Woman Crush Wednesday: Meg Reticker



Meg Reticker is an accomplished editor in both film and television, whose career spans genre and with a list of credits that would make most comedy nerds, in particular, swoon. Her television credits include the award winning shows True Detective, 30 Rock, Big Love, Bored to Death, and The Wire. Meg’s feature film credits include Winged Creatures, directed by Rowan Woods.

Meg’s also edited Come Early Morning, directed by Joey Lauren Adams; A Decade Under the Influence (directors Richard LeGravense and Ted Demme), which played in the 2003 Sundance Documentary Competition; Wet Hot American Summer, which premiered at the 2001 Sundance Film Festival; and Heavy, staring Liv Tyler, which won the Special Director's Award at the 1995 Sundance Film Festival and showed in the Director's Fortnight of the 1995 Cannes Film Festival. She has also worked previously for Michael Moore, editing his documentary The Big One (Sundance 1997, Toronto 1996) as well as his Bravo television series, The Awful Truth.

In this video from EditFest 2011, she discusses cutting one of 30 Rock's most iconic scenes, Jack and Tracy's group-therapy session from season two, as well as other scenes from The Wire and Big Love!

Audio Network Presents Adobe Premiere Pro Launch Event in NYC!!!

MEWShop Blog Readers in NYC!!! If you haven’t already, be sure to RSVP to Audio Network’s Adobe Premiere Pro Launch Event on October 6th from 7pm - 9pm. As friends of Audio Network, we’re invited to join them at the Ace Hotel: Breslin Mezzanine for free appetizers, drinks and demos as they introduce their new panel. Please RSVP directly to Audio Network at madeline.dinapoli@audionetwork.com and indicate you are from MEWShop.



Audio Network Presents Adobe Premiere Pro Launch Event in NYC!!!

MEWShop Blog Readers in NYC!!! If you haven’t already, be sure to RSVP to Audio Network’s Adobe Premiere Pro Launch Event on October 6 from 7pm - 9pm. As friends of Audio Network, we’re invited to join them at the Ace Hotel: Breslin Mezzanine for free appetizers, drinks and demos as they introduce their new panel. Please RSVP directly to Audio Network at madeline.dinapoli@audionetwork.com and indicate you are from MEWShop.



Audio Network Presents Adobe Premiere Pro Launch Event in NYC!!!

MEWShop Blog Readers in NYC!!! If you haven’t already, be sure to RSVP to Audio Network’s Adobe Premiere Pro Launch Event on October 6 - 7 from 7pm - 9pm. As friends of Audio Network, we’re invited to join them at the Ace Hotel: Breslin Mezzanine for free appetizers, drinks and demos as they introduce their new panel. Please RSVP directly to Audio Network at madeline.dinapoli@audionetwork.com and indicate you are from MEWShop.



Weekend Post-Production News Roundup


Hi everyone! Welcome back to the workweek - here's everything we read and talked about this weekend.

A guide to demystifying expressions selectors in Adobe After Effects - motion graphics artist and designer Joe Clay provides a simple walk-through of this complex tool [Lester Banks]

Have you ever seen a lined script and gone "How the heck do I read this"? Welp, you're in luck: Editstock has a great, coherent guide to your script supervisor's hard handiwork [Editstock]

Adobe Premiere Pro has just introduced a new Team Projects feature in its update - here are ten things that Creative Cloud users need to know [Premiere Bro]

Da Vinci Resolve 12.5.2 is out, and Jonny Elwyn has a rundown of what's new in the update, as well as a few color grading tutorials for the interface [Jonny Elwyn]

What's it like to work with Werner Herzog? As you could probably guess, the answer seems to be "challenging" - his longtime editor of two decades, Joe Bini, dished about collaborating with the iconoclast at TIFF 2016 [No Film School]

Here's a quick tutorial to easily wiggle color in After Effects [Lester Banks]

Finally, if you're considering taking a class at MEWShop and would like to stop by our facility and learn more about our courses, we're having an open house on Wednesday, September 21 from 7-8pm! There will be snacks, guided tours, and all the info you can handle. Come by! You can RSVP here at Eventbrite - registration is free, naturally.

Editor Mona Davis on the Making of "Love & Diane"


In this video from MEWTube, documentary editor Mona Davis discusses the making of Love & Diane. From "Sight, Sound & Story" on June 11th, 2016.

