FCP 300: August 7, 8 & 9

This three-day course provides the most extensive must-know professional techniques for cutting dialogue scenes, action scenes, fight and chase scenes, documentaries, comedy, music videos, multi-camera projects and more. This course also covers Soundtrack Pro, audio finishing, managing clips and media, and working with film.

Students should have the following prerequisite knowledge prior to attending the course: Final Cut Pro 101, 200 or 250.

This class will run Friday through Sunday, August 7th - 9th
Class Hours: 9am to 5pm
Class Cost: $1,200.00

Register Here

Color Correction Masterclass August 8th

















This one-day course taught by our own Jamie Hitchings, delivers comprehensive training in real-world color correction techniques, including scene-to-scene color matching, and correcting for broadcast specifications.

Working with several real-world projects, you will learn how to properly read video scopes, adjust contrast, fix color balance to achieve broadcast quality video. You'll also learn useful techniques to selectively 'fix' or 'enhance' problems areas of a picture as well as creating one or two popular 'looks'.

Who Should Attend?

This is a jam-packed day designed for intermediate level FCP users who wish to increase their skill level through learning advanced features and workflows in color correction. Familiarity with Final Cut Pro including how to apply and modify filters and navigate the timeline is required. Take your editing skills further by utilizing another application in Final Cut Studio.

Date: Saturday - August 8, 2009
Hours: 10am - 5pm
Cost: $199

Register HERE.

*Don't forget to mention if you are a Six Week Alumni or a member of Shooting People/IFP/NYWIFT to receive $50 off!*

Biking for Obama Update

Here's another short by our MEW Graduate Logan Freeman for Biking for Obama.
For those of you who aren't familiar with Ryan's "epic journey from LA to DC on the Highway of Hope" be sure to check it out!

Weekend Success

We just finished a weekend of Color 101 and a Motion Masterclass! One very busy weekend for the MEWShop!
Fortunately, both classes were complete successes. We just received some feedback from quite a few of our Masterclass attendees and thought we'd share what they shared with us....
Laurence said "Learning how to send FCP sequences to Motion, making changes in Motion, saving the changes, then seeing the sequence automatically update in FCP" were what stood out most to him in the class.
And when asked what encouraged Forrest to take the Motion Masterclass he said "I like MEW and the fact they give a discount for grads is awesome. "
So Yeah!!! for a knowledgeable and friendly staff at Manhattan Edit Workshop.

More Edit Fest reports

This one is from Kristen Studio

Check it out!

This past weekend was the first east coast Edit Fest, put on by American Cinema Editors (A.C.E) in conjunction with The Manhattan Edit Workshop. There were a lot of heavy hitters (Thelma Schoonmaker was a no show, unfortunately, but her long time First Assistant Editor, Scott Brock, was there and he was terrific) who provided examples of their work, talked about their process and offered advice for those who were just getting in the business.

I noticed the attendance appeared to be a big mix of people who looked fresh out of school and those with experience. It was evident in the age range of the audience as well as the questions that were being asked at the end of each panel. I also thought it interesting that many of the attendees weren’t from New York. A lot of people seemed to be from surrounding areas, like D.C. and Boston.

The Friday night opening panel consisted of moderator Randy Roberts, A.C.E. (President of American Cinema Editors), Scott Brock, Bill Pankow, A.C.E., Lee Percy, A.C.E., Troy Takaki, A.C.E. and Plummy Tucker, A.C.E. All very impressive and it was nice to hear from a woman at that level in the profession. This first panel mostly addressed topics like, breaking into the editing business and what it takes to succeed.

