaking career.

But her career isn’t all Woody. In 1980, Sandy was Associate Editor alongside Thelma Schoonmaker on "Raging Bull," worked on Marc Lawrence’s "Two Week’s Notice," "Music and Lyrics" and "Did You Hear About The Morgans?," and cut episodes of "Louie" and "Billions". Right now, she’s working down the hall here at Light Iron on a feature called "Novitiate."

She has been nominated for an Oscar, 5 BAFTAs and an Emmy. When she was honored with a Muse Award in 2005, she publicly thanked every one of her Assistant Editors as part of her presentation.

About Blue Collar Post Collective (BCPC):
The Blue Collar Post Collective is an accessible and focused grassroots non-profit, supporting emerging talent in post production.

The BCPC is FREE and welcomes all post production professionals. Join us on Facebook to become an official member. Facebook is the main hub for events, information and support. Also follow us on Twitter for up to the minute tech and industry news and insights, as well as livetweets from important events and seminars. Follow us on instagram (and twitter) to keep up with our daily photo themes, like #workstationwednesday and #timelinetuesday. If you are not on facebook message us below and we will add you to a list for our upcoming mailing list.

For more information go to: http://www.bluecollarpostcollective.com/

Manhattan Edit Workshop is a New York Film Editing School offering a full range of basic to advanced manufacturer certified training courses, from the Avid, Autodesk, Assimilate and Apple products to the complete suite of Adobe applications.

Manhattan Edit Workshop's mission is to provide the highest quality education for filmmakers and editors. Focusing on both the art and technology inherent to our craft.  We foster a "learn by doing" approach in an atmosphere where mistakes are encouraged as part of the process and the only "silly" question is the one that isn't asked. 

More information about Manhattan Edit Workshop and the classes offered visit: http://www.mewshop.com/ 

Weekend Post-Production News Roundup


What's the difference between Boris Complete Continuum and the Mocha Pro plug-in? Here's a demonstration that breaks it down. [Avid Blogs]

The BCPC and MEWTube present Editor Conversations V2: A conversation with legendary film editor Susan E. Morse, ACE [MEWTube]

Oscar-winning editor Conrad Buff IV, ACE talks about cutting The Huntsman: Winter's War and the challenges of studio notes and screening groups [Pro Video Coalition]

Forming a narrative for the imaginative independent feature Captain Fantastic [Creative Planet Network]

Zac Hogle on editing philosophies: "The editor's only job is to serve the story" [Digi Media Pros]

Editor Josh Beal on cutting Netflix's slow-burning family drama Bloodline [Post Perspective]

Interview with Joseph Krings, Editor of "Captain Fantastic"



The cast of Captain Fantastic
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.

Tell me a little about your schedule for cutting “Captain Fantastic.” How long did it take? What did you cut on? Give me the nuts and bolts of it.
The editing schedule for this film was actually somewhat long and luxurious for a film of this size. Matt Ross and I have worked together before on 28 Hotel Rooms and we knew from our previous effort that Matt is most comfortable having ample time to make major decisions. He really likes to try every version and variation conceivable. The plan for this film with distribution already in place and knowing when and how they wanted to roll out the film with certain festivals allowed us that kind of time. 

Production started in July of 2014. They shot in Washington State and New Mexico for 40 days while I received the dailies over Aspera and put together my first cut in New York City where I live with my wife. In September of 2014 I traveled to California to start the directors cut. After a couple of days in the typical dark closet of an editing room, Matt and I decided to go back to way we cut 28 Hotel Rooms, which was in a sun-filled Venice Beach loft, so we picked up the editing gear and headed for the beach. With both of us being away from our wives and families we pretty much lived the film everyday. We would not keep tidy hours... we would work, break, work, eat, work, break, work, sleep, eat, work, etc. Oh and of course, call our wives! We kept this schedule up until about April 2015 at which point the film was more or less “locked.” Then we spent the rest of the summer unlocking the picture and making it better and better while I worked on another project. We had some expert advice from my friend Kevin Tent, ACE on how to improve some key moments of the film and make it even more heartfelt which we attempted to incorporate during this time. This also allowed plenty of time for Alex Somers to really create a magnificent score. We finally finished with everything in December 2015 in time for Sundance.

