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Dive into this exclusive conversation with acclaimed film editor Lisa Zeno Churgin, (Reality Bites, The Cider House Rules, House of Sand and Fog, Dead Man Walking, Pitch Perfect) as she shares her career experiences and using Adobe Premiere on her latest film, the big budget and visual effect packed Disney+ feature "Peter Pan and Wendy." Lisa's experience is invaluable for aspiring film editors and anyone interested in the filmmaking process.Lisa reveals how she got started in the craft, her editing techniques, her Adobe Premiere workflow, and her thoughts on how Premiere compares to Avid. Get an inside look at how a big-budget Hollywood feature comes to life through film editing and gain valuable insights from this seasoned professional.Check out Lisa's full list of credits: https://www.imdb.com/name/nm0161497/======================Table of Contents======================00:00 - Intro00:31 - What sparked your interest in becoming a film editor?02:32 - Working for free to get experience03:12 - Her 1st break on a documentary04:21 - Her 1st feature (with the same editor)07:31 - Getting into the Union09:10 - What it takes to be an editor11:27 - Making the 1st cut14:04 - Experience as an assistant20:28 - How do assistant learn the craft today?25:52 - How "technical" are you as an editor?28:09 - Cutting in Premiere29:27 - Comments on Trim Mode31:47 - Comparing Premiere and Avid36:18 - Video layer preferencese 37:21 - Advice for those new to an editing career=============================Follow Master The Workflow:=============================Facebook: https://facebook.com/mastertheworkflowInstagram: https://www.instagram.com/masterthewo...Twitter: https://twitter.com/MtheworkflowPodcast: https://spoti.fi/2JDJ5V0LinkedIn: https://bit.ly/3HPdokd
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In this Interview we go inside the hit HBO series, Euphoria with Supervising Editor and Co-Producer Julio Perez. For everyone interested in editing, Julio talks about his career path from reality TV to indie features to this major network series.
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Table of Contents
======================00:00 - Intro
00:04 - When did you decide to become an editor?
03:07 - How did you get your start in the film business?
04:49 - How much assisting work did you do?
10:15 - How did you make the transition from reality to scripted?
17:12 - How did you come to work with Sam Levinson?
21:32 - So tell us about your work on Euphoria.
26:35 - Talk about your collaboration on Malcom & Marie.
30:10 - Were there any particular styles or films you were trying to emulate?
37:10 - Talk about the challenges of cutting a dialog driven film.=============================
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LinkedIn: https://bit.ly/3HPdokd=============================
Gear Used to Make This Video:
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#filmediting #filmeditors #filmmaking
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In this extensive interview, "In The Heights" & "Tick Tick Boom" editor Myron Kerstein, ACE shares his experience & knowledge and describes his journey to becoming one of today's top film editors. Myron goes into detail about editing "In The Heights," breaking down scenes, musical sequences and visual effects.
He also tells us how his relationship with "Crazy Rich Asians" director Jon Chu turned into a shot at directing a major television series for AppleTV. This year's American Cinema Editors "Eddie" award winner for best feature film editing and an Academy Award nominee for Lin-Manuel Miranda's directorial debut, "Tick Tick Boom," Myron's feature credits also include "Hedwig and the Angry Inch," "Raising Victor Vargas," "Garden State," "Little Fockers," and "Crazy Rich Asians." He also directed the pilot episode of Apple TV's "Home Before Dark" as well as editing several episodes.
If you aspire to become a film editor, a filmmaker, or honestly, any kind of artist, you'll find this candid interview chock full of wisdom, moving and inspirational.
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Table of Contents
==================00:00 - Intro
04:05 - Talk about some of your early gigs and working with Killer Films.
07:13 - Working with music on Velvet Goldmine.
08:16 - What film would you consider your ""break"" into being a full editor?"
10:14 - So how did the job on Garden State come about?
14:35 - How did you meet Jon Chu?
19:30 - How has your working relationship evolved?