Mona Davis is a feature documentary editor based in New York with a passion for verite films with character driven stories. Her credits include the critically acclaimed Love and Diane, which premiered at the New York Film Festival, the Emmy nominated A Perfect CandidateDream Deceivers, The State of Arizona, and the Academy Award nominated In Our Water and The Farm: Angola USA (Grand Jury Prize winner at Sundance), for which she won an Emmy for Best Documentary Editing. She has consulted on numerous films including 51 Birch Street and First Comes Love. Her work has shown theatrically and on HBO, Showtime, CBS, PBS, BBC and Arte.

Love & Diane is a 2002 documentary film directed by Jennifer Dworkin about a recovering crack addict and her troubled daughter in New York City as they navigate the obstacles of joblessness, parenthood, welfare, and public housing.

The MEWShop Interview: Editor Andrew Hafitz


Anna Gunn in Equity
In Equity, the new woman-centric Wall Street potboiler from director Meera Menon and production company Broad Street, shot after shot and cut after cut line up to reinforce a feeling of suffocating isolation. This is by design, according to editor Andrew Hafitz. The film, which follows investment banker Naomi Bishop (Anna Gunn) through a scandal-plagued tech IPO, is shot and cut with a cold, nearly clinical eye. From the first frames, the entire film seems intent on distancing the audience -- when we sneak up on Naomi for the first time, her back is turned; her defenses are down even as she steels herself for the gauntlet of the workday. The rest of the film follows this pattern: characters are observed coolly, and often overhead, even at their most vulnerable.

Some credit here goes to Hafitz, whose editing is a major part of what makes the film tick. “Meera’s a great collaborator, and I loved working with her,” he says. He describes the post-production process as having been “very producer-driven, with the producers quite involved.”

The film’s climax, the aforementioned IPO, also doubled as Hafitz’s biggest artistic challenge in the making of the film. Editing the sequence “became a question of finding the right balance,” he says. “How do we give value to time passage? [What we had] was top-heavy and then at the end of the sequence, the downfall was pretty well covered, but what happened in the middle?” Through collaboration with Menon and the film’s sound designer, Rich Bologna, and composers, Alexis & Sam, Hafitz was able to build the footage he had into a complex narrative set piece.

Andrew Hafitz

Despite these storytelling instincts, Hafitz didn’t initially intend to end up editing films. While his career has spanned documentaries, features, and a variety of genres, it has also spanned industries. Like many in the post world, the path to editing full-time was a journey of its own. “I had no idea this was going to be my life’s work,” Hafitz tells me on a phone call from his upstate New York home. “I had never conceived of a career in the arts.”

After studying comparative literature at Yale, Hafitz felt dissuaded from a career in academia, citing concerns about the politics of the discipline. Though many of his friends, even his future wife, were artists, he says he didn’t specifically foresee a future in film or any other artistic field. After a stopover in the publishing world, working as a copy editor, he took a job as a production assistant, where he “learned a lot about production” but quickly tired of the grueling on-set life. Not long after, though, he landed his first job in a cutting room, as an intern on a documentary edited by Juliet Weber. It was on that doc, titled Funny, that he met Christopher Tellefsen, ACE, then employed as an assistant to Weber.

“Chris is my editing parent, so to speak, and my greatest influence, and I will be forever indebted to just watching him work,” says Hafitz. “I learned so much from Chris. We’re very different people, and have very different backgrounds, but when I see something Chris has edited, it feels like home to me. His rhythm is undoubtedly not the same rhythm I have, but I sense something when I watch his work that feels very normal and good, very comforting.”

Bully
After Tellefsen edited Larry Clark and Harmony Korine’s Kids and recommended Hafitz to do an uncredited recut of Another Day in Paradise, Clark hired Hafitz to cut Bully and then Ken Park. Hafitz describes his collaborations with Clark as similarly fruitful. “I really, really loved working with Larry,” he says. “He’s a great artist, he knows what he’s after, and he allows the people around him to do what they’re good at.” Hafitz followed a similar path as his mentor again when Whit Stillman hired him to work on The Last Days of Disco (Tellefsen had edited Stilman’s last previous features, Metropolitan and Barcelona). Hafitz describes Stillman as a complex and meticulous worker, “one of the most talented people I’ve ever worked with and so funny to sit with.”