As for software, this was my first feature cut on Avid Media Composer believe it or not. When I started in editing I used Avid all of the time but I was an early adopter of Final Cut Pro and cut all of my previous features with it. But when Apple sold the version I knew and loved down the river it was time to come back home to Avid. I made sure to hire an expert Assistant Editor in Rob G. Wilson who could remind me where everything was hidden and fill me in on everything I had missed over the previous 10 years of Avid, which honestly was not a lot. It was kind of like riding a bike. I suppose someday I’ll get into Premiere or whatever is the right tool for the time, but for now I couldn’t be more happy cutting in Avid again.
Something I found really great about the film was how much of it hinged on the performances of these child actors playing extremely precocious characters, and how none of them ever felt too precious or overstayed their welcome onscreen. Was there a conversation that took place in the editing room about cutting in a way that reinforced that kind of natural style from the kids? What were the challenges there versus cutting a performance from someone like Viggo, who is obviously very established and experienced?
Well, I am certainly happy to hear you felt that way about their performance because that was obviously one of our biggest tasks in the editing room. Each kid brought their own unique personality and skill set to the film and really what we had to was just make sure they all meshed together and really felt like a family. While George MacKay (Bodevan) is a classic, highly trained British actor Shree Crooks (Zaja) is an amazing free spirit and gifted improviser who just sparks on the screen. Each one of them brought something singular to the table. They couldn’t be more different, but they had to feel like they all came from the same place. The challenge was using the best skills of everyone and creating a cohesion while never losing a delicate balance where everyone felt like an equal member of the family even if some of them had more complex story lines. In the end it just comes down to feel more than a specific conversation. The edit (and sometimes some very loud voices at feedback screenings) will let you know when someone has gotten out of balance or become “precious."
When it comes to cutting an effortless master like Viggo Mortensen, what can I say besides you’re just trying to pick the best of the best and make sure it all hangs together in the right way. He makes it look easy. He also comes to the role with such fierce dedication and so many ideas. We invited him into the editing room later in the process and he had a very complete memory of what he had done and what had been shot and asked us very challenging questions about why we had chosen one approach over the other. He was a very good extra eye in the editing room and I was glad we were able to spend some time with him there.

I also thought the use of music was really effective. How much of a role did you have in shaping those musical sequences, especially the kind of impromptu-feeling one near the beginning?
Well music is always so much fun to cut! I like to think I had a pretty big role in that. The impromptu family jam around the fire was exactly that impromptu. In the script they were going to start to play a little music and once they started to all gel together of course we would cut to the next scene and use it as score. While the cast were rehearsing together and figuring out how to play a piece of music together they improvised a little story on the spot where Nicholas Hamilton’s character Rellian, who was the rebellious middle child would actually disrupt the nice family happy family jam with a vicious and aggressive beat, but then the family adapts to his new beat and they create a whole new song together. When I saw that material in the dailies I knew it had to go in the film and stay in as complete as possible. It cut against the sappiness and told a complex story without dialogue. It allowed me to cut other parts of scenes where this idea was told more explicitly and tell the story in a more sophisticated way without a single line of dialogue. That was one of those magical scenes where you don’t really touch it that much after your first cut. We made it shorter and shorter and added a few different inserts, but the core of that scene hardly changed from day one including how we used it to propel us into the next scene of them training physically.

Other great music sequences include the grocery store robbery [cut to Bikini Kill's "Rebel Girl"] which cutting and music wise was inspired partially, believe it or not, by the shootout scene in Wes Anderson's The Life Aquatic. For the final family singing showpiece that was like a traditional performance based music video. I think we had 30 angles grouped together and just cut it like that. Matt and I just worked that one over together trying to make it feel as natural as possible and less like a music video.

