ACE TechFest

ACE TechFest Brings Editors and Latest Technologies Together

American Cinema Editors Launches New Event to Provide Access to Experts and Important Product Developments

American Cinema Editors has unveiled its newest educational technology event: ACE TechFest (LA). ACE TechFest is a half-day event during which editors and post team members will be able to access users, experts and new products in a limited-seats-available environment that offers all of the information of a major trade show without the hassle, travel and frenzy. It will be held at the Universal Studios lot, June 8, 2019.

To provide greater flexibility to attendees, ACE TechFest allows event-goers to choose one of two separate but identical sessions, either 8:30 a.m. to 1:00 p.m. or 1:30 p.m. to 6:00 p.m. The morning and afternoon sessions will feature the same technical and product presentations as well as access to experts and users in our curated exhibit area.

Jenni McCormick, Executive Director of ACE, remarked “Editors often don’t have the time to leave the editing room to go to NAB and other out-of-town trade events where the technical community presents important news and developments. Those developments actively impact editors’ work and working lives. ACE is focused on making sure that editors have access to the latest information and ACE TechFest is a great opportunity to learn what’s new, meet the experts who can most accurately present them, and mingle with peers.”

ACE TechFest is sponsored by Platinum Sponsor Adobe, and Gold Sponsors Avid, Blackmagic Design, Ever/Cast, and NBCUniversal StudioPost. For tickets go to: TechFest.

For information about sponsorship, contact Peter Zakhary,, 626.695.7493 or call the ACE office at +1 323 956 2900.

ACE TechFest Media Contact:
ignite strategic communications | +1 818 980 3473
christine purse | | mobile: +1 323 806 9696
kate eberle |

Editor Oscar Decision

Academy Reverses Its Oscars Decision

“The American Cinema Editors wishes to thank the Academy for hearing and acting on the concerns of the industry and the artists who are such a vital part of the film making process.  We are pleased that the film editing award, along with all other categories, will be presented in its entirety.  We would also like to express enormous gratitude to the many prominent filmmakers and industry leaders who stood up and spoke out for the recognition of our craft.”


Stephen Rivkin, ACE
President, American Cinema Editors


Academy Reverses Decision, Will Air All Oscar Categories Live>>


Hollywood Reporter – Academy Reverses Decision, Will Air All Oscar Categories Live


American Cinema Editors Call on Academy to Reverse Its Oscars Decision

The Hollywood Reporter, February 14, 2019 by Carolyn Giardina 

`“We respectfully ask that the Academy and ABC please consider an alternative to this decision and equally honor the people who actually make the movies,” writes ACE president Stephen Rivkin.

Leaders of honorary society American Cinema Editors and IATSE’s Motion Picture Editors Guild (Local 700) on Thursday issued statements on the Academy’s decision to present four Oscar categories during commercial breaks.

Film editing is one of four categories affected, along with cinematography, live-action shorts and makeup and hairstyling. Per the Academy’s plan, these categories will be presented during commercial breaks and video of the presentations will air later in the Feb. 24 ABC broadcast of the 91st Oscars. The plan calls for a rotation, meaning that at least four different categories would be presented in this manner in 2020.

Also on Thursday, Editors Guid president Alan Heim sent an email to the Guild’s 8,100 members, voicing his union’s opposition to the Film Academy decision. “It doesn’t matter which categories are affected this year or next; none of them should be,” he asserted. “The very idea is anathema to the collaborative nature of filmmaking.”

Read entire article…

Brad Pitt Christopher Nolan Join Call Academy Reverse Oscar Decision

ACE President, Stephen Rifkin, Calls on Academy to Reverse Its Oscars Decision

The American Cinema Editors has been dedicated to elevating the perception of the art of film editing for nearly 70 years and we remain deeply committed to that core mission. Although we understand the tremendous pressure put on the Academy by the ABC Network to shorten the show to 3 hours, we cannot agree with any idea that diminishes the effort for which we have fought so hard: to promote and recognize Film Editing as the key creative position that it holds in the process of making a film.

Compressing four categories and presenting them in a shortened version later during the Oscar telecast, will not amount to enough running time to save more than a handful of minutes. This is hardly enough to be worth the amount of negative sentiment expressed by our ACE membership and the industry as a whole. We respectfully ask that the Academy and ABC please consider an alternative to this decision and equally honor the people who actually make the movies.
Stephen Rivkin, ACE
President, American Cinema Editors

Alan Heim’s Letter to the Academy – President MPEG

Dear members,
In its mandate to shorten the Academy Awards’ telecast, the Academy has insulted all of us who work “below the line.” Many of our members and those of other IATSE Locals are understandably upset.

The people who watch the Awards across the nation and the world should be fully exposed to ALL of the crafts that go into the creation of a film. The Awards should be entertaining but they are also an opportunity to enrich the film-going experience of the audience by informing them of the creativity our crafts bring to every project. How many people over the years have been motivated to pursue careers in film after watching the Awards? The educational value may be even more important than the entertainment.

