DOC NYC EDITING MASTERCLASS

What do documentary editors do to bring a story to life? Esteemed documentary editors Karen K.H. Sim (Watchers of the Sky, Back on Board: Greg Louganis) and Fiona Otway (Hell and Back Again, Iraq In Fragments) share storytelling secrets as they review favorite scenes from their own work. 

Sunday, November 15 at 11:30am, Bow Tie Chelsea Cinemas.

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2016 OPEN CALL IS NOW CLOSED

Our 2016 open call is closed. Thank you to all of our applicants. We’ll be notifying you of your status in early January.

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Anna Gustavi (photo by Tanya Braganti)

She captured the screening committee members’ hearts and minds on many levels, including her self-described "sense of responsibility" to the sounds and images she assembles, her keen interest in learning from other editors and filmmakers, and her sensitive portrayal of pianist Seymour Bernstein in the feature documentary Seymour: An Introduction. She will officially receive the fellowship on Tuesday, March 17, 2015 at the SXSW Film Festival Awards Ceremony in Austin, Texas.

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 FILMMAKER DOUG BLOCK (LEFT) WITH EDITORS JONATHAN OPPENHEIM AND TOBY SHIMIN

 FILMMAKER DOUG BLOCK (LEFT) WITH EDITORS JONATHAN OPPENHEIM AND TOBY SHIMIN

An editor is brought in to work on a long form documentary. The editor initially brings distance, the outsider’s eye, to the screening of the director’s footage. But ultimately, the editor’s job is to absorb the subject of the film through the footage, to live and breathe with the material, making it his or her own, and, ultimately, to emerge with a vision for the possibilities (and impossibilities) of the film. If the editor isn’t doing this, the editor won’t be able to do his or her job, which is to find and write the narrative of the film using the words and moving images of the subject. Whatever the particular shape of the ensuing collaboration, the editor’s artistic process is critically important to the creation of the film.

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ENTER THE EDIT: A CONVERSATION WITH EDITOR JONATHAN OPPENHEIM

The fifth in a series of posts on POV’s Documentary Blog about the regrettably under-appreciated process and craft of documentary editing with fellow Colin Nusbaum:

As Nusbaum’s year as Karen Schmeer Film Editing Fellow comes to a close, he and one of his mentors, Jonathan Oppenheim – whose credits include Laura Poitras’s The Oath (POV 2010), Stephen Maing’s High Tech, Low Life (POV 2013) and Jennie Livingston’s iconic documentary Paris Is Burning – discuss the editing process with a year’s worth of conversations about the art of editing behind them.

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