MEWShop’s one-day post-production debuted in New York City on Saturday, June 8th, 2013, at the Florence Gould Hall at the French Institute. Panels included the a look at interactive media, behind the green screen of VFX, Sound design of the feature film Life of Pi, and anatomy of a scene with both documentary and television editors. Our closing panel highlighted NYC legends of the 70's with author and film historian Bobbie O’Steen. The event was followed by a gala reception and networking session with guests, panelists and vendors.
9:30 am - Check-in
10:30AM - 12:00PM - Interactive Media: Blurring the Lines Between Post and Production
Moderator: Gordon Burkell (AOTG.com)
Panelists: Adele Major (Producer at B-Reel NY Office), Evan Schechtman (CTO of @radical.media), and Oscar Tillman (Creative Director of B-Reel NY Office)
12:00PM - 1:30PM - Anatomy of a Scene: Documentary and Narrative Editors Deconstruct their Work
Moderator: Michael Berenbaum, ACE (The Americans, Sex and the City)
Panelists: David Tedeschi (Shine a Light, Public Speaking, George Harrison: Living in a Material World), Jeffrey Wolf, ACE (Billy Madison, Beautiful Girls, The Ref) and David Zieff (McConkey, Metallica: Some Kind of Monster)
1:30PM - 2:30PM - Intermission
2:30PM - 4:00PM - MPSE's "Soundshow NY": The Life of Pi Soundscape from Production Audio to Final Mix
Moderator: Amahd Shirazi, MPSE (Billy Bathgate, The Paper, Funny Farm)
Panelists: Eugene Gearty, MPSE (The Aviator, Hugo, Boardwalk Empire), Sam Miille (Shutter Island, Hugo, The Departed), and Phil Stockton, MPSE (Raising Arizona, Goodfellas, Life of Pi)
4:00PM - 5:30PM - Visual Effects: Behind the Green Screen and the Integral Role of the VFX Team
Moderator: Ross Shain (Chief Marketing Officer of Imagineer Systems)
Panelists: Chris Healer (Rescue Me, Elementary, Beasts of the Southern Wild), Yuval Levy (The Adjustment Bureau, Tower Heist, Salt) and Jeff Wozniak (The Avengers, Star Wars Episodes II & III, Pirates of the Caribbean: Dead Man's Chest)
5:30PM - 7PM - Networking Party
7:00PM - 9:00PM - NYC Legends of the 70's: Master Editors Discuss Their Work from This Revolutionary Era in American Cinema
Moderater: Bobbie O'Steen
Panelists: Jerry Greenberg, ACE (Kramer vs. Kramer, Apocalypse Now, The French Connection), Alan Heim, ACE (All That Jazz, Network), Susan Morse, ACE (Manhattan, Hannah and Her Sisters, Zelig), and Bill Pankow, ACE (The Untouchables, Carlito's Way)
General Admission: $89
Michael Berenbaum, ACE, served as editor on both Sex and the City and Sex and the City 2, the box office hits based on the HBO series, on which Berenbaum also worked. His recent project include the hit FX series,The Americans, starring Keri Russell and Matthew Rhys. Berenbaum also edited What to Expect When You're Expecting, whose cast includes Cameron Diaz, Jennifer Lopez, Anna Kendrick, and Chris Rock; War, Inc., starring John Cusack, Marisa Tomei, and Hilary Duff; and Hollywoodland, starring Adrien Brody and Diane Lane. He has worked with such directors as Joel and Ethan Coen, John Turturro, Al Pacino, Julian Schnabel and Martin Scorsese. During his six-year stint on the series Sex and the City, Berenbaum received two Emmy Award nominations and two American Cinema Editors (ACE) Awards. In addition, he received an Emmy for his work on the pilot episode of Desperate Housewives. Berenbaum’s other television work includes the hit series Nurse Jackie, Running Wilde, Life Is Wild, The Comeback, The Wire and Ed, as well as several telefilms.