22:21 - What were your initial instincts on how to tackle the opening of In The Heights?
26:39 - How long did you work on the opening before you showed it to Jon?
32:16 - Were all the musical sequences shot to playback?
33:55 - Can you explain what shooting to playback is?
39:31 - Myron's VFX workflow
41:35 - Talk about your VFX crew.
48:05 - You just directed an episode of Home After Dark. How was that experience?
56:35 - What advice do you have for aspiring editors & filmmakers? -
https://www.npr.org/2022/02/25/1082992947/ukraine-support-helpThere’s a revolution happening in Ukraine. I’m not just talking about the people rising up to fight Russian aggression, I’m talking about an AI powered audio tool that will change filmmaking, game development and other content creation forever from a company called Respeecher.
Most recently used to create the voice of young Luke Skywalker for the second season of "The Mandalorian," Respeecher’s voice synthesis technology has already won 2 Emmy awards and promises to radically change performers ability to create new types of characters and audio/ editing post-production.
Today, from western Ukraine we speak with Alex Serdiuk, CEO of Respeecher. We had planned this interview before the war broke out and in spite of me thinking it would be best for us to reschedule, Alex insisted we carry on. He explains his reasons why in our talk.
List of Websites to Support the Ukrainian People
#STANDWITHUKRAINE===============
Table of Contents
===============
00:00 - Intro
03:18 - Give us a quick overview of what Respeecher is.
04:38 - What was the inspiration for Respeecher, how did it come about?
07:23 - Where is the product most widely used currently?
09:25 - Give us some details about your 1st big project?
11:43 - How are you protecting intellectual property rights?
15:56 - Are you getting any resistance from performers?
18:02 - Tell us about your Voice Marketplace.
22:04 - When will it become available to a general audience?
24:42 - Do you see this eliminating the need for loop groups?
Check out Respeecher's Demos
Get a Free Trial of Respeecher
Hear Emmy Winning Voice Cloning of Richard Nixon in, "In The Event of Moon Disaster"
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If you want to learn about film editing, Steve Hullfish wrote the book! A film editor and author, Steve has interviewed more than 300 of the top film editors for his bestselling book, "Art of the Cut" and Art of the Cut podcast. If you want to know how to become an editor, what editor's really do, and how they do it, you won't want to miss this great conversation.
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What’s it like to go from the editor’s chair to directing? Well in today’s episode we’re going to find out.
Today we’re joined by Editor, assistant editor, director and writer Julian Doan. Julian was one of the earliest students to enroll in our flagship course Feature Film Assistant Editor Immersion and since then has gone on to work on amazing projects like Ballers, In Treatment and Wild, Wild Country for HBO.
But most recently Julian yearned to flex his creative muscles and wrote directed and edited his own short film Raspberry, which was chosen to premiere and nominated for a grand jury prize at this year’s Sundance festival and gone on to screen at over 20 others around the country and winning Best Narrative Short Film at this years El Paso Film Festival.
If that wasn’t enough, Raspberry was just picked up by a major US streaming company, and will be included in a compilation of outstanding short films to be released this winter or early 2022.
Episode Guide
00:00 Introduction
01:14 - When did you get interested in film editing as a career?
01:57 - Where you interested in filmmaking as a kid?
03:14 - How did you get your start in the industry? What was your first gig?
05:04 - So you were a writer director before editing happened?
05:53 - So how did you pick up those first gigs?
07:13 - Has working on shorts helped you in editorial?
08:24 - Is it difficult for you to go back and forth between assistant and editor?
09:34 - What the difference between a working on a big network series and indie documentary?
12:46 - Did you always want to direct?
14:05 - Tell us about your experience on Raspberry. How did you make that happen?
15:47 - What was the most important thing you learned during the process?
18:13 - Has the experience of directing changed your outlook about the future of your career path?
19:57 - Do you recommend that other assistants or editors go out and make their own film?
23:25 - What are some of the tools and resources you've harnessed to get your film made?