The Last Days of Disco
I ask Hafitz how he views dailies and takes on the task of approaching raw footage. “It really depends on the material,” he says. “What I really do is look at the footage and try to respond emotionally. You need to be alert, and your first viewing is really the most important. We don’t edit for second-time viewers. So that is the greatest challenge of editing: Being a first-time viewer over and over again -- or acting as though you are one.”

It’s a sentiment that, as it happens, bleeds into his advice for newer editors: the importance of keeping their minds fresh and perspectives open in the pursuit of storytelling. “You’re trying to channel the director’s vision -- hopefully they have one -- and if they don’t, then it’s got to be your vision,” he says. “It’s not just putting the shots together, it’s: How does the story unfold? Do we even need that scene? What if we flip the order?” Sometimes, he says, you end up with a film with multiple endings; when editing documentaries, which he recommends for young editors, you’re often piecing together a film that may not have an ending at all. “You never have the right shot. You have footage but don’t know the story you’re telling. And that’s why documentaries are shot and edited over years … if you’re going be a feature editor, cut a lot of doc. It really helps.”

Ultimately, Hafitz stresses the importance of flexibility and openness for anyone working in the edit room. He cites Naz & Maalik, a 2015 drama he cut for a relatively new creative team, as a triumph of that flexibility. “I’m really proud - it was hard,” he tells me. The director and cinematographer didn’t shoot many reverses or have a script supervisor. “I just got a lot of footage and amazing performances. It felt a lot like [cutting] a doc.” The film, available to stream on Netflix, follows two Muslim teenagers through a story that takes on homophobia, racism and Islamophobia in contemporary Brooklyn.
Equity is in select theaters now.

Weekend Post-Production News Roundup!


Happy Monday! Here's a quick round-up of everything cool we saw in the post-production world this weekend.

A look at how Kubo and the Two Strings' first animated scene came together, via the people at LAIKA Animation Studio [AOTG]

VFX Supervisor Peter Chiang discusses the classic eye-candy style of Star Trek: Beyond's visual effects and building a new look for the franchise post-J.J. Abrams [Studio Daily]

VFX breakdowns aren't just for splashy genre films: here's a look at the visual effects work that went into creating the look of Woody Allen's Cafe Society [Vimeo]


We're obsessed with Stranger Things here at MEWShop, and the John Carpenter-influenced sound design is a huge factor. Here's an interview with the sound team who created it [A Sound Effect]

Seriously, we're obsessed.
Finally, it's not too late to register for the Evolution Film Festival's "See the Winners" event taking place 8/25 in Los Angeles! Free film screening, networking and more. For more details, check out Evolution Film Festival's website

VIDEO - Editor Joe Schuck on the Use of Interviews in the hit Reality T.V. show "Alaskan Bush People"




Editor Joe Schuck discusses the use of interviews in Discovery's "Alaskan Bush People." From "Sight, Sound & Story" on June 13th, 2015.

For the past two seasons, Joe Schuck has been editing Discovery Channel's hit show "Alaskan Bush People." He also served as editor on the first season of "Best Funeral Ever." Other projects that Joe served as assistant editor on include MTV's "True Life," A&E's "The First 48," Oxygen's "Jersey Couture," Discovery Life's "Facing Trauma," as well as several years at MLB.com as a Senior Game Night Editor. He is a graduate of the New York Institute of Technology, where he majored in Communication Arts specializing in Film and Video. Joe is also an alumni of Manhattan Edit Workshop's Six Week Intensive workshop, as well as a former Apple certified editing instructor.


"Alaskan Bush People" is a journey deep into Alaska's bush, where naturalist and adventurer Billy Brown, along with his wife, Ami, and their seven children, chooses to live life on his own terms, connected to wild nature and bonded to each other. The family of nine strives to be self-sufficient against all odds- often shunning modern society to live off the wilderness and to walk where no man has ever walked before. After the tragic death of his parents and sister that left him orphaned at 16, Billy Brown vowed to live life on his own terms and create his own family to reclaim the love that he lost. With Ami by his side, Billy traveled the lower 48 states and eventually found home in the sprawling landscape of the last frontier, where they have spent most of the last 30 years raising their children. "Our family is doing what is natural for human beings to do. We survive on what we hunt, fish, trap and barter for," Brown says. "We explore, we wander, we live. If you think about it, it's the life we were meant to live."