Starting in 1982 Eugene Gearty, MPSE was one of the first digital Sound Editor/Designers in the film industry. He pioneered the use of the access and the Synclavier systems for use in creating and editing sound effects for movies such as Silence of the Lambs, Do The Right Thing, Men in Black, and The Hudsucker Proxy. He has worked with many New York directors including Joel & Ethan Coen, Jim Jaramusch and Lee Daniels. He has been nominated for an Academy Award 3 times and won an Oscar for Hugo. He has won the Golden Lion (Taiwan) and the Hong Kong “Oscar"(China) for Crouching Tiger/Hidden Dragon. He has also won the MPSE golden reel for Sound Effects editing for The Aviator. His Television credits include Boardwalk Empire for which he received an Emmy for his work on the Martin Scorsese directed pilot. After being nominated for an Oscar in 2013 for his work on Ang Lee’s Life of Pi, he has been working on Scorsese's The Wolf of Wall Street and with the Savannah College of Art and Design on expanding their Sound Design program.
Gordon Burkell is an editor who has been in the industry for 15 years, editing predominantly documentaries. He is the founder of aotg.com, a site that shares and organizes new information and news for post professionals, recognized as one of the top sites for the film industry by MovieMaker Magazine. The site includes Aotg.tv, The Cutting Room Podcast and mobile apps to keep post professionals up to date on current post news. Gordon currently teaches and hosts panels, events and lectures at Ryerson University.
Gerald B. Greenberg is an American film editor who received both the Academy Award for Film Editing and the BAFTA Award for Best Editing for the film The French Connection (1971). He also received Oscar and BAFTA nominations for Kramer vs. Kramer (1979) and Apocalypse Now (1979). His other credits include School Ties, Awakenings, The Accused, The Untouchables and Scarface.
After finishing his film degree at CU Boulder, having built a 16mm projector out of legos and written a 3d graphics library for DOS, Chris Healer transitioned from web design to motion capture and 3d animation in Denver. He moved to New York in 2002 to complete work on Below the Belt (Sundance 2004), and in 2005 founded The Molecule (http://www.themolecule.com). At The Molecule, he is part-time CEO, CTO, Visual Effects Supervisor, VFX Consultant, Creative Designer, Programmer Producer, Webmaster, and Rotoscoper on a variety of film and television projects, including Rescue Me, The Unusuals, Damages, 30 Rock,Rubicon, The Detonators, Royal Pains, Smash, Blue Bloods, Golden Boy, Hellbenders, Beasts of the Southern Wild, and many more. Many of the tools used at The Molecule were developed by Chris, including it's Render Farm, Workflow Automation Tools, Linking and Preview Tools, and Cloud-based Compositing Pipeline. Chris is a regular speaker at Nuke User Events (http://www.thefoundry.co.uk) and an active member of the New York Visual Effects community.
Alan Heim has more than thirty feature-film credits. He had an extended collaboration with director Bob Fosse; Heim's editing of Fosse's film, All That Jazz, was honored by the Academy Award for Best Film Editing, the BAFTA Award for Best Editing, and the American Cinema Editors Eddie Award. After editing sound for three movies for Sydney Lumet he was asked to cut picture on The Seagull. Next he worked on The Producers first as a sound editor and then taking over the finishing of the picture. A special, Liza with a Z, introduced him to Bob Fosse with whom he edited three feature films, Lenny, All That Jazz and Star 80. Network, Godspell and The Twelve Chairs were squeezed in between as was the Emmy award winning mini-series Holocaust. He moved to Los Angeles in 1994 where he has worked on such films as American History X, The Notebook, and Alpha Dogs. Alan was recently re-elected as president of American Cinema Editors.
Yuval Levy has over 13 years experience in the Visual Effects industry, 12 of which have been with Gravity, Yuval began his career of Gravity Tel Aviv as an animator and has held the title in New York of Creative Director/VFX Supervisor for commercial and feature divisions for the last 3 years. Yuval most recently directed, designed, lead the post for Ford’s F-150 campaign with Team Detroit. Additionally, Yuval was the VFX Supervisor for several feature films including Tower Heist, Crazy Stupid, Love, The Adjustment Bureau, Arthur, The Other Guys, and Salt alongside Directors Brett Ratner, George Nolfi, Glen Ficara, and John Requa. He is currently working on Judd Apatow’s Can a Song Save Your Life.
