Carol Littleton's body of work as an editor spans several decades and genres, from the 1970s to the present. She's perhaps best known for her collaborations with Steven Spielberg and Lawrence Kasdan, on films including E.T., The Big Chill, and The Manchurian Candidate, and was nominated for an Academy Award for her work on E.T. MEWShop's Director of Education Janet Dalton, talked to her about her early career and how studying literature made her a stronger editor.
"Frontline" Editor Steve Audette, ACE Joins our March 2017 Six Week Intensive Workshop!
MEWShop is proud to welcome acclaimed documentary editor Steve Audette, ACE as our Artist in Residence for our Six Week Intensive Art of Editing Workshop that starts March 6, 2017. To find out more information about our Six Week Intensive program or to register, please click here.
360/VR Night in NYC at Manhattan Edit Workshop
Why 360 Video?
The 360° and VR video movement is growing rapidly leaving editors and post facilities with many challenges to keep up with. This special event features VFX and post-industry veterans sharing the experience, tips and techniques you need to take on 360 post projects. Including the NYC premiere of Mocha VR!
"Logan" Editor Mike McCusker, ACE joins MEWShop's January Six Week Intensive Program! Class starts January 9th!
"Sight, Sound & Story" Takes on Cinematography
Manhattan Edit Workshop’s recent Sight, Sound & Story: Art of Cinematography in New York City featured two one-hour panels: “Thinking In Pictures — Perspectives, Compositions, Lighting and Mood” and “Life Behind the Lens: DPs Talk Careers and Creativity in Film and Television.” The first focused on documentary work and the second on narrative-based storytelling. Both sparked questions and ideas in the head of this DP, including what roles and responsibilities cinematographers play in the storytelling process.
MEWShop Welcomes Film Editor Ray Hubley as Our Six Week Artist in Residence for Winter 2016!
MEWShop is proud to welcome film editor Ray Hubley as our Artist in Residence for our Winter 2016 Six Week Intensive Art of Editing Workshop. Ray is a lifelong New Yorker with more than two decades worth of credits in narrative features, television and documentary film. Over the years, he has worked with such eminent directors as Sidney Lumet, Brian De Palma, Tim Robbins, Bruno Barreto and John Turturro.
Art of The Shot: Eric Edwards
The DP of Lovelace, Knocked Up, and Bosch talks life, work, and vintage cinema lenses.
You have seen Eric Alan Edward’s work. I would go so far as to say you have likely watched more than one of his films. This has been my journey discovering the cinematography of Eric Edwards. As I did my research I realized I have, on more than one occasion, sat in a theater and watched his work flicker by on the screen in front of me while I stuffed my mouth with salted popcorn. The big comedies “Knocked Up,” “The Break-Up,” and “Delivery Man” are just a few big budget films he has lensed. Then there is his more dramatic work on “Lovelace,” the Amazon Original series “Bosch,” and “The Slaughter Rule.” Edwards also shot music videos for Bruce Springsteen, Elton John, Michael Jackson, Donna Summers, Alanis Morissette, Paul Simon and the Red Hot Chili Peppers video Under the Bridge which won a MTV’s best music video of the year. Like I wrote, you have likely seen Edwards work.
If print does not do you justice you have an option to listen to Eric in person by heading over to Sight, Sound, & Story. Manhattan Edit Workshop’s speaker series. The workshop will dive into the craft of visual storytelling from masters behind the lens. Joining Eric Edwards will be Eric Lin (My Blind Brother), and Vanja Cernjul (Marco Polo.)
Manhattan Edit Workshop Announces New Class Series with Film Historian and Author Bobbie O’Steen
New York, New York – Manhattan Edit Workshop (MEWShop), the east coast's top school in the post-production industry, for cutting edge certified training and for filmmakers learning the art and craft of editing, has just announced weekend dates for the ‘Making the Cut with Bobbie O’Steen’ class series this January 2017. The purpose of this course is to understand the art and technique of master editors through screening and discussion of their work. How do they decide what shot to use and when exactly to cut in and out of that shot? How do they shape actors’ performances and fit the puzzle pieces together to make a story work? O’Steen will reveal the wisdom and strategies of master editors by taking you through a cut-by-cut analysis of many classic movie scenes, based on interviews from her popular books, panels, and event series. Ultimately, you’ll develop a deeper knowledge of the thinking behind the editing process, empowering you to become a better editor and storyteller yourself.