About our Master Storyteller sponsor Audio Network: Saving you time, money and effort without compromising quality, Audio Network's catalogue of over 94,227 original music tracks is designed for the creative industries. From Classical music to Indie Rock and Dance, we have the perfect track to bring your production to life.

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VIDEO: Manhattan Edit Workshop Six Week Workshop Student Profile: Andrea Podaski





Former Manhattan Edit Workshop Six-Week student Andrea Podaski talks about his experiences with Mewshop's Six Week Intensive Program.

For more information on Manhattan Edit Workshop's Six Week Intensive Workshop go to: http://www.mewshop.com/six_week_works....

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. 

Open Call for the Karen Schmeer Film Editing Fellowship Starts Today!

The Open Call for submissions for our 2017-18 fellowship begins today! The online application must be completed by September 30, 2016. There is no fee to apply.

As you know, the Karen Schmeer Film Editing Fellowship honors the memory of our friend and gifted editor Karen Schmeer. Inspired by Karen's generous nature, the fellowship assists emerging documentary editors by developing their talent, expanding their creative community, and furthering their career aspirations. We work with American Cinema Editors (ACE), Sundance Institute Documentary Film Program, Manhattan Edit Workshop, SXSW, IFFBoston, Stranger than Fiction, Rooftop Films, IDA and Camden International Film Festival to offer a wide array of opportunities for promising editors.

To learn more about the amazing person that Karen was, read here.
Karen Schmeer at the 1999 Sundance Film Festival screening Mr. Death.
If you are an emerging documentary film editor who has cut between one and three films with at least one of those being a documentary, please take a look at our FAQ to see all of our eligibility rules.

If you know an editor or editors who would benefit from this opportunity, please send them to our website.
EILEEN MEYER, OUR 2016-17 FELLOW
Eileen Meyer, our 2016-17 fellow, is having a fantastic year. She’s currently in the edit room working on a feature documentary about multi-Grammy winning producer and music industry executive, Clive Davis. Earlier in the year she worked on Love, Alabama (working title), a feature documentary that follows three lesbian families in Alabama whose stories exemplify the continuing fight for full LGBTQ equality in the southern states. She’s traveled to the SXSW Film Festival; moderated a panel at “Contemplating the Cut,” an event co-hosted by KSFEF and the Sundance Institute's Documentary Film Program; and attended the Sundance Documentary Edit and Story Lab as a contributing editor on Cynthia Wade’sMudflow. Her first feature documentary editing effort, the extraordinary Best of Enemies, is currently streaming on Netflix. She’s been invited to be the Fall 2016 Artist-in-Residence for the Department of Film & Moving Image at Stevenson University. This is the first time they’ve invited a film editor!

Her mentors Greg Finton, ACE; Pedro Kos; and Kim Roberts, ACE, have been giving her invaluable support and guidance. She had focused conversations with Kim and Pedro which have been published on POV’s Documentary Blog. Kim’s is called A Crash Course on Structuring Social Documentary and Pedro’s is The Challenges of Being Both Director and Editor.

Past recipients were Anna Gustavi (Seymour: An Introduction), Colin Nusbaum (Tough Love, The Sheik and I), Jim Hession (Rich Hill, Marina Abramovic: The Artist is Present), Lindsay Utz (In CountryBully), and Erin Casper (American Promise, Our School). Read about all of them here.

Good luck to our applicants and thank you to all of our supporters and partners.
2016-17 Fellow Eileen Meyer (photo by Claire Marie Vogel)
KSFEF TEAM
Robin Hessman, Board Member
Ann Kim, Board Member
Ellie Lee, Board Member
Garret Savage, Board President
Rachel Shuman, Board Member

