“Thank you for bringing us the Sam/Bobbie O’Steen Masterclass. It was such a breath of fresh air, so so good. I’m in the middle of cutting a show for Amazon and it was a timely infusion of great craft and energy in the current madness - a reminder of where we have come from and The Greats who have brought us here. I’ve been thinking about it every day since. That’s the beauty of legacy.”
- Editor Stephen O’Connell (Dublin)
“What a masterclass that discussion was about Dede’s work. I also truly believe I continue to become a better editor every time I dive into your discussions. Thank you for always shining a light on our craft, but also on Dede’s work."
- Editor Myron Kerstein, ACE (In The Heights, Crazy Rich Asians)
Sight, Sound & Story: Live - "Mentors inside the Cutting Room" from July 2020
Sight, Sound & Story 2019: Behind the Lens with Cinematographer Dean Cundey, ASC Part I from Sight, Sound & Story: The Art of Cinematography 2019
Editor Mary Jo Markey ACE Explains How She Intensified the Opening Scene in "Mission Impossible III" From Sight, Sound & Story: Post Production Summit 2019
The Cinematography Behind the "Red Wedding" Episode Explained by Rob McLachlan ASC, CSC, from Sight, Sound & Story: The Art of Cinematography 2018
Editor Dylan Tichenor, ACE on Shaping a Quiet Scene in "There Will Be Blood" From Sight, Sound & Story: Post Production Summit 2017
Cinematographer Igor Martinović on his use of Image-Play in "The Night Of" from Sight, Sound & Story: The Art of Cinematography 2017
Editor William Goldenberg, ACE Discusses Working with Director Michael Mann on "Heat" From Sight, Sound & Story: Post Production Summit 2015
Cinematographer Bob Richman on his Most Impactful Scene from "The September Issue" from Sight, Sound & Story: The Art of Cinematography 2015
Editor William Goldenberg, ACE on "Argo" From Sight, Sound & Story: Post Production Summit 2015
Sight, Sound & Story: Post Production Summit 2015 - Reactions and Interviews
"It was a real honor to be there, and I had a lot of fun with our discussion. I really hope everyone got something out of the panel, and hope to see their careers grow & flourish! I really admire what you all are doing, and think it serves a valuable purpose in the industry. As I mentioned, I wish I had attended one of your seminars when I was 25!"
- Julius Ramsay, Editor (The Walking Dead, Battlestar Galactica)
“This was one of the best events I’ve ever covered.”
- Justin Morrow - Writer, No Film School
"The Manhattan Edit Workshop (MEW) continues to grow its reputation as the top spot on the East Coast to learn the editor's craft. So it’s perhaps not unusual that it offers a great service pulling together panels of top-notch working editors who provide insight into how they pull off the latest reality TV show, miniseries or feature."
- Dan Ochiva, NYC Production & Post News
“This is a wonderful way for people interested in cinematography to get access to the masters. The DPs are happy to share lessons they learned on set, and insider information about how the industry works. I learned so much from these artists. Don’t miss the next one!”
- Snehal Patel, Sales Manager, ZEISS
"I've been an editor for over 20 years and this was my first “Sight, Sound and Story” event. Great networking and excellent speakers that were informative, inspiring and entertaining."
- Mike Trentacosti, Editor
"This was my first MEW event, and certainly won't be my last. What a great thing you guys are doing down there. I was visiting from Boston."
- Kenyon King, Student, Harvard University
"It was a worthwhile investment for us – we spoke to people non-stop during the reception."
- Joe Smith, Sales Development Executive, Emerging Industries Media and Entertainment, Autodesk
"Sight, Sound & Story plays an important role in the post community. It brings together multiple post disciplines and champions new ideas all within an environment that is conducive to networking. That's why I go every year and make sure to bring colleagues."
- Gordon Burkell, Founder of AOTG.com
"Simply superb, Bobbie is an amazing interviewer and deeply knows our craft and the body of work of the artists she questions."
-Sabine Hoffman, ACE, Editor (The Ballad of Jack and Rose)
"Sight, Sound, and Story was a fantastic event. It brought together a diverse community of video professionals and filmmakers who all share the same passion for telling exceptional stories through film."
-Tohm Sansani, Vimeo
Congratulations on an INCREDIBLE event today! What a fantastic set of panels, and a wonderful gathering of people. I was just so impressed with the entire thing every step of the way.."
-Amy Leland, Editor & Director - Summer Woman Productions
"Very educational!!! I'm a recent college grad so this really propelled me into the industry (knowledge-wise) and was very eye opening. A real treat to hear such successful people hear about their craft!"
- Rachel Black, Student
"More. More! MORE!"
- Francis Zuccarello, Freelance Editor
Long-form “Peak TV,” what I call episodic filmmaking, is widely celebrated for formal and narrative innovation, but the breakthroughs I’m fascinated by are the leaps in digital cinematography seen every week if you know where to look and what to watch for. If I hadn’t been on stage moderating this year’s terrific “The New Age of TV" discussion with DP Rob McLachlan, I would have been in the audience, leaning forward in my seat!
- David Leitner, 2018 Moderator and Filmmaker
Editor Meg Reticker Discusses Editing the End of the First Season of "True Detective" from Sight, Sound & Story Post Production Summit 2014
Editor Michael Kahn, ACE Discusses the Most Difficult Scene to Cut from "Raiders of the Lost Ark" from Sight, Sound & Story: Post Production Summit 2014
Editor Alan Heim, ACE on the Real Life Parallels of "All That Jazz" From Sight, Sound & Story: Post Production Summit 2013
Cinematographer Julio Macat, ASC on Filming the Church in "Home Alone" from Sight, Sound & Story: The Art of Cinematography 2017