Saturday was broken into 4 panels. The first, The Art of Cutting Comedy? What’s so Funny. The group gathered for this panel were moderator Josh Apter (filmmaker and founder of The Manhattan Edit Workshop), Michael Berenbaum, A.C.E., Ann McCabe, Stephen Rotter (trained by Dede Allen), Troy Takaki, A.C.E., Jeffrey Wolf, A.C.E. All agreed that when it comes to comedy, screening for multiple audiences is key to finding out or confirming what works and what doesn’t. All showed clips of their work and talked about how they cut it. Ann McCabe showed a great clip from Adventureland. She talked about deciding who to play on for each scene and the accompanying music trials and choices. Jeffrey Wolf played a lovely and poignant clip from Beautiful Girls, so there was a nice variety of genres within a genre to look at and examine.

The second group of speakers of the day was probably my favorite since my professional interests are in documentary filmmaking but also because the moderator, Tom Atkin (founder of the Visual Effects Society) planned well for this panelist discussion. The Documentary Edit: The Process of Discovering the Truth, was made up of Robert Eisenhardt, A.C.E., Tom Haneke, Sam Pollard, Karen Schmeer, A.C.E. (ERROL MORRIS‘ EDITOR!), and Lawrence Silk, A.C.E. Tom Atkin asked the editors to discuss different ways of discovering the truth in their stories. From character to music. Everyone definitely agreed that they spend a lot of time looking at dailies (raw footage) and take extensive notes on them as well as pouring over transcriptions. As Lawrence Silk said, watch all the footage, pay attention to gems, a moment that may deliver. Having worked on documentaries just enough, I know that’s the truth and it’s validating to hear experienced and successful editors work in a similar manner that I was trained. The message was, get to know the footage inside and out.

The clips that were showed had good variety in style. It was fascinating to find out how much interview footage Errol Morris captures and how he shoots certain scenes after interviews. The example was the coffee scene from Mr. Death. Of course once Ms. Schmeer said that he shoots some scenes after extensive interviews, it was obvious that he’d have to, especially in the case of the coffee shop scene. She also said she screens a lot for feedback. Tom Haneke showed a collection of clips to illustrate what footage he started with and what cut he ended up with. All editors talked about the importance of the right music. Sam Pollard played a powerful clip with an accompanying Max Roach drum solo. The editor Robert Eisenhardt showed a piece of his work from Valentino: The Last Emperor. Mr. Eisenhardt talked about the Nino Rota music used and how it paralleled Mr. Valentino’s history. He and another editor also discussed the idea of finding the essence of a scene or piece, because the editor is pulling fragments of a life and story. Finding a truth (whether that truth be the director’s the character’s or yours) and then supporting it. Another editor said he keeps too things in mind when viewing footage and editing, and those are “efficient” and “emotional”. Makes sense. You have an hour in a half or two, if you’re cutting feature length and you really want that time to effective and engaging.

The third panel, entitled Editing Television: Small Screen, Big Picture, and was made up of moderator Bobbie O’Steen (author) and panelists Michael Berenbaum, A.C.E., Ken Eluto A.C.E, Alexander Hall, Meg Reticker and Kate Sanford, A.C.E. Although several of the panelists were from the production of The Wire, they pretty much had different stories as to how they got into the business. It was definitely nice to hear from some more New York based editors and the only panel with more than one female. It was a good discussion and although there wasn’t any time for audience questions, they did cover a lot and made television editing more appealing, although the deadlines sound incredibly tight. I suppose if you have to get it done, you learn to make the turn around time.

The last panel consisted of moderator Vincent LoBrutto (author and instructor), Brian Kates, A.C.E., Craig McKay, A.C.E., Jay Rabinowitz, A.C.E., Tim Squyres, A.C.E. and Chris Tellefsen, A.C.E. All of them, of course, show clips of their work and discussed them. Brian Kates played a scene from The Savages and explained how the car scene was initially filled with dialogue and later was pulled and set to music. He decided to allow the emotion of the previous airplane/airport scene play into the driving sequence and the final result works well. Finding out how the way things started and why they were changed is very educational when it comes to the art of editing. Jay Rabinowitz and Tim Squyres were a real treat to me because of their work on films like Down by Law, I’m Not There, The Ice Storm and Gosford Park, just to name a few.

