Free 3 Month Subscription to Boris Continuum Complete or mocha Pro with Sight, Sound & Story 2016 Ticket!!

What else could we add to hearing legendary editor Anne Coates?!?! Thanks to our awesome sponsor Boris FX/Imagineer, each attendee of "Sight, Sound & Story" this June 11th will get a free 3 month subscription license to Boris Continuum Complete or mocha Pro 5!!! Go to for more info! ‪#‎BorisFX‬ ‪#‎Imagineer‬ ‪#‎SSS2016‬ ‪#‎mochaPro

MEWShop Welcomes Documentary Editor Mary Manhardt as Our Spring 2016 Artist in Residence!

Manhattan Edit Workshop is proud to announce that acclaimed editor Mary Manhardt, will be our April 2016 Artist in Residence.  Mary's work includes American Teen, Street Fight, The Farm, Angola USA, and The Great Chicken Wing Hunt. Mary recently consulted on and co-edited the Netflix hit "Making a Murder."  MEWShop Owner and Six Week Intensive Instructor Josh Apter says, “Having an editor like Mary in the workshop will definitely be a special experience for our upcoming class." "Her credits and experience are second to none in the Documentary landscape." Our next Six Week Intensive starts May 9th!

For more information on our Six Week Intensive please click here.

Manhattan Edit Workshop and Leftfield Entertainment Group Create Intern Referral Program for Six Week Intensive Workshop

Manhattan Edit Workshop (MEWShop), the cutting-edge, authorized digital-training destination for post-production and content creators, announced today a new intern referral program created in conjunction with the Leftfield Entertainment group, the production powerhouse known for producing Pawn Stars and other hit television series. Upon completion of Manhattan Edit Workshop’s “Six Week Intensive Course,” students will be given the opportunity to apply for the paid editorial internship – via resumes and work samples – through which they will continue their editing training, working on Leftfield shows.

Today’s announcement was made by Josh Apter, owner of Manhattan Edit Workshop.

“This program gives our students a unique opportunity with an amazing company, just as they are graduating from our Six Week Course,” said Apter. “Not only will students get a first-hand look at a working production facility, they also will have the chance to apply for a real-world, paid position. Helping ‘six-week’ students prepare for a career in editing has always been vital to us; now, Leftfield’s partnership propels this even further to help students with that critical transition.”

Added Danielle DiStefano, vice president, post production, at Leftfield Entertainment, “We realize how important it is to gain both the required skills needed for a post career, and access to jobs in the real world. All of us at Leftfield are delighted to be part of an innovative program designed to bridge the gap between training and professional status. This partnership not only helps the MEWShop students, it’s also geared towards helping our current junior editorial staff move up by providing a steady pipeline of incoming talent to replace them as they promote out of their current positions.”

About MEWShop’s Six Week Intensive Course
The post-production industry is highly competitive, and knowing the industry standards – Premiere Pro, Final Cut Pro, After Effects and Avid Media Composer – is critical for success. MEWShop is the only school in the world to offer in one comprehensive, six-week course all of these editing applications, taught by certified instructors. No other program guarantees more time in the classroom or more working on one’s own machine. 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 NLE. MEWShop’s Six Week Intensive is also the only course of its kind that allows students to choose the footage they want to edit on the platform they prefer.
Beyond the creative and technical aspects of editing, a portion of the Six Week Intensive Course also is focused on how to secure a job once the class ends. Students will draft cover letters and resumes, which will be refined over the span of the class, and also discuss with instructors interview strategies and job applications, as well as how to appropriately set rates and find the right work for each graduate’s unique interests.
Our next course starts May 9, 2016!  See more about the course here.

About Leftfield Entertainment
Founded by producer Brent Montgomery in 2013 and now helmed by CEO David George, Leftfield Entertainment produces compelling content across various programming genres, including reality, docu-series, lifestyle programming, documentary and competition. Anchored by flagship production company Leftfield Pictures (Pawn StarsAlone), the Leftfield Entertainment group also includes Sirens Media (The Real Housewives of New JerseyKilling Fields), Loud TV (Tiny House NationFood Porn), Outpost Entertainment (Forged in Fire) and Riot Creative (untitled Vevo project). Leftfield Entertainment was fully acquired by ITV in 2015.

