Issue link: https://digital.copcomm.com/i/312687
20 Post • May 2014 www.postmagazine.com "And we also have experienced editors who are now learning [Autodesk] Smoke or [Blackmagic Design DaVinci] Resolve because they're increasingly being asked to do more compositing and color correction." He recommends the signature Six Week Intensive Course for people "new to the business or those changing a career — a shooter who wants training in post, for example." Manhattan Edit Workshop recent- ly added Premiere Pro to the curriculum; other platforms covered include Avid Media Composer, Final Cut Pro X and Adobe After Effects. Standalone manufacturer-cer tified classes are also available for Avid, Apple, Adobe, Assimilate Scratch and Autodesk Smoke; certified exams are included in the price of the Apple and Avid classes. In addition to teaching the tools in the Six Week Intensive Course, topics include film theory, the history of editing techniques and the aesthetics of narrative, short-form, com- edy and documentary cutting so students, who work on real projects, learn "the cre- ative side of editing and why they're pushing the buttons," Banke says. Classes typically are comprised of 10 students, each using a dedi- cated edit system. Manhattan Edit Workshop owner Josh Apter is a filmmaker who co-teaches the aesthetics portion of class and critiques proj- ect screenings. "He's constantly out finding new course content from his industry col- leagues and friends, as well as generating it from his own shoots," Banke explains. "Stu- dents who are directors, producers or shoot- ers are also welcome to bring in their own material." Documentary editor David Zieff (McConkey, Metallica: Some Kind of Monster) is the current artist-in-residence; he meets with students, screens his work and theirs, and offers real-world advice about the industry. Some students have already received post training in college, but Banke notes that it's often been "so focused on completing a student project that they're not necessarily prepared for the real world. Colleges train them as if they're going to be directing or editing a movie right off the bat, while most of them will be starting as loggers, assistants or on the overnight shift. When they gradu- ate, they're lacking a knowledge of how to work as an assistant, which is how to get their foot in the door." To that end, the new Avid Assistant Editor course debuts this month as a two-day workshop based on input from editors regarding the skills they need their assistants to have. Preparing students for what to expect in the business is part of the six-week work- shop, too. Manhattan Edit Workforce puts their clips and resumes into a database accessible to alumni and leading post facili- ties; instructors work with students to help with resumes and cover letters, and each student leaves the class with their own pro- motional Website to showcase their work. "I think we're the only training company that touches every major edit system and gives each student such undivided attention, their own edit system to work on and expo- sure on how to break into the industry," says Banke. Alumni are invited back for tech talks with manufacturers and one-day Master Classes, which are also open to others in the business. Their annual event, "Sight, Sound and Story," coming June 14, will feature all- star panels on cutting TV, sports editing, documentary editing, The Wolf of Wall Street's sound design team, and an evening conversa- tion with triple Oscar-winning editor Michael Kahn, A.C.E. VIDEO SYMPHONY Based in downtown Burbank, CA, in the heart of the Media District, Video Symphony (www.videosymphony.com) provides train- ing to newcomers and working professionals in Avid Media Composer, Adobe Premiere Pro, Maxon Cinema 4D, Autodesk Maya and Avid Pro Tools. In-depth programs last 12 to 14 months, and students come from across the globe to attend, says Paul Petschek, a longtime instructor in the television and film editing program, an editor by trade and an adjunct lecturer at the University of South- ern California. "The accent is on project-based learning," he says, with most students manning their own edit system as they tackle real projects in a very hands-on approach to training. Courses cover technical skills, aesthetics and workflow; students also learn VFX, sound, color correction, finishing and output. Avid Media Composer is the foundation for classes, although Premiere Pro has been gain- ing in popularity recently. "We are one of the original Avid super- centers of training and have trained many people around the world over the years," Petschek says. Avid-certified testing is offered for those who want the distinction of manu- facturer certification. Some students are graduates of major universities and film schools, who still need "very grounded, broad-based training that will help them get a good job," he notes. Some have opted for Video Symphony's com- prehensive curriculum instead of college. Others are "career changers of all ages" and even veterans of the armed forces. (Chapter 30, 31 and 33 federal benefits are accepted.) Most are looking to hone their skills in the art of storytelling, says Petschek. "Pretty much everyone can use some improvement in creating emotion through editing," he reports. "It's something they haven't neces- sarily learned in other courses." Since the television and film editing pro- gram gives students "a taste of everything," they're sometimes surprised to discover an area they enjoy working in or talents they didn't know they had. "We've had students learn that they really like to do things like developing workflows and handling asset management — they have hidden talents in those fields," Petschek says. Video Symphony has an active job place- MEWShop's Six Week Intensive Course is designed for those looking to change careers. Training