To say the least, each panel was made up of an impressive line up and each editor at least appeared to be happy to be there and talk about their work. Most of the editors did a great job with illustrating examples of their decision making process. I have found many events I attend are either screenings with a director Q & A (often interesting - I’m not complaining) or technology instruction. Those are valuable of course, but it sure was refreshing and very educational to hear about the art of editing. As far as I’m concerned you can never get enough of that. You can learn the technical stuff all day long and forever, but if you don’t know how to make a film into something efficient and emotional, you’re not really editing.

Apple highlights Us!




"Less starving, more artist" is the tagline for Manhattan Edit Workshop's Six-week Intensive course in the art and technique of editing. Manhattan Edit Workshop or MEWshop as they are known, is an Apple Authorized Training Center (AATC) located in New York City. Their signature Six-week Intensive program serves as a comprehensive jump-start for students who are serious about launching a career in post production.

Like all AATCs, MEWshop is constantly looking for new ways to connect students with employers, especially in these turbulent economic times. To this end, they launched their Manhattan Edit Workforce program. It's a simple plan. Each student in the Six Week Intensive Workshop cuts a demo reel over the course of the program. Each reel is paired with the student's resume and archived on a private web page. The reels and resumes are then shared with participating editing facilities. MEWshop recruits leading editing and post-production facilities to participate in the program. Currently, they have 17 New York area facilities taking part in this program, with plans to add at least as many West Coast and international companies by the end of 2009. As new reels are posted, each participating facility receives an email notification with login information.

"A certified FCP MEWshop grad is one of our trusted employees," said Zennia Barahona of Digital Arts. "His knowledge base and work ethic is invaluable to our team."

When an employer enters the site, a simple menu of student reels and resumes greets them. Resumes can be viewed on screen or downloaded. Reels can be viewed as high-quality H264 format QuickTime movies (which students learn to compress during the class). Employers can contact students directly or through MEWshop.

"The idea is to simplify the process for both employers reluctant to send out a blind listing on a web site, and for qualified graduates looking to stand out in a crowded field. We actively work for our students' success by constantly researching job opportunities. In fact, over two-thirds of our students find work within six months of graduation, many at such notable companies as Go Robot, Outpost Digital, Hybrid Films, @Radical Media, MTV, VH-1, US Open, MLB.com and Hallmark Channel."
- Josh Apter, MEWshop Owner

Students learn leading industry tools, including Apple's Final Cut Pro and DVD Studio Pro from top editors. The Artist in Residence program is a core component of the Six Week course. Top editors join the class to screen and discuss students' work. Each class ends with a public event co-hosted by the Motion Picture Editors Guild. Past and present Resident Artists include some of the best in the business, such as Alan Heim (All that Jazz, Network), John Gilroy (Michael Clayton, Pride & Glory), Steven Rotter (The Right Stuff, Enchanted), Carol Littleton (E.T., The Manchurian Candidate), Christopher Tellefsen (Capote, The People vs. Larry Flint), Lee Percy (Reversal of Fortune, Boys Don't Cry), Tom Haneke (American Dream, He Makes Me Feel Like Dancinʼ) Jim Lyons (Far From Heaven, Safe), Keith Reamer (I Shot Andy Warhol, Suffering Man's Charity), Robert Lovett (The Cotton Club, The Taking of Pelham 123) and Bill Pankow (Drumline, The Untouchables).


"Of the connections I've made and the opportunities that have led me to editing work, almost 90% (I did the math) can be traced back to Manhattan Edit Workshop."
- Michael Slavins, Editor, Sam Adams and New York Sports Club.

As an Apple Authorized Training Center, MEWshop is also able to administer the Apple Certification exams to their students. Certification is yet another tool to help students differentiate themselves in a tight market. Most choose to earn Apple Certified Pro status. This allows them to use the Apple Certified logo on their resumes and business cards, as well as publish a listing on the Apple Certified Pro directory. Apple's comprehensive certification programs help validate a student's technical expertise. For details on the Pro Apps certification program, visit training.apple.com/certification/proapps.