Hailing from Australia, Adele Major is a producer at B-Reel's NY office. She has worked in digital production since 2008, for the award-winning production companies B-Reel, North Kingdom and Hi-ReS! in London, Stockholm and New York. She has also worked at the BBC as an online journalist and helped to champion multiplatform content in news reporting and entertainment programming. Before that she worked with Greenpeace as a digital producer responsible for bringing global campaigns to life online, even from ships far out at sea (Greenpeace ships now have satellite internet on board partly thanks to her horror at only being able to access email twice a day). She is passionate about the possibilities at the intersection of film and digital and believes, like one of her favorite directors David Lynch, that storytelling is key regardless of medium. She is a big fan of Walter Murch, and hopes to study film editing (in all her spare time...) at NYU this fall.
Sam Miille has been working in sound for film for nearly a decade. In that time he’s collaborated with the Oscar winning team of Eugene Gearty and Phil Stockton on such works as Life of Pi, Hugo, Shutter Island, Boardwalk Empire, Miracle At Santa Anna, and The Departed. Sam assists Mr Gearty in the technical and organizational aspects of the fast paced and dynamic world of Sound Fx editing. Sam has supervised the sound on episodes of Independent Lens and Mutual of Omaha's Wild Kingdom, along with several independent films and short subjects.
Film editor Susan E. Morse is best known for her more than twenty year collaboration with writer/director Woody Allen, beginning as an assistant film editor on his 1977 film Annie Hall, uncredited co-editor on Interiors, and her first solo editing credit on Manhattan, for which she received her first British Academy Award Nomination for Best Film Editing. In addition to her prolific collaboration with Allen, Morse has edited films for directors Steve Gordon, Jim Kouf, Lee Davis, Marc Lawrence, Chazz Palmintieri and, more recently, first-time director Massy Tadjedin, as well as serving stints as an associate film editor on Walter Hill’s The Warriors (with a team of editors headed by David Holden), and briefly on Martin Scorsese’s Raging Bull (with longtime friend and three time Oscar- winning editor Thelma Schoonmaker.) The 32 feature films Morse has edited have earned worldwide critical acclaim, including a total of 41 Oscar nominations and 7 Oscars including an Oscar nomination for editing Hannah and Her Sisters. In addition, two of the films she has edited with first- time writer/directors Arthur (with Steve Gordon in 1981) and Two Weeks Notice (with Marc Lawrence in 2002) were major successes at the box office.
Bobbie O'Steen is a writer and film historian dedicated to sharing the editor’s invisible art with students, professionals and the movie-going public. Educated at Stanford University, she is an Emmy-nominated film editor and the author of two acclaimed books about editing."Cut to the Chase" is based on interviews with her late husband and colleague, legendary editor Sam O’Steen, about his work on such landmark films as The Graduate and Chinatown. Her second book, "The Invisible Cut", deconstructs the editing process of classic films through a cut-by-cut analysis.
O’Steen has hosted evenings honoring master editors involving screening and discussion for UCLA Film and Television Archive's Billy Wilder Theater, Emerson College's Bright Screening Room, NYU’s Cantor Film Center, 92Y Tribeca. She is currently partnered with Manhattan Edit Workshop for her series "Inside the Cutting Room," and she also moderates panels for American Cinema Editors' EditFest. O'Steen has taught graduate film student workshops at NYU's Tisch School of the Arts and has recently created an ongoing course entitled "Making the Cut," which is based on her interviews and examines the art and technique of master editors. In addition, she contributes to such publications as Editors Guild Magazine and Cinema Editor Magazine, the latter naming her "Film Editing's Greatest Champion."
Bill Pankow, ACE has worked in the editing room since graduating from NYU Film School in 1974. His first few years in editing were spent in various apprentice and assistant positions in commercial, film and sound cutting rooms. He started working as Academy Award winning editor Jerry Greenberg’s assistant in 1978 on Kramer vs. Kramer, and subsequently became his associate editor on Brian De Palma’s Dressed to Kill and Scarface. Pankow graduated to editor on De Palma’s 1984 thriller Body Double, and continued his affiliation with the filmmaker on The Untouchables, Casualties of War, Bonfire of the Vanities, Carlito’s Way, Snake Eyes and Femme Fatale, for which he received the Seattle Film Critics’ “Best Editing” award for 2002. He subsequently collaborated with Mr. De Palma on The Black Dahlia and Redacted, named best film of 2008 by France’s Cahiers du Cinema. Pankow has also worked with such noted filmmakers as Abel Ferrara, Robert Benton, and Paul Schrader. These films include The Funeral, R’Xmas, Still of the Night and The Comfort of Strangers. Other feature credits include Parents, Money Train, Whispers in the Dark and Once in the Life, for actor/director Laurence Fishburne. He has edited films for acclaimed Hong Kong filmmakers Tsui Hark Double Team and Ringo Lam Maximum Risk. Director Charles Stone had Bill edit all three of his feature films; Paid in Full, Drumline and Mr. 3000. His 2004 collaboration with Jean Francois Richet Assault on Precinct 13, continued in 2008 with Mesrine, Public Enemy No.1 for which Bill was nominated for a 2009 Cesar award for best editing by the Academie des Arts et Techniques du Cinema.