Another musical sequence I am particularly proud of is the moment when they take off from the mountain to the blaring of bagpipes and enter society for the first time in a long while. All of the material of them hitting the road and seeing the big box store and commercialized America for the first time was purely an invention stealing a scene that actually happened much later in the film where the bus was actually stationary and stuck in traffic and mixing it with moving footage from a Second Unit Camera trip into Portland. I simply put the reflection from that B-Unit material in the windows while Ben and the kids witness the ugly sprawl of strip mall America and magically the bus was hurtling down the highway! This kind of scene needed to be propelled by music and for a long time it was some very expensive classic rock. When Matt finally drilled down on the bagpipes idea it was complete.

Shree Crooks, Charlie Shotwell, George MacKay, Nicholas Hamilton, Samantha Isler, and Annalise Basso in Captain Fantastic
Was there a scene or sequence in the film that proved particularly challenging to cut? Tell me a little bit about one of those.
I think perhaps the most challenging scene overall was one late in the movie where Ben has a very emotionally vulnerable conversation with his children out on the lawn of the grandparents place. I don’t want to say specifically what they discuss, but Viggo’s performance here was so fragile and distraught it was exceptionally difficult to find just the right balance between what he was doing and how the six children were each individually reacting to it. It was one of those scene where we tried it every which way searching for the right mixture of storytelling and poetry. We had versions with practically minutes of strained silence and versions that were short and abrupt. to complicate matters we decided to tell another important storyline here with only looks and no dialogue so that we could cut another expository scene elsewhere. I’m sure we cut over 100 versions of that particular scene alone. Watching it now it seems like one of the most special scenes not only for it’s emotional content but for it’s unique approach unlike anything else in the film.
What is your basic approach to cutting a scene? How do you begin to attack it? What gives you the sense that you’re done working on a first pass at a scene and that you’re ready to show it to a director or move on to the next thing?
So my process depends on how badly I’m freaking out about how far behind I am! Ideally though, I’ve seen all of the footage and then I try to very quickly cut together at least two, but ideally three, versions of the scene in which I never use the same shot or take of a line more than once between them. So in one I open wide in the second I open on an extreme closeup and in the third I cut off the top of the scene entirely. Similarly each one ends completely differently. In the middle I use different mediums, overs and closeups each time. If there is a clear opportunity for a oner I single that out as its own “cut.” Now the result of those early cuts usually none of them is any good or cohesive on their own. But from that variety I can see my preferred path and I make a hybrid cut of those three which usually is what makes it into my first cut. 

I have to credit the genius Tim Squyres, who was a mentor to me through my Sally Menke Fellowship with teaching me that process. He takes it even further at times and cuts entire versions of scenes entirely out of mediums and then again entirely out of closeups. The idea being that you are trying to make the perfect cut right away, but instead you are trying to really know all of the footage inside and out so that when you start tearing it all apart again with the director you’ve already tried certain approaches and know how it does or does not work.
What got you interested in editing? How did you originally get into the industry?
Growing up in small town Nebraska I only ever had two broadcast channels and we did not get a VHS player until well after most families had them. We did have a one screen theater that re-opened by the time I got to high school, but really movies were not a thing for me. I was going to be a print journalist. Right before I went to college my parents got a satellite and I saw IFC for the first time. Two films I saw the summer before I left for college on IFC were Husbands and Johnny Suede. The seed was planted there because I finally learned there were actually smart, cool films out there. It wasn’t all Hollywood. I honestly didn’t know that. So when I got to college at the University of Nebraska- Lincoln and saw they had film studies classes through the English department I was all over that. There I really got my education and formed my tastes. There was no film major at the time so I basically devised my own by being a Broadcast Journalism major with minors in Film Studies and Theater.

My first job was at the local CBS affiliate in Lincoln, Nebraska. I was hired as a Writer/Producer in the Creative Services department. This meant I wrote, directed and edited the promos for the news and super cheap commercials for local businesses. It was amazing experience because I really did everything myself. It was there I learned my absolute favorite part of the process was editing where I could just lock myself away in a little room until I really finally made something work. 