27:38 - What recommendations do you have for someone who wants to become an assistant editor?Check out our other social channels:
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Want to take a advanced editing workshop online? Well now you can at Edit Mentor from the same people who brought you EditStock.com. In this video we talk with Misha Tenenbaum, the creator of Edit Mentor who gives us an in-depth look at the software and a demo of what's inside.
Episode Guide
00:00 Intro
00:53 What is Edit Mentor?
06:37 Edit Mentor philosophy of teaching.
08:07 Edit Mentor demo.
10:01 Are the dailies included with the lessons?
15:37 How many editors did you consult with to develop Edit Mentor?
16:24 How many lessons are there in the Advanced Workshop?
18:13 Inside the course.
18:36 Example - Analyzing Footage
20:37 How do you measure your progress?
24:44 Do you cover sound or other areas of editorial?
26:10 Is EditMentor available now?
27:08 Who is the target audience for this product?
29:51 What is the cost of the paid program?
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The Creative Arts Emmy Awards are this weekend and we've just posted our interview with one of this year's nominees for Best Picture Editing, Michelle Tesoro. Michelle's the editor of the critically acclaimed series The Queens Gambit, which has been nominated for an impressive 18 Emmy awards.
In this talk we do a deep dive into Michelle's working process and her experience on the series. With an exhausting 120 shooting schedule, she explains specific techniques her and her team used like "Checkerboarding," a "Rolling Mix," working remotely, how the Covid pandemic affected the cutting process and a lot more!
If your goal is to become a professional editor, the wisdom and know-how Michelle shares with us in this video is like a master class in editing at the highest level. I Hope you enjoy it!
Want more inside knowledge from pro editors? Then be sure to SHARE this podcast and SUBSCRIBE to our YouTube channel.
Episode Guide
00:00 Introduction
00:54 How did you get started in editing?
02:26 Tell us about the workflow on Queen's Gambit
05:02 Crossboarding
08:32 How do you keep your stamina up on that kind of schedule?
10:18 Are you a chess player? How were those scenes handled?
13:14 Did you discuss how to make the chess exciting editorially?
16:28 What were some of the other creative challenges besides the chess?
18:12 How were you on time? Did you have to lose a lot of material?
21:45 How did it effect things when the pandemic hit and you were working from home?
23:55 What is a "rolling mix"?
27:38 So working with a rolling mix must have made more work for you?
31:12 What were your technical challenges?
32:54 Do you think remote editing will continue post-pandemic?
35:50 Do have a preference about working in features vs tv?
37:18 What do you most love about editing?
37:56 What's the thing you least like about editing?
38:59 Have you encountered any discrimination working as a woman?
41:15 How technically oriented would you consider yourself?
44:36 Have you worked with software other than Avid?
45:40 Do you think any of the other editing software is making inroads in Hollywood?
47:11 If you were offered a job cutting in Premiere would you take it?
48:02 Could you tell me about your crew on Queen's Gambit?
49:43 Was your crew working remotely also?
50:47 Talk about the dailies process on Queen's Gambit.
52:51 Bringing sound and music editors on early in post.
56:15 What's you're advice for people who aspire to become editors?
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Today I'm talking with Scott Jacobs to find out what’s it like to be an assistant editor at Marvel Studios on their hit Disney+ show Wanda Vision. In this exclusive interview, Scott gives us the inside scoop on things like; how to get into a cutting room? What's required of assistant editors on a massive Hollywood show? The importance of networking to move your career forward, and how he finds a work life balance in this demanding field.
Scott's list of credits on IMDB: https://www.imdb.com/name/nm2931791/
SUBSCRIBE to our Podcast!=============================
Table of Contents
=============================
00:00 - Introduction
01:08 - What got you interested in film editing?
04:27 - How did you get your foot in the door?
08:36 - What's the biggest difference between features and TV?
11:32 - Do you prefer working in TV or features?
14:00 - Tell us about your experience working in animation.
