Features

Screenwriters aren’t the only ones benefitting from the richness of material now playing on cable television, or streaming from Netflix. The complexity of subject matter and shooting styles, previously the domain of theatrical film, are allowing series editors to stretch their legs as well.

When Tatiana S. Riegel, A.C.E., set her mind to become a film editor, she went about it with the methodical planning to be expected from the daughter of an astronomy professor.

For over two decades, the American Cinema Editors (ACE) has sponsored the ACE Internship Program to help bring motivated individuals into the editing profession.

To be birthed from the world of director Robert Altman and his legendary editor Geraldine Peroni, ACE, is a unique experience for a young editor.

Originally intending to be an actor, Keith Fraase fell in love with behind-the-camera work while at the University of Texas at Austin. Then he thought he wanted to be a cinematographer, but eventually fell into an apprentice editor job.

The editing career of Monty DeGraff has been in sync with some of television’s cultural icons. Mentoring younger editors has also become an important focus for him.