NEW VIDEO! ICA Instructor Warren Eagles talks about Resolve Classes at Manhattan Edit Workshop

With Warren Eagles from our ICA Resolve Classes last week! He will be back in NYC At Mewshop in July teaching v12.5!!!

Click here for more information.

Weekend Post-Production News Round-Up

AJA Launches U-TAP USB 3.0 Capture Devices [Video Guys]

Working With the Motion Graphics Toolkit in Maya [Lester Banks]

Are You Ready for HDR? [Definition Magazine]

Kurt Baxter, ACE on editing "Gone Girl" for David Fincher [Pro Video Coalition]

The Art of the Score with Oscar-winning composer Elliot Goldenthal [Blog Talk Radio]

Lee Smith, ACE on editing "Interstellar" [Pro Video Coalition]

Supervising Sound Editor Martin Hernandez on Crafting the Sound Behind "The Revenant" [AVID Blogs]

Weekend Post-Production News Round-Up

Is It Possible To Stay Healthy at NAB? Here's the perspective of an attendee planning to make her trip a healthy one. [Fitness in Post]

Art of the Cut with Oscar-winning editor Martin Walsh (Eddie the Eagle, upcoming Wonder Woman) [Pro Video Coalition]

Inspirations/Distractions with Sound Editor and TEDx Speaker Akash Thakkar [Designing Sound]

Bobbie O'Steen interviews Christopher Tellefsen on Capote and Moneyball [AOTG]

Ang Lee tries to convince us that 3D in 4K/120fps is the future of cinema [4K Shooters]

New remote editing tools from Editshare Flow Media [CreativeCow]

FilmLight and Avid launch Pro Colour bundle [CreativeCow]

Interview with VFX Designer Mario Tran Phuc [Greyscale Gorilla]

VIDEO: How to Replace a Clip in your Timeline in Adobe Premiere Pro

Manhattan Edit Workshop Instructor Kiri Roberts shows how to quickly and easily replace a clip in your timeline 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.

Weekend Post-Production News Roundup

Glenn Garland interviews Lynn Willingham, Skip McDonald and Kelley Dixon, ACE Editors of “Breaking Bad” [American Cinema Editors

An Interview with William Goldenberg, ACE –  Editor “Argo” and “Zero Dark Thirty" [American Cinema Editors]

"Naked and Afraid" Blur Editor Tells All [The Hollywood Reporter]

Wacom broadens digital pen interoperability in partnership with Microsoft [tech2]

How to Animate Grades With Keyframes in Resolve [AOTG]

Technicolor veterans Gareth Cook and Clifton Dugan have opened The Foundation, a new 5,700-square-foot post house in Burbank [Studio Daily]

Blackmagic Design is now shipping Fusion 8 and Fusion 8 Studio for both Mac OSX and Windows [CG Meetup]

15 Questions with Eileen Meyer

Photo by Claire Marie Vogel
Manhattan Edit Workshop congratulates Eileen Meyer, winner of the 2016 Karen Schmeer Fellowship! Eileen completed the MEWShop Six-Week Workshop in the fall of 2011. We caught up with her to chat about her achievements since, including a Cinema Eye Honors "Outstanding Achievement in Editing" nomination for her latest film, Best of Enemies, a 2015 Sundance Film Festival Grand Jury Prize nominee.

1. Where did you grow up?
Durham, North Carolina.  

2. What kind of film education did you receive?
My first job at 15 was at a local, independent video store that was walking distance from my house.  The store catered more towards the new indy films that were coming out in the late 90s, so that was my first experience with films that inspired me to be a filmmaker, especially all of the Sundance films of that era.  Later in high school I worked nights and weekends at an arthouse movie theater in Chapel Hill, NC and got my second dose of inspiration. I attended Hampshire College in Amherst, MA from 2000-2004 and studied documentary film.  I lived in NY for a few years after college and worked for a small documentary production company.  I was able to explore all aspects of the field, but gravitated mostly towards editing and producing.  

