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Ever since I was a kid, I loved to act. I used to put on plays in the basement of my childhood home and by “put on”, I mean I was the Director, Actor, Producer, Costume Designer, Production Assistant, you name it. This was a stage play, but when a camcorder was involved, I guess you could say I was the Director of Photography, but I think my skills might have been lacking in that department at that age. Although my father was more qualified, I handed that role over hesitantly as he knew nothing about the arts and this “show” (who are we kidding, all of them) was destined for Hollywood.

There are a few ways to have a career in editing for the film / video / new media industry. Film school could give you the training, you could assistant edit for the assistant editor for x years unpaid until someone dies and you move up, or you could grind out your friends’ music videos for $500 until someone takes a chance on you, etc etc. All very available routes, although I’ll be discussing a different approach. Just start editing.

The camera crew behind the hit FX TV series The Americans chose Vitec Videocom brands to support the production through its second season. The show’s cinematographer Richard Rutkowski, and camera assistants Brendan K. Russell and Rory Hanrahan, rely on Anton/Bauer batteries and chargers, Litepanels LED lights, and OConnor fluid heads and tripods for their reliability and durability during stage and location shoots, which helps keep the show on pace and on budget.

The Emmy-winning editing team behind Euphoria, consists of Julio C. Perez IV, ACE; Laura Zempel; Nikola Boyanov; and Aaron I. Butler, ACE. Together the team shaped two of the most impactful episodes this season, Stand Still Like the Hummingbird and The Theater and its Double. With Rue’s devastating breakdown and Lexi’s opportunity to share her inner voice with the world, the editors conveyed each episode’s unique feel while keeping the heart and core of each character at the center stage.

As filmmakers, we are in love with the art and craft of one takes. Way back in film school we saw how the legends used them such as Martin Scorsese in “Goodfellas” and Orson Wells in “Touch of Evil”.

In our latest interview, we spoke with Jerry Fleming, production designer for the upcoming FX mini-series Kindred, which premiered on December 13. Kindred follows Dana, a young aspiring writer, as she uncovers new secrets about her family’s past and gets sucked back in time to a 19th-century plantation. The series stars Mallori Johnson, Micah Stock and Ryan Kwanten.

Yearly Departed is a series of eulogies for the year 2020, where a lineup of all-women comedians will deliver everything from casual sex to beige Band-Aids and everything in between that we’ve “lost” in 2020. After a year of societal upheaval, plague, murder hornets and banana bread, Yearly Departed will give 2020 the huge send-off it deserves, from some of the world’s funniest women. Yearly Departed is an Amazon Original Comedy Special that is produced by an extraordinary group of women including Bess Kalb (Writer, EP), Rachel Brosnahan (EP), Paige Simpson (EP), Samantha Ressler (EP), Nathalie Love (EP), and as well as Done + Dusted’s Katy Mullan and David Jammy, both EPs. The special is directed by Linda Mendoza (Tiffany Haddish Presents: They Ready)

For this edition of Pivot Point, I caught up with Sean Whalen, Studio Director for Be Electric Studio located in New York City. Be Electric has been around for a while but working in the epicenter has meant a real change. Sean filled us in on what it has been like for Be Electric and the people he works with since the big switch to “remote” workflow.

Matt Sakatani Roe, the cinematographer for the new Netflix movie Purple Hearts, recently spoke with us about his work on the film — including working as the camera operator, as the film used a significant amount of hand operated camera movements. He also shared how he shot multiple concerts at venues including Whiskey a Go Go, The Hollywood Bowl, and a concert series near the ocean with a live crowd, and more.

DP, Tim Arasheben gives us an inside look at what it's like to shot with Canon's 50-1000mm lens on set on the short film, “Connections." Learn the pros and cons of the lens, along with info about the short and what projects Arasheben has set for the future.