It doesn’t matter which categories are affected this year or next; none of them should be. The very idea is anathema to the collaborative nature of filmmaking. The Academy has historically honored ALL of the crafts involved in filmmaking and the search for better TV ratings shouldn’t affect that. We have always been told that the Academy honors the very best in filmmaking, but removing some categories from equal acknowledgement on the air seems to contradict that narrative.

There is much outcry for the Academy to reverse its decision, and the Motion Picture Editors Guild joins those voices. If it does not reverse its decision, let us all do everything we can to see that this demeaning experiment will not be repeated.

Yours in solidarity,

Alan Heim, ACE
President, Motion Picture Editors Guild IATSE Local 700

“Edited By” – A New Website

A new website devoted to the art of editing has just been launched.

EDITED BY is a survey of one hundred and thirty-nine editors who invented, developed, fine-tuned and revolutionized the art of film editing.

The site was researched and built by the filmmaker Su Friedrich and is hosted by Princeton University, where she has taught film production since 1998. Friedrich began the project a year ago after reading a chapter about editing in a film production book in which only the director’s names was mentioned in discussing each film–not the editor’s.

EDITED BY is not meant to be comprehensive; no site could contain the names of all the great, hard-working editors since the advent of cinema and from around the world. Instead, it represents the field through a selection of sixty-four editors by profession and an additional group of seventy-five “filmmakers who edit” and was done with the hope that others will continue to research, promote and honor this most essential aspect of the art of filmmaking.

In addition to photographs of the editors, short informational texts about each one, samples of their own words about their work, and several posters of films they’ve edited, it also has an extensive Appendix with carefully selected links to articles about, and interviews with, each editor.

And finally, one can watch and download Edited by: The Companion Film,  a 75 minute film made up of one-minute clips from a film edited by each of the editors by profession.

In Memoriam – Ted Rich, ACE

Ted Rich, ACE, passed away from heart failure on Sept. 1. He was 88. He was a friend to me and an inspiration and mentor to so many editors.  Besides the legacy of the films and television shows he influenced, Rich leaves behind his son, Steven, a daughter-in-law and two grandchildren and the many filmmakers he touched.

Rich was born in the Philippines on December 2, 1929, to an English father and French mother. He had one sister and four brothers. Before the outbreak of World War II the family moved to Beverly Hills.  After graduating from Beverly Hills High School in 1948, Rich entered UCLA majoring in Business Administration.

In 1950 Rich married his high school sweetheart, Lois Pivar. His father-in-law, Maurice Pivar, was head of the editorial department at Universal and he suggested that Rich try his hand at editing. Through Pivar, Rich met Danny Cahn, ACE, who brought Rich to Desilu Productions to assist Bud Molin on I Love Lucy. Molin taught him to edit.

Frequently they would drive down to Palm Springs with a Moviola to run cuts for Desi Arnaz. They would bring the trims along so changes could be made immediately. They would stay until Arnaz was satisfied. One time, Arnaz sent them back in Lucy’s car to get home after the driver had left with the equipment.

Rich moved up to edit on Desilu’s, Harrigan and Son (1960), a show about an Irish father and son who happened to be lawyers. He went on to edit such shows as I’m Dickens, He’s Fenster, The Bill Dana Show, My Living Doll, The Wild Wild West, McMillan & Wife, My Favorite Martian and Kolchak: The Night Stalker.

Rich’s business background came into play when he became the post-production supervisor on The Good Guys television series. This merger of business and artistry was destined to make him one of the best post supervisors in the business.

With his background in editing and a strong business education, Rich was perfect to helm post-production departments. He understood budgets, personalities and how things worked in the film and television businesses.

These were the glory days at MTM, making such shows as Hill Street Blues, St. Elsewhere, Remington Steele, Lou Grant, WKRP in Cincinnati, The White Shadow, The Bob Newhart Show, Rhoda, Phyllis, The Tony Randall Show and, of course, The Mary Tyler Moore Show.

Thanks to the lessons learned from Arnaz, Rich successfully kept these shows on track. From MTM, Rich moved on to Lorimar. They were doing such hits as Dallas, Knots Landing, Falcon Crest and The Waltons along with several miniseries and movies of the week. Rich was head of the postproduction department and responsible for the completion of all those shows.

When Lorimar was acquired by Warner Bros., Rich became head of their television post department until he retired. During his retirement years, he enjoyed spending time with his son and his two grandchildren, his sister and brother-in-law, longtime friends and, of course, his dog, Milo.

He also enjoyed attending industry events, screenings and dining out. He received the ACE Career Achievement Award honoring his many years in the business, his contributions and the many people he helped with their careers. We have lost a pillar of our craft and will not see his like again. –Jack Tucker, ACE