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We were also featured on StudioDailyBlog where Bryant Frazer wrote about EditFest NY.  
Here's a little blurb....

Having a family member in your chosen profession is still a good way to get a leg up, but the panelists stressed that it’s important for anyone who wants to work in film to figure out as early as possible what it is that they want to do. “Look at the jobs at the top that you might want to do, and get on that path,” counseled Plummy Tucker (Aeon Flux, Jennifer’s Body), who got her start in the business as a location production assistant on Dead Poets Society before quickly seguing into an editorial career that included multiple editorial-team gigs with John Sayles. And Troy Takaki (Hitch, Fool’s Gold), who worked in TV before connecting with feature director Andy Tennant for Sweet Home Alabama, followed a similar trajectory. “I was a really good PA from 9 [a.m.] to 7 [p.m.], and then I would hang out with the assistant editors,” he recalled. “I spent a lot of extra time — my own time — learning to be an assistant editor.”

But he warned against spending too much time excelling in the wrong department. “You’ll be doing really well as a props person,” he suggested. “And you’ll never be an editor.”