3. How did your experiences in MEWShop’s Six Week Workshop complement the education you had before you took the workshop?
When I attended MEWShop, I was at a turning point in my career.  I was living in Memphis, TN at the time and had been editing and producing there for a few years.  I decided that I wanted to focus my career on editing, and was looking for ways to expand my network-- either by going to graduate school or moving back to New York or Los Angeles, but I didn’t know exactly what I wanted to do.  I did know that I needed to learn Avid if I was going to be in Los Angeles (I was only on FCP 7), and I needed to build a website of my work.
I applied for an “Individual Artist Grant" from the Tennessee Arts Commision and used that money to attend the MEW six-week workshop.  The decision to take those six weeks out of my day to day life just to focus on the next steps in my career was so incredibly helpful and I am grateful for the step up it gave me in my eventual move to LA.  

4. Which film/s originally inspired you to pursue editing?
Sherman’s March by Ross McElwee and David Lynch’s Mulholland Drive.  

5. What do you think are some personal qualities (in yourself and others) that make editing a natural fit as a career choice?
Empathy, patience, a deep understanding of people and psychology, and a strong work ethic.  

6. What’s your favorite editing software? Which software do you have the most experience editing with?
I had the most experience with FCP 7, it’s what I learned to edit on.  Now I work mostly with Premiere Pro CC and I’ve learned to love it, although it still seems like such a young program and has its issues.  

7. What is your favorite edited scene of all time? Why?
Editing is so often invisible, that this is a hard question for me to answer.  My favorite scenes are often the very first shot or scene of a film, where you can really grab an audience by the throat.  I love a cold open that perfectly sets a tone for the film you’re about to see and asks the “question” that the film will answer.  The cold open of The Trials of Muhammed Ali edited by Aaron Wickenden (my amazing co-editor on Best of Enemies) is a perfect example- it’s surprising, heart-wrenching and so powerful in the first three minutes.

8. What other jobs in the film industry appealed to you? If you had to switch career paths, what would you pick?
I also really like producing.  I’m a natural “helper” and I often end up with a producing credit on projects that I’m editing because I get so involved with that side of things.  

9. What is your current favorite film or television show from an editing perspective? What makes it so compelling?
The Knick.  The editing is genius, along with everything else Soderbergh does on the show (directing AND cinematography).  A one-man-wonder.

10. What was your proudest/happiest/worst (pick one) moment as an editor?
My proudest moment as an editor was when I first went to Sundance with a film I edited.  It was something I thought I would never get to do, and now I’ve been TWICE!  An experience I hope to repeat as much as possible in the future.  

11. How do you see the post-production industry evolving over the next decade or so?
I’m excited about the possibilities of VR and would love to edit a film in that medium.  I have no idea how it works, but would love to learn!

12. What technological advancements in post-production have affected your work and process the most?
The integration of After Effects and Photoshop into Premiere is a great asset.

13. Talk about your most challenging experience as an editor.
Every project has it’s challenges, and I think the question is how we learn to work through those challenging moments.  When you’re stuck on an idea or a scene, or you are so entrenched in the footage that you lose the audience's perspective…I’ve learned that a change of environment can make all the difference.  If I’m stuck on something, I’ll upload it to Dropbox or Vimeo and watch it at a coffee shop on my laptop or in the bathtub on my phone or on the big tv in my living room.  You’ll see it a different way each time and new ideas will come.  

14. What project/s are you working on now?
I’m working on a film about LGBTQ rights in Alabama and I’m about to start on a film about Clive Davis, the legendary music producer.

15. Is there anything you do outside of editing that has helped you sharpen your storytelling skills?
Lately I’ve been reading books about screenwriting and story construction.  I never had a real formal narrative education, so I’m working backwards and learning all the rules now.  

Weekend Post-Production News Roundup!

