Awarded annually, the Karen Schmeer Film Editing Fellowship was created in 2010 to honor the memory of gifted editor Karen Schmeer. It is a year-long experience that encourages and champions the talent of an emerging documentary editor. It creates opportunities to help cultivate an editor’s artistry and craft, and expand his or her professional and creative community.
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.
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.
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.
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.
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.