So then I packed my bags and headed for New York City and pounded the pavement until I got a job. That job happened to be at a small post-production boutique called Refinery which serviced the advertising industry. Over 8 years I went from the machine room to assistant to editing national ad campaigns for MTV and Hertz. Then I realized I came to New York to do films and not advertising so I quit and started over scrapping together freelance work and trying to get into features. Finally Matt Ross, entrusted me with his first film 28 Hotel Rooms, partially because I was cheap and I was blessed to find a great loyal partner who brought me along for the ride with Captain Fantastic.
What is your process of watching dailies or raw material? Do you take notes or place markers or just let it flow over you? What are you looking for? What ideas are formulating as you watch?
Again it depends on how much I am freaking out. Sometime I severely truncate this process but I usually only watch one Master shot uninterrupted. I don’t have the kind of memory that allows me to watch all of the dailies first and then proceed. After that one master I am simultaneously marking pieces and throwing them into a Pulls sequence. I title only the first marker for a section and then throw all the pieces I like into its proper bucket in the pulls sequence. Sometimes I’ll watch all the takes of a setup other times I’ll watch only one take of each setup and then circle back through everything else. In the end I have a good sequence of solid material from which to carve out versions of the scene. I also love to shuttle through this jumbled sequence or just jump from cut to cut to make accidental associations between angles I might not otherwise make.

While screening dailies I’m really trying to simultaneously see all the different ways the sequence can come together as well as be open to anything that really breaks through to me as a viewer. I’m waiting for the kind of footage that even though I am sitting there analytically viewing it makes me forget I am watching make believe and is effortlessly pulling me into the story. If I get lost in a piece of footage and am not tempted to stop it then I know it is probably special. There are usually only a handful of those for every film but they always seem to make the cut.
How do you use music? What do you temp with? How do you determine what needs music and what you’ll use for temp?
Every films requires its own music approach so I temp with what is appropriate. I go into every film hoping it is Dog Day Afternoon and needs no score at all. A film with no score is my Holy Grail as an editor. Still I know the importance of music in a film and I am constantly temping. I just keep all kinds of music on hand and in mind. Early in a film I put tons of scores and instrumental music on my phone to listen to while commuting and search for the what sounds right for the film. For Captain Fantastic I always knew because I have worked with the director before it was likely going to be Sigur Ros and their related projects. In the end we hired Alex Somers who has very strong Sigur Ros connections to create the score because who else could do it so effectively. He really created something special that improved upon our temp and supported the film even better. Plus we got to have some vocals from Jonsi to boot!

Also I try to immerse myself in the proper source music for the film. I make playlists upon playlists and listen to them endlessly as well. Right now I’m listening to a lot of early 1940s big band music for instance.

Viggo Mortensen in Captain Fantastic
Talk to me about the importance of sound editing and sound design in helping to sell the visual cuts.
The old adage is sound is 50% of the picture right? It’s absolutely true. I have learned the hard way to take great care in editing and designing sound in the rough cut phase because if the movie doesn’t sound good in early feedback screenings you are going to have a far less responsive audience. But beyond that there is so much room there to enhance and enrich the story and there are no boundaries. With picture they only had so much time to get the shot and there are only so many takes but with sound you can practically do anything and make those decisions well after the fact. You can tell a story that never existed before. It’s one of the best places to create from scratch once editing. then hopefully a real sound designer comes in takes it to even new levels you never previously thought of. 
Tell me a little about how you can help shape and guide an actor’s performance from the editing chair.
This is a tough one because it is so much like alchemy. Or perhaps it’s like baking without a recipe. I think ultimately it is the actor’s performance that is guiding my decisions as an editor. I can only work with what they give me from behind a two dimensional wall of light. What I find is that only after weeks do I even begin to truly understand just how deeply an actor is embodying their character. They are doing things, very purposefully, which I don’t even recognize at first but are on the whole essential to creating a believable four dimensional human being as opposed to a character. The thing is each actor does it very differently and requires a different approach to find the best of them, not take to take but as a whole person within a story. So you jut have to be open and try different things until either a eureka moment hits or you eventually stumble upon it. But once you are there, it lets you know you got it right.
What affects your sense of the micro-pacing or shot-to-shot rhythm of a scene? How do you know you’re “in the rhythm,” so to speak?
More alchemy really. The footage is speaking to you and you are trying to hear it correctly and again you just have to work it and work it until it feels right. Sometimes it’s obvious and sometimes it’s not. But again, you know it when you see it. It’s a tangible feeling when something is working. But then, you might be feeling it and then put it a room with 100 people and it becomes painfully obvious your idea of the correct rhythm wasn’t really correct at all because you can feel those people not feeling it. When you get the tangible feeling something is working in that room, well then you are almost done.

