Master The Workflow

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 - Intro 00:31 - What sparked your interest in becoming a film editor? 02:32 - Working for free to get experience 03:12 - Her 1st break on a documentary 04:21 - Her 1st feature (with the same editor) 07:31 - Getting into the Union 09:10 - What it takes to be an editor 11:27 - Making the 1st cut 14:04 - Experience as an assistant 20:28 - How do assistant learn the craft today? 25:52 - How "technical" are you as an editor? 28:09 - Cutting in Premiere 29:27 - Comments on Trim Mode 31:47 - Comparing Premiere and Avid 36:18 - Video layer preferencese 37:21 - Advice for those new to an editing career ============================= Follow Master The Workflow: ============================= Facebook: https://facebook.com/mastertheworkflow Instagram: https://www.instagram.com/masterthewo... Twitter: https://twitter.com/Mtheworkflow Podcast: https://spoti.fi/2JDJ5V0 LinkedIn: https://bit.ly/3HPdokd

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. ====================== 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. ============================= Follow Master The Workflow: ============================= Facebook: https://facebook.com/mastertheworkflow Instagram: https://www.instagram.com/masterthewo... Twitter: https://twitter.com/Mtheworkflow Podcast: https://spoti.fi/2JDJ5V0 LinkedIn: https://bit.ly/3HPdokd ============================= Gear Used to Make This Video: ============================= Sony A6400 Camera: https://amzn.to/3iMFKOV Sony 18-105mm Zoom Lens: https://amzn.to/2GVHeJg Diety D3 Microphone: https://amzn.to/33MzbaO Zoom H4n Multi-Track Recorder: https://amzn.to/3djDU6R Godox VL150 Key Light: https://amzn.to/2IkKoah iFootage Tripod: https://amzn.to/3jR3cfb iFootage Fluid Head: https://amzn.to/30YHA9b External 7" Camera Monitor: https://amzn.to/3dfIJOE Sony A6400 Dummy Battery: https://amzn.to/34MyiOz Get FREE TRIALS of: Adobe Premiere Pro: https://bit.ly/36no7o8 Adobe Photoshop: https://bit.ly/3v7ONn8 Adobe After Effects: https://bit.ly/3Hdant1 Affiliate Link Notice: Some of the links above are affiliate links, which means that at no extra cost to you, we may make a small commission if you click them and make a qualifying purchase. We only link to products that we have used at some point or that have been recommended highly by our colleagues. Thanks for supporting Master The Workflow. #filmediting #filmeditors #filmmaking

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.   ================== 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" Check out our other social channels:   YouTube Facebook Instagram Twitter LinkedIn

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.

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: YouTube Facebook Instagram Twitter

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?   Check out our other social channels: YouTube Facebook Instagram Twitter

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? Check out our other social channels: YouTube Facebook Instagram Twitter

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?   ============================= Follow Master The Workflow: ============================= Facebook: https://facebook.com/mastertheworkflow Instagram: https://www.instagram.com/mastertheworkflow 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: YouTube Facebook Instagram Twitter 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"?