15:47 - What are the differences between a 1st & 2nd assistant editor?
18:00 - What are your biggest challenges as a 1st assistant editor?
20:50 - How has working remotely changed the job for you?
22:25 - What remote system are you using
22:58 - Are you using a proprietary remote setup?
24:26 - You've cut quite a few short films. How do you find short films to cut?
28:46 - How do you find a work/life balance in our business?
31:37 - What's your advice to people who want to become film editors?
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Twitter: https://twitter.com/Mtheworkflow
YouTube: https://bit.ly/3druTKj -
An Exclusive Interview with Amy Duddleston, ACE Editor of HBO's critically acclaimed series "Mare of Easttown," starring Kate Winslet and an amazing cast of supporting players.
Amy has been fortunate to work with some today's most talented directors and has built her excellent reputation working in horror, comedy and drama in both features and television.
In this interview we’ll dig deep into Amy’s experiences as a professional editor, from her early days as a film “schlepper” to one of the most in-demand editors working today.
Check out our other social channels:
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Episode Guide
0:00 - Intro
1:02 - When did you decide you wanted to be an editor?
3:27 - Were your studies helpful to your editing career?
5:48 - Tell us about working with your mentor Curtiss Clayton
10:46 - Working with assistants during the pandemic
11:23 - Working (editing) from home
12:37 - How cutting short films help her develop as an editor
15:06 - Tell us the differences between editing features vs television
18:54 - How did the job editing Mare of Easttown come about?
20:13 - Tell us about working on the project
24:23 - How do you feel about checkerboarding?
25:18 - What was the most technically challenging thing about editing the show?
26:29 - What was most challenging creatively?
27:49 - What is it like working with such high level performances?
28:34 - How do you avoid being Pidgeon-holed as an editor?
31:36 - What advice do you have for people just getting started in editing?
33:14 - How do people who want to be editors get their "foot in the door"?
35:20 - What's your next project?
35:53 - Will there be another season of "Mare of Easttown"? -
2020 was the year of editing remotely. In this video you’ll learn how to stream your editbay while working in Avid Media Composer, Adobe Premiere Pro, Avid Pro Tools, Davinci Resolve (or anything else for that matter) from your desktop when working from home without the need for any additional hardware.
Pac Post Live is a powerful, affordable solution that allows individuals, edit teams and organizations to collaborate remotely. Production crews can also utilize this solution to stream from set to studio across the globe. Click here to get your own demo of Pac Post Live.
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Avid Media Composer inventor and founder of Avid Technology, Bill Warner tells the story of how the first digital non-linear editing system went from idea to prototype to the editing system that revolutionized the film and television industries. AND how Apple convinced him to develop it for the Mac. This is from a 2010 interview with Master The Workflow’s Lawrence Jordan
Bill won an Emmy from the Academy of Television Arts and Sciences in 1993 for the development of the Avid Media Composer. In 1999, the Academy of Motion Picture Arts and Sciences presented Avid with the Oscar® for its success in transforming the editing process in filmmaking.
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Part II of our extensive, in-depth interview with Jeffrey Ford, ACE, editor of Marvel Studios mega box office hits, The Avengers, Captain America, Iron Man 3 and much more. In this 2nd part of our talk we dig down into Jeff's working style, challenges, tips for assistant editors working their way up, the "politics" of the editing room & more!
If you enjoy this video and find it valuable support us by giving us a LIKE and SUBSCRIBE to our channel! -
You might know the name Jeffrey Ford as the editor of some of the most successful & exciting box office films of all-time. But Marvel’s Iron Man 3, Captain America: The First Avenger, Winter Soldier & Civil War and The Avengers, The Avengers: Age of Ultron, Infinity War & Endgame are only some of his credits.
Jeff’s work goes beyond the realm of superheroes and CGI extravaganzas. He’s also cut powerful dramas like One Hour Photo, Shattered Glass, Crazy Heart and most recently The Comey Rule & Let Him Go. Not only is Jeff an editor at the top of his game, he’s also a genuine cinephile who possesses a deep knowledge and love of the filmmaking craft. Collectively, the films Jeff has cut have earned over 4 billion dollars in global box office.