The best VFX breakdowns of 2016 (so far), including Deadpool, Ant-Man, and Terminator Genysis. [Rocketstock]

How Zero FX created a bygone era for the Whitey Bulger biopic Black Mass [Animation World Network]

BatchFrame releases Move Anchor Point 3 for After Effects, allowing the user to to move an actor point in After Effects without moving the layer along with a host of new, more flexible features [Lester Banks]

Daniel Peters comes out with a few LUTs for the 4.6K Blackmagic URSA Mini camera [Cinescopophilia]

What virtual reality really means for the music industry [HypeBot]

Every Best VFX Winner, Ever: a supercut [Lester Banks]

Polaroid releases two new camera stabilizers [AOTG]

VIDEO: How to Import Footage from a Hard Drive in Final Cut Pro X

Manhattan Edit Workshop Instructor Ari Feldman shows how to import footage from a hard drive 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.

Weekend Post-Production News Round-Up!

Why film editor Jim Clark was Hollywood's greatest repairman: He completely recut Midnight Cowboy, won an Oscar for The Killing Fields and worked on James Bond. [The Guardian]

Visualize un-shot sequences with Martini, a storyboarding plug-in for Media Composer: Martini is designed to help you fill in missing shots in your projects so you can better visualize what you have to shoot next. [Avid]

An interview with editor and Avid-certified trainer Christian Jhonson of Ecuador's Teleamazonas [Post Perspective]

Adobe CEO Shantanu Narayen spoke with CNBC’s Jon Fortt to discuss Adobe’s Q1 2016 earnings and the company’s strategy for growing Adobe Creative Cloud [Adobe]

Editor Julie "Bob" Lombardi on crafting a scene out of B-roll in World of Jenks [MEWTube]

Polaroid announces waterproof underwater DSLR case [AOTG]

Weekend Post-Production NEWS Round-up!

Television editor Jesse Averna discusses techniques used in bringing "Sesame Street" to life [MEWShop]

How to create stunning hyperlapse footage [Premium Beat

Easily modify daunting amounts of keyframes in After Effects [Lester Banks

How A.J. Calomay overcame vision impairment to make it as an editor on "DC's Legends of Tomorrow" [Balitang America]

Three all-important questions to ask before starting work on commercials and features [Command Edit Podcast]

Tips for matching shots captured on different cameras in DaVinci Resolve [AOTG]

MEWShop Owner Josh Apter Interviewed on about the Padcaster!

Say hello to the future of filmmaking — on an iPad or smartphone.   A small bootstrapped startup is now selling an aluminum and urethane contraption on the Apple Store that can turn any iPad into a movie-making machine.  
Since DSLR cameras start at $500 (for a very basic kit) and lenses alone can run upwards of $10,000, filmmaking can be an expensive hobby.  That’s why Josh Apter, a filmmaker and founder of the Manhattan Edit Workshop, created the Padcaster.  “I literally took my iPad to a framing store and had it framed like a picture,” he says.  

VIDEO: VFX Artist Rob Legato Discusses his Process of Pre-visualizing "Avatar"

Manhattan Edit Workshop presents: Sight, Sound & Story - Avatar Part II. From Manhattan Edit Workshop's "Sight, Sound & Story: An Evening with Visual FX Artists Rob Legato and Mark Russell"

Robert Legato is a visual effects supervisor, second unit director and second unit director of photography. He has been nominated for three Academy Awards and has won two. His first win was for his visual effects work on "Titanic." His second was for his work on "Hugo." In 1996, he won the BAFTA award for Best Achievement in Special Effects for "Apollo 13," for which he also garnered his first Academy Award nomination. Prior to his work in film, he was a Visual Effects Supervisor for "Star Trek: The Next Generation" from 1987 to 1992, and "Star Trek: Deep Space Nine" in 1993. His work on the "Star Trek" franchise earned him three Emmy nominations and two wins.

Rob Legato is a member of Directors Guild of America (DGA), American Society of Cinematographers (ASC) and the Visual Effects Society (VES).

Legato is known for his work on "Avatar" (2009), "Interview with the Vampire: The Vampire Chronicles" (1994) and "Apollo 13" (1995).