"Certified editors must learn all aspects, so they have better Final Cut Pro vocabulary," said Evan Schechtman, owner of Outpost Digital and @Radical Media. "Even if they will never use some of the features, it becomes key for them to know what is possible and how to get there. It's also a matter of pride to be certified. People who take it seriously make it a point."

The first week of the Six Week Intensive Workshop is spent learning core editing concepts with Final Cut Pro. Students also explore the history of editing from early silent film to the most current editing techniques. Week two focuses on real-world exercises, followed by a field trip to Outpost Digital, the largest Final Cut Studio facility in the country. Fast forward to the end of week six, when each participant finalizes and authors their reel, using DVD Studio Pro.

The program provides several advantages to students. In addition to sharing their reel with potential employers and earning Apple Certified Pro status, they also attend networking events where they meet producers and directors. Field trips to New York's top editing facilities help demystify the complex world of post-production. Students have a chance to talk to key players in the industry to learn how professionals "fix it in post."

"FCP Certified editors generally have a better command of the application," said Zennia Barahona of Digital Arts. "They have a confidence in being able to do any given task in the most efficient manner."


Final Cut Pro for Avid Editors this Saturday! 7-18-09

This two-day hands-on course introduces students to the primary feature set and interface of Final Cut Pro. Using Avid editing terminology and references as stepping-stones, this course translates a student’s existing editing talents to the FCP skill set. In this course students learn Final Cut Pro editing operations - capturing, sound editing, creating bins and sequences, as well as Final Cut Pro’s extensive effects package, real time color correcting and numerous tips and keyboard shortcuts for everything in between.

Weekend intensives are from 10am-6pm.
Cost: $1200 (includes Apple Certified Courseware)
Certification cost: Free with course

Register Here

Summer AIR: David Salter

Film editor and USC Graduate Film Alumni David Salter got his start assisting on the hit TV series NYPD Blue. He moved to feature films by way of Pixar Animation Studios, as editor on the films Toy Story 2 and Finding Nemo. Always looking for a new challenge, David found himself in the world of non-fiction, co-editing the Errol Morris documentary, Standard Operating Procedure. David is equally comfortable in the world of fiction, docs, animation and even video game editing, where he is currently applying his extensive skill-set.

Mewshop is proud to include David Salter as a Summer 2009 Artist in Residence.

EditFest NY Opening Panel



EditFest NY Opening Panel

Motion Masterclass = July 25th

Have you been interested in learning more about Motion? You are in luck!  MEWShop is running another Masterclass on Saturday, July 25th and this time it's all about Motion!  

This one day, intensive, hands-on workshop will take you from learning Motion's overall workflow (as both a stand alone application and as part of Final Cut Studio), to tackling real-world projects using built-in and third-party solutions.


Class subjects include:

    * Understanding 3D (cameras, lights, etc.)
    * Basic keying techniques
    * Roundtripping in Final Cut Studio
    * Working with filters, keyframes & behaviors

This workshop is geared towards existing Final Cut Studio users who are looking to use Motion as a more integrated part of their overall projects.

Each student gets their own workstation.
This class is on Saturday, July 25th and will go 10am to 5pm.
See you there!
Click here to register.

Artist-in-Residence Program: Kate Sanford

The Artist-in-Residence Program is a core component of MEWShop's Six Week Art of Editing Workshop.  Top film editors join the class to screen and discuss their work, while students share their edits for comments and critique.  Recently we had award winning editor Kate Sanford participate.  Six Week Instructor Jamie Hitchings shares the following "Kate discussed her long and creative career, spanning from a production assistant to head editor.  She gave the students powerful insight into the world of editing for television and contrasted that against feature editing.  She was able to convey the tasks of an editor on a day to day basis on "The Wire" such as how the editor fits into the larger team of post production.  The students found this talk informative and had many great questions for Kate, which she answered with great detail."
Look for Kate's visit as part of our podcast series in the months ahead.  