Maya Mumma, Website
OUR AIM
The yearlong Fellowship is designed to foster the development of an emerging documentary film editor by creating opportunities for him or her to grow creatively and expand his or her professional community. The 2017-18 fellowship benefits include: Mentorship with veteran editors; pass, badge and/or admission to: ACE EditFest Los Angeles, SXSW Film Festival, IFFBoston, Manhattan Edit Workshop’s Sight, Sound & Story summit, the KSFEF/Sundance Institute’s Contemplating the Cut workshop, Rooftop Films, Stranger than Fiction, IDA’s Getting Real conference, and the Camden International Film Festival; travel, accommodations and per diem to two of the aforementioned events; a credential to the Sundance Film Festival; an IDA one-year membership; an ACE “special” membership; a $1000 cash award; a $250 gift certificate at Powell’s Books; a portrait session with a professional photographer; and a DVD collection of all 12 of Karen’s films.
OUR PARTNERS
Thanks as always to our wonderful partners: American Cinema Editors (ACE), Sundance Institute Documentary Film ProgramManhattan Edit WorkshopSXSWIFFBoston,Rooftop FilmsStranger Than FictionIDACamden International Film Festival, and Claire Marie Vogel Photography.
IFFBOSTON'S KAREN SCHMEER AWARD
FOR EXCELLENCE IN DOCUMENTARY EDITING
In addition to all the benefits we offer the fellow, we also fund a $500 cash award for the winner of IFFBoston's annual Karen Schmeer Award for Excellence in Documentary Editing. The 2016 winner is Andrew Gersh for Real Boy.

Catching Up with Six-Week Alumn, Miguel E. Rebagliato

Miguel Esteban Rebagliato
MEWShop alumni are always popping up in new and exciting places. Case in point: Miguel Esteban Rebagliato, who completed the Six Week Intensive at MEWShop in 2012, recently worked as an assistant editor on the Emmy-nominated miniseries The Night Manager. He recently wrapped a job on the upcoming Angelina Jolie film First They Killed My Father, and is currently working as an AE on the BBC adaption of Zadie Smith’s N.W. We recently caught up with Miguel to talk about his work, his editing philosophy, and how his experiences at Manhattan Edit Workshop have shaped his career.

1. Where did you grow up?
I grew up in Valencia, Spain. I lived there until three years ago, when I finished an undergraduate degree in media and journalism and moved to the UK. I currently live in London.

2. What kind of film education did you receive?
My parents used to take me to the cinema often, sometimes to films I wouldn't normally choose to watch myself. But I didn't have my first formal film class until I was around 15, when I took a media class in school for a year. Then I did a four-year undergraduate degree in media in Spain after I finished school.

3. How did your experiences in MEWShop’s Six Week Workshop complement the education you had before you took the workshop?
My university education in media had been very general so far. It had been mostly theoretical and not that much about filmmaking. My approach to editing was therefore quite intuitive. I knew the basics of Final Cut Pro 7 and Adobe Premiere and I was capable of editing short films and other forms just by following my instincts. The course at MEWShop gave me a better understanding of editing on many levels. It made me more aware of what I was doing - of the storytelling potential of editing and its influence in pace, performance and other factors. Having footage from real projects allowed me to practice all I was learning.

The course also helped me to improve technically as an editor. My knowledge of the different applications increased a great deal. For example, I learned ways of doing things in, say, two steps whereas before it would have taken me five steps to do the same thing.

One of the most essential things I took from the course was learning Avid Media Composer, the software I mainly use now. I hadn't ever used it before and I don't think it is an intuitive software to learn. I wouldn't probably be able to use it at the professional level I need to use it nowadays if I hadn't had such good Avid lessons.

4. Which film/s originally inspired you to pursue editing?
I can't point out any particular films that made me decide I wanted to be an editor. For me enjoying films in general came first. When I was about 12, my parents took me to an arthouse cinema. I didn't quite like the film I watched that day, but they kept taking me to more films there and I started appreciating them more after some time. Those years I also had a few DVD collections of recent European and Spanish films that I enjoyed watching. I knew I wanted to do for a living something related to films. It was when I started university and I made some short films that I realised that editing was the part of filmmaking that I enjoyed most and I thought I was best at.

5. What do you think are some personal qualities (in yourself and others) that make editing a natural fit as a career choice?
Firstly, I think love for film and TV shows is a must. You spend hours every day watching footage and playing with it, so you definitely have to enjoy watching films. As it is a collaborative job, I also think one needs to be patient and open-minded, willing to listen and try different things.