I can tell you I always pace slow to start because it’s so much easier to trim away and begin to speed a scene up when it becomes necessary for the sake of the film as a whole.
Finally, do you have any editing wisdom? What are some of the concepts that have stuck with you over the course of your career?
If I have any wisdom it’s the bits and pieces I’ve picked up from the mentors and friends I have been lucky enough to have over the years combined with the many films I’ve watched. The main thing is it’s hard work and you can never stop until you are completely satisfied even if it means tearing everything you worked so hard to do back apart and starting from scratch. Also, it’s always important to me to remember every director is different and my number one job is to see to it that their vision is realized to its maximum potential. 


Captain Fantastic is in theaters now. Joseph is on Twitter at @josephkrings

VIDEO: How to Import Still Photos into Adobe Premiere Pro



Manhattan Edit Workshop Training Series: Importing Stills into Premiere Pro with Manhattan Edit Workshop Director of Education Janet Dalton.

Manhattan Edit Workshop is a New York Film Editing School offering a full range of basic to advanced manufacturer certified training courses, from the Avid, Autodesk, Assimilate and Apple products to the complete suite of Adobe applications.

Manhattan Edit Workshop's mission is to provide the highest quality education for filmmakers and editors. Focusing on both the art and technology inherent to our craft.  We foster a "learn by doing" approach in an atmosphere where mistakes are encouraged as part of the process and the only "silly" question is the one that isn't asked.

More information about Manhattan Edit Workshop and the classes offered visit: http://www.mewshop.com/

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VIDEO: Editor Anne V. Coates, ACE on the Famous "Match Cut" from "Lawrence of Arabia"



Editor Anne V. Coates, ACE discusses the famous "match cut" from "Lawrence of Arabia."  From "Inside the Cutting Room with Bobbie O'Steen" panel from Sight, Sound & Story on June 11th, 2016.

For more information go to: https://SightSoundandStory.com.
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Anne V. Coates, ACE, is a renowned British editor who has worked on over sixty films, including the classic epic "Lawrence of Arabia," for which she received an Academy Award. She has garnered four additional Academy Award nominations for "Becket," "The Elephant Man," "In the Line of Fire," and "Out of Sight." She was awarded BAFTA’s highest honor, The Academy Fellowship, as well as the Career Achievement Award from American Cinema Editors - and last year Coates was only the second editor besides Dede Allen to receive a career achievement award from the Los Angeles Film Critics Association.

About the moderator: Bobbie O’Steen is a New York-based writer and film historian, dedicated to sharing the editor’s invisible art with students, professionals, and the movie-going public. She is an Emmy-nominated film editor and the author of two acclaimed books about editing entitled "Cut to the Chase" and "The Invisible Cut." O’Steen is currently partnered with Manhattan Edit Workshop for her series “Inside the Cutting Room," and she also moderates panels for American Cinema Editors’ EditFest. To find out more information on her speaking events go to: https://bobbieosteen.com/.

About Our Sponsor:  HP Z Workstations are a leading platform for 4k, 6k, and 8k Video Editing, Film Production, TV, Broadcast, Post-Production, 3D Animation and VFX – offering extreme performance with maximum reliability, serviceability and support. Powered by Intel® Xeon® processors, HP Z Workstations are certified for many of Adobe, Autodesk, The Foundry, and Avid’s professional applications. Award-winning HP DreamColor displays are used by many of the world’s leading studios. http://www.HP.com/go/me

Intel, Intel Logo, Intel Core, Intel Inside, Intel Inside Logo, Xeon, and Xeon Inside are trademarks of Intel Corporation in the U.S. and/or other countries.