In this, Part 1 of our extensive 1-on-1 talk with Jeff we’ll do a deep dive into subjects like his career path, get insights into editing mega-hits, about his workflow techniques & challenges and much more.
If you love movies and want a deeper understanding of the editing craft from a consummate filmmaker, we know this is something you will really enjoy. -
Simon Smith the award winning editor of HBO's Chernobyl lets us know how he became an editor, how knowing Final Cut Pro led to an award winning editing career, what’s it like to edit a high-profile mini-series for HBO which had a grueling, one hundred day shooting schedule, and how he handled that kind of workload and pressure. Perhaps most importantly, Simon tell us the bold steps he took to land the job.
Simon took home the “triple-crown” of editing awards this year, an American Cinema Editors Eddie, the Television Academy Emmy, and the British Film & Television Academy's BAFTA, for his editing on the highly acclaimed HBO mini-series Chernobyl.See the video of this interview at: https://youtu.be/NMDF_zfbj2g
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Editing Back To The Future - To celebrate the 35th Anniversary of its release here's our latest video, an interview with Back to the Future editor Arthur Schmidt, ACE.
Editing some of the most successful and critically acclaimed films of all time, Artie has won the Best Editing OSCAR twice for "Who Framed Roger Rabbit" and "Forrest Gump," the Television Academy’s Emmy Award, has been nominated several times by the British Film Academy, (BAFTA) and in 2009 received the American Cinema Editors, (ACE) Career Achievement Award.
Filled with insights from one the most respected people in the craft, you’ll love hearing from this celebrated editor about his work.
See the video of this interview at: https://youtu.be/tw5Qv9BRJL8 -
Premiere Pro is going Hollywood! Noah Diamond-Stolzman is one of this new generation of editors who, while skilled in a variety of non-linear editors, is widely recognized as an expert in the long-form Adobe Premiere workflow.
He was a multi-season member of the editing team at College Humor, and last year he edited the independent feature film Donovan Reid. On his latest project he’s working as an assistant editor on the Netflix series, Last Chance U – The Final Season.
In this re-broadcast of our Webinar, Noah shares some of his knowledge of editing in Premiere, the unique challenges of working on tighter budgets, and some insights about getting started in today’s editing business. -
Interview with Spider Man & Hunger Games Editor - Alan Edward Bell, ACE. After becoming one of the earliest adopters of non-linear editing technology and a successful assistant editor, Alan Edward Bell, ACE went beyond Avid Media Composer to master a variety of visual effects software packages, ultimately becoming a Visual Effects Supervisor and creating his own Visual Effects company, Handmade Digital.
His deep knowledge of technology and love of the craft has served him well. With credits such as “500 Days of Summer,” “Gulliver’s Travels,” “The Amazing Spider Man” and two of the “Hunger Games” Trilogy, he is one of Hollywood’s most in-demand editors.
You can see the video of this interview at: https://youtu.be/2LvFRX38tac -
In the flagship episode of our new Master The Workflow Podcast, we have an in- depth conversation with film editor Juilan Smirke.
Julian has had an incredible journey. Hailing from Perth, Australia he moved to Vancouver Canada where he landed his first job on a film set as a production assistant. He then went south to Los Angeles, where he found his way into a cutting room, again as a PA, but this time on a studio feature film. It wasn’t long before Jules began to make more contacts and found more work, eventually becoming a member of the editors guild. He worked his way up the ranks, eventually landing a position as assistant editor with J.J. Abrams editor Maryann Brandon on Mission Impossible III. Jules and Maryann hit it off and he went on to work with her on some of the biggest and most successful films of the last decade, including Star Trek & Star Trek: Into The Darkness, Super 8 and finally the 7th installment of the Star Wars saga, Star Wars: The Force Awakens.