Art of the Shot: Eric Lin
The cinematographer of “My Blind Brother” talks his most difficult shot with PV
Recently, I had the opportunity to talk to Eric Lin who is a cinematographer best known for his work on I Smile Back (2015), Equity (2016) and Rudderless (2014). His latest film “My Blind Brother” hit theaters earlier this year and can currently be seen on Video on Demand. The conversation between Eric and myself not only touched on his most difficult shot from “My Blind Brother,” but also about life as a cinematographer who is trying to balance work and life. To focus topics and for better understanding, I edited the transcribed audio from our interview. I tried to keep Eric’s voice and answers as true to our conversation as possible.
If after reading this transcribed interview between Eric Lin and myself and you want to hear more from Eric then head over to Sight, Sound, & Story. Manhattan Edit Workshop’s speaker series. The workshop will dive into the craft of visual storytelling from masters behind the lens. Joining Eric Lin will be Eric Alan Edwards (My Own Private Idaho) and Vanja Cernjul (Marco Polo).
“Sight, Sound & Story: The Art of Cinematography” Production Event Returns December 6th
Advanced ICA Workshops This December with Acclaimed Colorist Dado Valentic!
ICA 300: Feature Film Color Grading - NEW DATES! December 15 - 16, 2016, Thursday & Friday. Cost: $1,295
In this two-day course we will be working on a project that was a theatrically released feature film. The feature was shot on Red Epic using anamorphic lenses. We are going to take the film from the preparation for grading through to the final deliverables. Apart from the obvious color grading work we will also take an extensive look at the new features in Resolve V12 for online and mastering from a feature film perspective.
Manhattan Edit Workshop Launches Educational TV and Film Videos on YouTube Channel Featuring Industry Experts
New York, New York - October 18, 2016 - As the leader in post-production training and certification, Manhattan Edit Workshop (MEWShop), has produced, over a number of years, a wealth of video content. Already known for its "Sight, Sound & Story" speaker series and Six-Week Art of Editing course, MEWShop is expanding its purview to web content. That content is available on YouTube.com/MEWShop, from interviews with award-winning editors and cinematographers, to how-to videos detailing step-by-step edit processes.
The MEWShop Interview: Editor Andrew Hafitz
Catching Up with Six-Week Workshop Alumn, Miguel E. Rebagliato
Cutting Commentary at New York Post Panel
Interview with Joseph Krings, Editor of "Captain Fantastic"
In Captain Fantastic, Viggo Mortensen plays a survivalist father raising a brood of six kids off the grid in the forests of the Pacific Northwest, whose life is thrown into disarray after his wife commits suicide. The film, written and directed by veteran character actor Matt Ross (Silicon Valley, Big Love) earned major praise at Sundance and Cannes, and for good reason: it's by turns intense, funny, and genuinely moving. I recently caught up with editor Joseph Krings to talk about his career and the process of cutting the film.
Sight, Sound & Story: How these editing, VFX pros found their path
Earlier this month, Manhattan Edit Workshop held its yearly Sight, Sound & Story conference in New York City. It was a full day of panel discussions featuring editors and visual effects pros at the top of their game. The conversations were refreshing and helpful — the panelists focused on their individual journey to where they are now, as well as the craft of filmmaking rather than tools and techniques.
Legendary Editor Anne Coates, ACE Headlines Sight, Sound & Story 2016
New York, New York - June 28, 2016 - On June 11, 2016, over 300 editors, filmmakers, and post production professionals packed the NYIT Auditorium on Broadway for a full day of panels focused on the art of editing documentary films, episodic TV, visual effects, and an in-depth discussion with legendary Oscar-winning editor Anne V. Coates, ACE. The day-long summit was followed by a two-hour networking party sponsored by the American Cinema Editors (ACE.) This year marks the fourth year of the only New York full day summit focused on the art of post production.
Get Schooled on Cutting for the Golden Age of TV by Editors of 'Breaking Bad' and 'The Wire'
Is TV an "editor's medium"? The industry's top cutters think so.
Between the three of them, Kelley Dixon, Kate Sanford, and Leo Trombetta have cut thousands of hours of television and movies. Dixon has worked on Breaking Bad and Better Call Saul, Trombetta on Wayward Pines, and Kate Sanford on The Wire and, most recently, Vinyl. At the recent Sight, Sound & Story panel, 'TV Is the New Black: Television's Cinematic Revolution', each discussed their careers and recent work, and gave tips for those looking to get into the industry. Here are the three top takeaways we learned from them.
5 Groundbreaking Editing Rules from Oscar-Winning Editor of 'Lawrence of Arabia' and 'The Elephant Man'
Legendary editor Anne V. Coates has won two and been nominated for five Oscars (including a Lifetime Achievement Award in 2007). The nonagenarian editor refuses to use Avid; instead, Coates said she "has her own system" which was custom-made to her preferences—much like the one made for Thelma Schoonmaker—though she refuses to elaborate on the details.