A work in constant progress (and occasional regress).
Birthplace:
Los Angeles, California, U.S
Born:
July 20, 1983
Adam Gerstel is an American film editor born on July 20, 1983, in Los Angeles, California. Gerstel's early work includes roles as a visual effects editor and digital artist on films such as The Aviator (2004), Shutter Island (2010), and The Departed (2006). In 2011, Gerstel served as a visual effects editor on Real Steel (2011). He continued to expand his editing portfolio with significant contributions to major productions, including Star Trek Into Darkness (2013), where he worked as a previs editor and in-house VFX supervisor, and Transformers: The Last Knight (2017), where he served as a co-editor. Gerstel's editing expertise was further demonstrated in The Lion King (2019), a live-action adaptation of the classic animated film, where he served as a co-editor. He also edited Marvel Studios' Ant-Man and the Wasp: Quantumania (2023). In addition to his work in feature films, Gerstel contributed to the second season of the Disney+ series The Mandalorian. He edited "Chapter 9: The Marshal" and "Chapter 16: The Rescue," the latter of which earned him an Emmy nomination for Outstanding Single-Camera Picture Editing for a Drama Series in 2021.
Editor:
2011 Choose
2017 Transformers: The Last Knight
2023 Ant-Man and the Wasp: Quantumania
Visual Effects Editor:
2004 The Aviator
2010 Eat Pray Love
2011 Choose
2017 Transformers: The Last Knight
2023 Ant-Man and the Wasp: Quantumania
Editor:
2019 The Mandalorian
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.