6. What’s your favorite editing software? Which software do you have the most experience editing with?
Avid Media Composer is my favourite. It's the one I've always used working as an assistant editor and therefore it's the one I know best. I like using it to edit too.

7. What is your favorite edited scene of all time? Why?
I find choices like this very difficult. Last time I had to choose I picked a scene from Eternal Sunshine of the Spotless Mind in which Jim Carrey and Kate Winslet are getting lost into different memories in Carrey’s head. I liked very much how Charlie Kaufman's script played with space and time and the possibilities that it gave to the editor, Valdís Óskarsdóttir. The continuity of that scene is deliberately far from perfect, to show it's not taking place in the real world.

I also find the final scene of Whiplash very impressive. It amazes me how the editing turns a music film into such a tense action piece.

Miguel at work
8. What other jobs in the film industry appealed to you? If you had to switch career paths, what would you pick?
When I started doing short films I thought about working in the camera department too, but now I don't think it would be the right thing for me. I find the job of the script supervisor very interesting, as we work with their paperwork closely in the cutting room. I've been told it's one of the toughest jobs, though. I would probably enjoy working on something related to VFX, too, but I wouldn't really like to do anything other than editing.

9. What is your current favorite film or television show from an editing perspective? What makes it so compelling?
A few years ago, I would have probably said that it was Sherlock, the BBC TV show with Benedict Cumberbatch and Martin Freeman. It definitely has a very distinctive editing style. I could also say Whiplash. Both are pieces of work where the editing is very noticeable and has a very clear role that the viewer is aware of.

I am a big fan of that kind of editing, but what I really appreciate too is when I start watching a film or a TV show and I don't even think about the editing at all. That kind of invisible editing I think that deserves to be praised too. Mad Men, one of my favourite shows, for example, doesn't first come across as a piece of work where the editing is complex. However, reading some interviews with the editors of the show, one can see how many fluid morphs, split screens and other editing tricks were used to shape the pace and the performances that Mad Men is famous for.

10. What was your proudest moment as an editor?
My proudest moment as an editor was probably when I was fine-cutting my first feature film, an independent micro-budget project I did with some friends, which was called My Month with Mrs Potter. After finishing the three weeks of shooting and assembling all the scenes as they were shot, I really enjoyed turning the long and slow first assembly into a finished film that was watchable and as interesting as possible. I started doing this on my own first and after a first pass, I worked for weeks with the director. I particularly enjoyed switching from thinking how to make a scene work to thinking about the film as a whole.

11. How do you see the post-production industry evolving over the next decade or so?
I don't think I have worked in the post-production industry in London enough time for me to predict how it will evolve. What I have seen in the cutting room, though, in offline editing, is that the core of our way of working doesn't change that much. For films and TV dramas almost everyone uses Avid Media Composer here with an Avid Isis shared storage system. Maybe once cloud storage systems have been around for more years, those might replace the Avid Isis. But I tend to see that the system that usually works is kept on and on for future jobs.

When I worked as assistant editor on The Night Manager, for example, the show was shot in 4K and that involved many new things for the post production house that was doing the online and the grading. For us in the offline, though, it didn't make that much of a difference, as we were still working on DNxHD 36 1080p proxies, a system that works very smoothly.

12. What technological advancements in post-production have affected your work and process the most?
I haven't seen that many changes in the offline, but again I haven't been working for that long to be able to see those. I see from time to time new features in new versions of Avid, which make some daily tasks easier.

13. Talk about your most challenging experience as an editor.
Right now I'm focusing on working as an assistant editor, which allows me to work on bigger projects and learn from very talented editors. I also edit other projects on the side when I have the chance. On the current job I have as assistant editor, a TV movie for BBC2, the editor let me assemble during the shoot as many scenes as I wanted, as it would help him to get a first idea of the scenes and it would good for me to practise. Since assisting and editing are such different activities and require completely different mindsets, finding the time and being able to focus on assembling while so many things are going on, that has been one of my most challenging experiences as an editor.

14. What project/s are you working on now?
I'm working on N.W., a TV movie for BBC2. It's directed by Saul Dibb (Suite Française, The Duchess) and based on a book by Zadie Smith. The editor is Ben Lester, who also edited all the episodes from The Night Manager.