In 1998 Evan Schechtman founded Outpost Digital, a next generation media technology company, where he pioneered many new workflows for television and the web that have become industry standards today. An early adopter of Final Cut Pro and digital video has earned Evan the reputation as a visionary and leader in this field. In 2001, Outpost was acquired by @radical.media. Today he is the Chief Technology Officer (CTO) of @radical.media where he leads several international teams in developing systems used by radical and its clients on cutting edge initiatives. Evan has worked on such challenging projects as "Seinfeld and Superman for Amex,” “Table of Free Voices for Dropping Knowledge,” "Full Frontal for Steven Soderberg,” and many others. Evan has helped apply and demystify new technologies in each endeavor. Radical has enabled him to parlay their success in broadcast and technology to the new horizon of Transmedia, completing many media centric Web projects for Tommy Hilfiger, VW, NASA, and Johnny Cash amongst others.
Ross Shain is an accomplished post-production specialist and the chief marketing officer of Imagineer Systems. In 2013, Ross was recognized by the Academy of Motion Pictures with a Science and Engineering Academy Award for his work on the development and design of mocha planar motion tracking software. With 20 years of creative and technical experience in post-production, visual effects and the software industry, Shain has held responsibilities ranging from senior compositor, colorist and effects supervisor to product and user interface designer. Prior to his role at Imagineer Systems, Ross held positions with Avid Technology, On2 Technologies, Northern Lights Post and New York University’s CADA Program.
As long-time member and Board Member of both Motion Picture Editors Guild (MPEG) and Motion Picture Sound Editors (MPSE), Maddy Shirazi, MPSE, has worked with some of the finest directors and editors on numerous New York-based films since the 1970s. Some of these films include Running on Empty (Sidney Lumet), Bonfire of the Vanities (Brian De Palma), Valmont (Milos Forman), Mystery Train (Jim Jarmusch), Funny Farm (George Roy Hill), The Paper (Ron Howard), Billy Bathgate (Robert Benton), documentaries Riding the Rails, The Kid Stays in the Picture and No Nukes, and such PBS Specials as American Masters: F. Scott Fitzgerald and Paul Simon/Born at the Right Time. Maddy is currently making a documentary on the peace movement in New York City.
Phil Stockton, MPSE, is a Supervising Sound Editor who has worked on an array of feature films and documentaries for such directors as Martin Scorsese, Spike Lee, John Sayles, Ang Lee and many others. Phil has been recognized numerous times in the form of awards and nominations including an Oscar and a BAFTA (British Academy Award) nomination for Life of Pi, and an Oscar and BAFTA win for Hugo. He also has 3 Emmy nominations with a win for Boardwalk Empire, and several MPSE Golden Reel Awards – most recently for Life of Pi and George Harrison, Living in the Material World.
Phil has had the good fortune to work on over 120 films including such classics as Raising Arizona, Goodfellas, Do The Right Thing, Etenal Sunshine of the Spotless Mind and Brokeback Mountain. He recently finished working on The Wolf of Wall Street for Martin Scorsese.
Film editor David Tedeschi has worked frequently with Martin Scorsese on the director's documentary films including No Direction Home: Bob Dylan, Shine A Light with the Rolling Stones, Public Speaking starring iconoclastic New York writer Fran Lebowitz, and George Harrison: Living in the Material World. Earlier in his career he worked with Michael Moore on the groundbreaking TV Nation and The Awful Truth, with Leon Ichaso on Pinero for Miramax and on El Cantante for Picture House. He was nominated for an Emmy for his work on No Direction Home: Bob Dylan and ACE Eddie for George Harrison: Living in the Material World.
