Manhattan Edit Workshop's Blog

Editor Meg Reticker on Searching for Clues to Cutting from "30 Rock," "The Wire," and "Big Love"   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 pr

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 .

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 .

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 .

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 decad

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 Candidate ,  Dream 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

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 pr