I'm also finishing the last edits on an independent feature film called A Day in May. It was shot last summer during 72 hours and we finished the main editing last September. They've done a few pickup shoots later this year, mainly for some GVs to use as transitions between scenes. Recently I had to edit an opening titles sequence using stock footage as a temp placeholder. They shot an extra day later on and I edited a new opening titles sequence with those new rushes. Now I need to discuss a few changes with the director, but it's not so easy to find the time when I'm busy working in London and he lives in France, so hopefully we'll be able to talk about it one of this weekends, I'll send him a new version and we'll eventually lock it.

15. Is there anything you do outside of editing that has helped you sharpen your storytelling skills?
Obviously watching films and TV shows. I also like reading fiction very much. The last three projects I've worked on as an assistant (The Night Manager, First They Killed My Father and N.W.) were based on books, so I decided to read them before starting. I was recently discussing with the editor I'm working with whether having read the book helps or makes things more complicated when the film is based on it. It definitely helped me as an assistant, as I knew the story well since the beginning. I'm not quite sure it would help me as an editor, as it might condition me and would make me compare the book and the film constantly, but it would also give me a better understanding of the characters and the story. That's something I still have to find out.

Weekend Post-Production News Roundup


Happy Monday and happy August! Here's a taste of post-production news and current events for the last weekend of July '16.

Video: Fabienne Bouville, ACE talks about taking edit notes for Masters of Sex at Sight, Sound & Story 2015 [MEWTube]

Oliver Peters offers 12 tips for film editors - an interesting piece for discussion, agree or disagree on all of them [DigiMedia Pros]

Speaking of useful tips, Screenlight has compiled a list of five major mistakes editors make while freelancing. [Screenlight]

Supervising sound editor Benjamin Cook talks about creating the sound of sensory overload for the new Cinemax series Outcast [Post Perspective]

Martín Hernández, sound designer on The Revenant, discusses his career and sound philosophy and shares exclusive looks at his process [Avid Blogs]

Finally, Steve Hullfish at Pro Video Coalition talked to the editing team on Star Trek: Beyond (Steven Sprung, ACE, Kelly Matsumoto and Dylan Highsmith) as part of his "Art of the Cut" series [Pro Video]

That's all for now!


VIDEO: Fabienne Bouville, ACE on Editing Notes for "Masters of Sex"



Editor Fabienne Bouville, ACE discusses studio notes for "Masters of Sex."

Fabienne Bouville, ACE, grew up in a suburb of Paris until age 16 when she moved to Manhattan, where she attended high school, college, and grad school, as well as getting a separate degree in photojournalism. When she was done getting an education and it was time to face the mountain of debt she accumulated, she moved to Los Angeles in hot pursuit of the mighty dollar. This is where she honed her skills as an editor, starting as an assistant on reality shows and slowly finding her way through editing for all different kinds of formats. She was lucky when she landed her first job on a Ryan Murphy TV show, "Nip/Tuck," 7 years ago, giving her an entrée into the scripted world and among an exceedingly talented and dedicated group of editors. She received two Emmy nominations for her work on American Horror Story.

"Masters of Sex" is an American period drama television series that premiered on September 29, 2013, on Showtime. It was developed by Michelle Ashford and loosely based on Thomas Maier's biography Masters of Sex. Set in the 1950s and 1960s, the series tells the story of Masters and Johnson (Dr. William Masters and Virginia Johnson) who are portrayed by Michael Sheen and Lizzy Caplan. The series has received critical acclaim, including a Golden Globe Award nomination for Best Drama Series in 2013.

Master Storyteller Sponsor: Sony Corporation is the electronics business unit and the parent company of the Sony Group, which is engaged in business through its four operating segments – electronics (including video games, network services and medical business), motion pictures, music and financial services. These make Sony one of the most comprehensive entertainment companies in the world. Sony's principal business operations include Sony Corporation (Sony Electronics in the U.S.), Sony Pictures Entertainment, Sony Computer Entertainment, Sony Music Entertainment, Sony Mobile Communications (formerly Sony Ericsson) and Sony Financial. Sony is among the Worldwide Top 20 Semiconductor Sales Leaders and as of 2013, the fourth-largest television manufacturer in the world, after Samsung Electronics, LG Electronics and TCL. http://www.sonycreativesoftware.com