Oscar Tillman is Creative Director at B-Reel’s NY office. He started his career by developing and designing educational kids' games for the now extinct CD-ROM format in the mid 90’s. He Joined B-Reel in Stockholm in early 2000 as the start-up's first employee. In 2008 he moved to help set up and manage B-Reel’s London office. Oscar is a true inspirer and team player. Having been on the journey from small DIY to 100+ person prod co, he has taken part in every step of production, from coding and animating to sound design and directing shoots. Oscar uses his deep knowledge of digital production to happily lead his team and to take on new creative challenges. His projects have been awarded shiny things in most international award shows such as: Cannes Lions, One Show, Epica, Eurobest, New York Festivals, Clio, AICP Next Awards, D&AD Awards. He has also served as a juror at the D&AD Awards and the One Show.
As an Editor, Jeffrey Wolf, ACE is recognized for his film work with prominent directors Arthur Penn, John Sayles, John Waters, Ted Demme, Lasse Hallström, Brad Anderson, Debbie Reinisch and George C.Wolf. Some of his films include, Billy Madison, Beautiful Girls, The Ref, Life, Holes, and Dear John. The film Bachelorette and A.C.O.D. played at the 2012 and 2013 Sundance Film Festivals. Currently Jeff is working on You’re Not You starring Hilary Swank and Emmy Rossum. As a Director of Documentaries, he made the acclaimed documentary film James Castle: Portrait of an Artist, and is currently in production on Bill Traylor: Chasing Ghosts.
Digital Effects Supervisor Jeff Wozniak, joined LOOK’s New York office in 2012 after an 11-year stint at Industrial Light & Magic. During his prolific tenure as Sequence Supervisor and Senior Digital Artist at ILM, Jeff left his mark on such high-profile blockbusters as Star Wars: Episode II and III, Harry Potter and the Prisoner of Azkaban, Pirates of the Caribbean: Dead Man’s Chest (winner of the Academy Award for Best Visual Effects), Indiana Jones and the Kingdom of the Crystal Skull, Star Trek, Avatar, Rango (ILM’s inaugural and Academy Award-winning animated feature), The Transformers Trilogy, and Marvel’s The Avengers. Originally from Minneapolis, Minnesota, Jeff’s storied career in the film industry began with an internship at Lucasfilm while he was still a student at Stanford University. That internship led to a job in Lucasfilm’s THX division right out of college, where Jeff focused mainly on film sound. While still passionate about film sound, Jeff’s attention gradually shifted to the visual side of filmmaking, which landed him a key role in Lucasfilm’s super-secret art department working as a previsualization artist on Star Wars: Episode I (though he maintains he had no involvement in the creation of a certain floppy-eared alien.) After that amazing trial-by-fire experience and a brief sojourn into the world of feature animation on Titan A.E., he soon found himself working on his first project at ILM, Minority Report. Jeff is currently working with the talented team at LOOK on Noah and numerous other projects.
David Zieff has been crafting documentaries, feature films, and television for almost three decades, working in music, comedy and sociopolitical arenas, occasionally at the same time. Zieff recently directed and edited McConkey, a feature documentary about the extreme-skiing legend Shane McConkey, which premiered at the Tribeca Film Festival to rave reviews. Zieff was the creative consultant to the Oscar Award-winning documentary The Cove, and editor and producer of the critically-acclaimed feature doc Paul Williams Still Alive. He was the editor and producer of ESPN’s Sundance-nominated Winning Time: Reggie Miller vs. The New York Knicks, as well, winning a Peabody Award for the doc mini-series Black Magic. Zieff edited and produced Crazy Love, a Sundance nominee and winner of the Independent Spirit Award for Best Documentary. He was the supervising editor of the multiple award-winning Metallica: Some Kind of Monster, shaping over 1600 hours of footage into one of the most celebrated music films of all time. On television, Zieff was the senior editor of Michael Moore’s Emmy-winning series’ The Awful Truth and TV Nation, and many signature Comedy Central shows including Upright Citizen’s Brigade, Insomniac, TV Funhouse, and Strangers With Candy. Other work includes Left of the Dial, about the startup of the liberal radio network Air America for HBO, the Emmy-nominated The Case For Innocence for PBS/Frontline, the satirical BBC series Louis Theroux’s Weird Weekends, and HBO’s Exporting Raymond, about producer Phil Rosenthal’s travails in re-creating his hit sitcom Everybody Loves Raymond in Russia.