VIDEO: How to Export Master Files in Final Cut Pro X (10.2)





Manhattan Edit Workshop Instructor Ari Feldman shows how to export master files in the latest version of Apple's Final Cut Pro X.

Manhattan Edit Workshop is a New York Film Editing School offering a full range of basic to advanced manufacturer certified training courses, from the Avid, Autodesk, Assimilate and Apple products to the complete suite of Adobe applications.

Manhattan Edit Workshop's mission is to provide the highest quality education for filmmakers and editors. Focusing on both the art and technology inherent to our craft. We foster a "learn by doing" approach in an atmosphere where mistakes are encouraged as part of the process and the only "silly" question is the one that isn't asked.

VIDEO: Editor William Goldenberg, ACE Discusses Working with Michael Mann on "H...





From the panel "Inside the Cutting Room with Bobbie O'Steen," at "Sight, Sound & Story" on June 13th, 2015.

William Goldenberg, ACE, has more than twenty film and television credits since 1992. He won the Academy Award for Film Editing for the film Argo, and has been nominated for "The Insider," "Seabiscuit," "Zero Dark Thirty," and "The Imitation Game." He has also received nominations for nine other editing-related awards. Goldenberg has had an extended, notable collaboration with the director Michael Mann including "Heat," "The Insider," "Ali," and "Miami Vice." Some of his other work includes "Unbroken," "Alive," "Pleasantville," "National Treasure," and "National Treasure: Book of Secrets," "Transformers: Dark of the Moon" and "Transformers: Age of Extinction," and "Gone Baby Gone."

About the moderator: Bobbie O’Steen is a New York-based writer and film historian, dedicated to sharing the editor’s invisible art with students, professionals, and the movie-going public. She is an Emmy-nominated film editor and the author of two acclaimed books about editing entitled "Cut to the Chase" and "The Invisible Cut." O’Steen is currently partnered with Manhattan Edit Workshop for her series “Inside the Cutting Room," and she also moderates panels for American Cinema Editors’ EditFest. To find out more information on her speaking events go to: http://www.bobbieosteen.com

"Heat" is a 1995 American crime thriller film written, produced and directed by Michael Mann, and starring Robert De Niro, Al Pacino, and Val Kilmer. The film was released in the United States on December 15, 1995. De Niro plays Neil McCauley, a professional thief, while Pacino plays Lt. Vincent Hanna, a veteran L.A.P.D. robbery-homicide detective tracking down McCauley's crew. The central conflict is based on the experiences of former Chicago police officer Chuck Adamson and his pursuit in the 1960s of a criminal named McCauley, after whom De Niro's character is named.

HP and Intel® Master Storyteller Sponsosr at MEWShop's Sight, Sound & Story

HP Z Workstations are a leading platform for 4k, 6k, and 8k Video Editing, Film Production, TV, Broadcast, Post-Production, 3D Animation and VFX – offering extreme performance with maximum reliability, serviceability and support. Powered by Intel® Xeon® processors, HP Z Workstations are certified for many of Adobe, Autodesk, The Foundry, and Avid’s professional applications. Award-winning HP DreamColor displays are used by many of the world’s leading studios. http://www.HP.com/go/me

VIDEO: Cinematographer Jerry Ricciotti on Shooting On-Location for “Vice”



Cinematographer Jerry Ricciotti discusses shooting on location for "Vice." Recorded at "Sight, Sound & Story: The Art of Cinematography" on September 30, 2015.

Jerry Ricciotti is currently a Director of Photography for "Vice," working mainly on our HBO series called "Vice" on HBO and "Vice News." He was nominated for a cinematography Emmy last year and won an Emmy for best informational series. "Vice" on HBO shoots on location with very small teams; so all out work is run and gun where the crew often find themselves wearing many different hats.

Prior to "Vice," Jerry was based in California shooting documentaries mainly focused on sports and professional surfing. He currently lives in Brooklyn (which is for about five days a month.) 

