{"id":27546,"date":"2021-11-25T23:43:27","date_gmt":"2021-11-25T23:43:27","guid":{"rendered":"https:\/\/www.thepicpedia.com\/blog\/adobe\/disability-civil-rights-at-the-forefront-of-netflixs-crip-camp\/"},"modified":"2021-11-25T23:43:28","modified_gmt":"2021-11-25T23:43:28","slug":"disability-civil-rights-at-the-forefront-of-netflixs-crip-camp","status":"publish","type":"post","link":"https:\/\/www.thepicpedia.com\/blog\/adobe\/disability-civil-rights-at-the-forefront-of-netflixs-crip-camp\/","title":{"rendered":"Disability civil rights at the forefront of Netflix\u2019s Crip Camp"},"content":{"rendered":"
Editor Eileen Meyer discusses her work on the award-winning Netflix documentary, Crip Camp.<\/p>\n<\/p>\n
Image source: Netflix.<\/p>\n
Winner of the IDA Documentary Award for Best Feature and nominated for Best Editing, Crip Camp unveils the groundbreaking disabled youth summer camp, Camp Jened, and the inspiring stories of the campers in their fight for equality. Told firsthand from co-director Jim LeBrecht, who was a camper himself, the film sheds light on the everyday challenges for the disabled before the American with Disabilities Act was enacted in 1990. The film was recognized as an audience favorite at the 2020 Sundance Film Festival with the Audience Award for U.S. Documentary.<\/p>\n
Editor Eileen Meyer helped the directors piece together the story balancing archival footage with supportive testimonials. We asked Eileen about editing the film remotely, how Premiere Pro helped her save time while working with many different types of archival footage, and lessons she\u2019s learned during her career.<\/p>\n
I first learned to edit when I was a student at Hampshire College. I started studying documentary film in my first year there, and since the education model is very project-based, I was able to start editing right away. My very first project was on 16mm film and edited on an Steenbeck flatbed with a splicer and tape!<\/p>\n
I usually work on 1-2 projects per year and I prefer to change my workspace at the beginning of each one, so it feels refreshed and different. I just recently added a standing desk converter and an under-desk bicycle, which I hope will keep me more active this coming year. In terms of a starting point for a project, I like to spend at least a couple of weeks screening footage, having lengthy conversations with the director about creative ideas, and working on laying out a structure for the film.<\/p>\n
I have a lot of favorites scenes and moments – it\u2019s hard to pick just one! I would say the scene at the end of summer camp when all the kids are passing the mic around and talking about their parents. We always knew this was a pivotal scene where we experience the kids finding their voices and agency, but it was incredible to watch it change and develop over the final months of editing. Mary Lampson, our co-editor brought true magic to this scene.<\/p>\n
This was the first project I worked on that was mostly a remote workflow. The directors and assistant editor and associate producer were in Berkeley, while I was in New York and Los Angeles, and our co-editor and additional editor were in Maine. We all had duplicated media on our drives but had to figure out how to split up the project and share our sequences. It required very good communication, so that we all knew who had the \u201cmaster\u201d project at any given time and what everyone was working on. We also had very long virtual calls to discuss our creative ideas- our longest one lasted nearly 7 hours!<\/p>\n
We used Premiere, Photoshop and After Effects. Adobe was absolutely the best choice for this project because we were incorporating many different types of archival materials, and not having to transcode everything saved us so much time. Lauren Schwartzman, our incredible assistant editor and associate producer, also used the powers of After Effects to create her unique subtitles.<\/p>\n
<\/p>\n
Image source: Netflix.<\/p>\n
I love that Premiere Pro is always listening to editors and incorporating their requests into the updates. I also really appreciate that they took aspects of other editing programs that we all learned early in our careers and kept many of the things that were always working well, while fixing the things that didn\u2019t work and creating a new program that is intuitive and easy to learn.<\/p>\n
I\u2019m not sure if this is a hidden gem exactly, but I love using the extended sequence markers in Premiere Pro for easy and quick organization in a string out, or the very first cut of the video.<\/p>\n
I have different creative inspirations for every project, but mostly I am inspired by the incredible directors and editing mentors I\u2019ve been lucky enough to have so far in my career. I continue to learn exponentially on every project, not just about the subject matter but also about editing, filmmaking, and storytelling.<\/p>\n
I suffered from imposter syndrome for a long time. I didn\u2019t know how to believe in myself or know my worth, and I ended up in some situations where I was exploited and taken advantage of. That caused me to reach a point of burnout, where I almost quit editing all together. Luckily, I was able to take a break and slowly work my way back into feeling good about it again, thanks to a few great directors and editors that mentored me and supported me. My advice would be to try to have strong boundaries, don\u2019t be too hard on yourself, and join organizations that offer mentorship and connections. Editing can be lonely!<\/p>\n
<\/p>\n
Image source: Eileen Meyer.<\/p>\n
I love having big windows. It\u2019s a myth that editors like to edit in a dark cave, unless you\u2019re doing a lot of color correction which requires very specific lighting conditions. Sunlight is very important for mental health. I also love my two assistant editors, June and Birdman, keeping me company on the client couch.<\/p>\n
Crip Camp is currently streaming on Netflix.<\/p>\n<\/div>\n
Source : Adobe<\/p>\n","protected":false},"excerpt":{"rendered":"
Editor Eileen Meyer discusses her work on the award-winning Netflix documentary, Crip Camp. Image source: Netflix. Winner of the IDA Documentary Award for Best Feature and nominated for Best Editing, Crip Camp unveils the groundbreaking disabled youth summer camp, Camp Jened, and the inspiring stories of the campers in their fight for equality. Told firsthand …<\/p>\n","protected":false},"author":1,"featured_media":27550,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22],"tags":[],"_links":{"self":[{"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/posts\/27546"}],"collection":[{"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/comments?post=27546"}],"version-history":[{"count":1,"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/posts\/27546\/revisions"}],"predecessor-version":[{"id":27551,"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/posts\/27546\/revisions\/27551"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/media\/27550"}],"wp:attachment":[{"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/media?parent=27546"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/categories?post=27546"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thepicpedia.com\/wp-json\/wp\/v2\/tags?post=27546"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}