Our next Six Week Intensive Workshop begins September 14th.  Be sure to register before it fills up!  

Six Weekers go to Herb and Dorothy

Herb and Dorothy is a fascinating documentary about a couple whose passion has been and is to purchase original works of art.  They met in 1960, a year later were wed and have been purchasing art together ever since!  What kind of art you might ask?  Mostly minimalist art from unknown artists. How would they decide on what to purchase?  Their instincts!  They just had to like it and that was that!  What did they use for income?  Herb's mailman salary!  

This film gives us a peak into relationships built with several artists over the years, including Chuck Close and Sol Lewitt,  and how/why they purchased art as they did.  Herb and Dorothy's one bedroom (rent controlled) apartment was filled from top to bottom with art exploding from every corner... a neat freak's nightmare.  Fortunately, The National Gallery of Art came a calling to assist them in displaying their treasures to help educate America!    

Our very own Guest Lecturers Peter Levin and Barbara Parks were the re-recording sound team for this film.   

See us in The Wall Street Journal!

Lessons for Filmmaking Teens  by Marisa Taylor 

With the advent of Facebook, MySpace and YouTube, the so-called millennial generation is more adept than ever at sharing the details of their daily lives online.
filming_D_20090706181437.jpgGetty Images

But there may now be demand to do so in a more artistic way. Manhattan Edit Workshop, a small New York film school, has started a $2,000 class called “From You to YouTube: Filmmaking, Evolved.” In two two-week sessions, Mac-friendly 12- to 18-year-olds will learn the basics of shooting and editing. The goal is to learn how to compress the final product down to a Web-friendly size, according to Josh Apter, the school’s owner.

The class’s emphasis is on storytelling and filmmaking, not just uploading the home-video footage that is often found on YouTube, he said, but “‘From You to Vimeo’ didn’t quite have the same ring to it.”

The first week will focus on story structure, camera technique and pre-production, then students will spend several days gathering footage. The entire second week, Mr. Apter says, will be focused on post-production and editing, and then he’ll help the kids get their films uploaded by the close of the course. He is still working out what kinds of cameras students will use but says he’s a fan of the Canon HFS100 and the Canon VIXIA HV30.

Mr. Apter was inspired to start the school in 2001 after his first year of film school, whose thoughtful discussions on stories, writing and editing were “contrary to all my expectations that it would be so cutthroat,” he said.

But the idea of creating a course for teens dawned on him after he met a talented 14-year-old in one of his six-week intensive editing classes, which usually just attracts adults. Mr. Apter had interviewed the teen before the class began to make sure that he was mature enough to click with the other students, many of whom were in their 40s and 50s. But he turned out to be “one of the most interesting students we’d ever had,” Mr. Apter says. “He was more together than I was when I was 20…but don’t tell anyone that.”

So far, he says the first of the two courses is nearly full. He cites children’s early exposure to video and the Internet for its popularity. “They’re understanding images so early, because they are so bombarded with them,” he said. “Our world is so visual now.”

For all Avid Editors wanting to learn FCP

We have your class. 
FCP 250
Starting on Saturday, July 18, 2009. 
This two-day hands-on course introduces students to the primary feature set and interface of Final Cut Pro. Using Avid editing terminology and references as stepping-stones, this course translates a student’s existing editing talents to the FCP skill set. In this course students learn Final Cut Pro editing operations - capturing, sound editing, creating bins and sequences, as well as Final Cut Pro’s extensive effects package, real time color correcting and numerous tips and keyboard shortcuts for everything in between.

Apple Pro Certification available for this course.
Weekend intensives are from 10am-6pm.
Cost: $1200

Register Here

Happy 4th of July Weekend!

We hope you get plenty of R&R and see some of these lovelies!



and....

don't forget about all the amazing classes coming up!
July 6th-FCP 200
July 13th-Avid 101/110
July 18th-FCP 250
July 24th-Color 101
July 25th-Motion Masterclass
August 3rd-You to Youtube