"Vice" is a documentary TV-series created and hosted by Shane Smith of "Vice" magazine. Produced by Bill Maher, it uses CNN journalist Fareed Zakaria as a consultant, and covers topics using an immersionist style of documentary filmmaking. It premiered April 5, 2013, on HBO. The show's second season aired in 2014 and won an Emmy Award for Outstanding Informational Series or Special.

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Color Grading Feature Film Masterclass with Dado Valentic Returns July 28th!!!



Focus on feature film color grading in our ICA Blackmagic Resolve 300 master class with Dado Valentic. Learn more here: http://bit.ly/23YAmK8

Still Time to Sign up for our DSLR Video Production Workshop this WEEKEND!!! Spots are filling!



Still time left to sign up for Fundamentals of DSLR Production THIS WEEKEND at MEWShop! http://bit.ly/29nwhwZ

VIDEO : Editor Leo Trombetta, ACE discusses the process digitally inserting an actor into a scene from "Wayward Pines."



Editor Leo Trombetta, ACE discusses the process digitally inserting an actor into a scene from "Wayward Pines."  From "Sight, Sound & Story" on June 11th, 2016.

For more information go to: https://SightSoundandStory.com.
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Weekend Post-Production News Roundup


Happy Monday! If you're catching up on the weekend's post-production buzz, here's everything we saw fit to tweet about over the break. (No Game of Throne spoilers forthcoming.)

The X-Files VFX Breakdown [CG Meetup]

How to Animate a Winding Rope in Cinema 4D [Lester Banks]


Avid NEXIS Software-defined Storage Platform is Now Available [Avid Blogs]

Cutting on Final Cut Pro X at the University of Michigan [Video Guys]

This week on MacBreak Studio: 360VR video in Final Cut Pro X [Pro Video Coalition]

Blue Collar Post Collective officially launches West Coast chapter [Post Magazine]

5 myths and misconceptions about media management [Red Shark News]

Endcrawl and the Blue Collar Post Collective bring you the NYC Post NAB Party 2016



Endcrawl and the Blue Collar Post Collective bring you the NYC Post NAB Party 2016!

Experience the best of NAB and the best of the BCPC in one place! Vimeo,WipsterBlackmagic Design DaVinci ResolveAssimilate Scratch, Digital AnarchySTITCH Bar & LoungeMotion Picture EnterprisesYoFiFest, The Studio at B&H Photo Video Pro AudioPro Sound EffectsRampant Media Design ToolsEndcrawlSTITCH Bar & Lounge and more to give away amazing new products and present demos from NAB Vegas in the BCPC signature environment: the local pub. 

Music brought to us by the library at Flavorlab

This event is also supported by Postperspective 

WHAT IS THE NAB SHOW:

The media and entertainment industry has become unleashed. Dynamic innovation and cutting-edge technologies are shattering the boundaries of content and opening up limitless opportunities. NAB Show® is the only place to break free from conventional thinking and open your mind.

Attendees representing every sector of the industry including Broadcast, Digital Media, Film, Entertainment, Telecom, Post-Production, Academia, Houses of Worship, Advertising, Military, Government, Retail, Security, Sports, Live Events, Online Video, IT, Virtual and Augmented Reality and more converge in Las Vegas for six days to embrace the immersive experiences reshaping the new reality of media. Explore the Exhibitor Communities

Inspiring and innovative attractions served up in 2016 include the new Virtual and Augmented Reality Pavilion, showcasing this new medium and how it impacts all aspects of the industry, Connected Media|IP, focusing on the consumer experience; the Aerial Robotics and Drone Pavilion, featuring a fully enclosed “flying cage” for demonstrations; SPROCKIT, where market-ready startups present their new ideas; StudioXperience, a live studio using all the latest tools; and so much more. Experience that pivotal moment when a new technology, business model or partnership sparks awareness and you realize...

...This Changes Everything.

The National Association of Broadcasters (NAB) is a trade association, workers union, and lobby group representing the interests of for-profit, over-the-air radio and television broadcasters in the United States. The NAB represents more than 8,300 terrestrial radio and television stations as well as broadcast networks.


For more information and to register on facebook, go to: https://www.facebook.com/events/1590799581237023/