Manhattan Edit Workshop's Blog

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 inspirat

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 ]

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.

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 ]

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 ]

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 Americ

Clark's timeline in FCPX George Abbott Clark knows that Final Cut Pro X has a cloudy reputation in the editing business. “When it first came out, it was a nightmare,” he says on a phone call from Los Angeles. “But the new updates are remarkable. It’s like power steering - you would never go back to making it more complicated and cumbersome.” In editing Jim Shoe from writer-director Pete Sutton, Clark faced pushback from post-production and industry peers in his choice to cut in FCPX. Amid a series of major studio releases also cut with the controversial program — Focus and Whiskey Foxtrot Tango among them — Clark remains steadfast in his adherence to FCPX, citing the ease of working with the system. “[FCPX] has a rep for being simplified and dumbed-down,” Clark says. “But it’s not. It’s sophisticated, and advanced. There’s a misconception in the community.” In the transition from FCP7 to X, Clark knew the new program was being built on a 64-bit platform from the ground