The cinematic space is created in the viewer's imagination by the content of individual frames, the content built by the connection of following shots and by the sound which constitutes the space. The filmed content is quite different from classical footage because it doesn't have a specific narrative structure. There is no ready story line. It’s up to an editor to decide what would happen. That makes OIRFET content unique an helpful in film education. What is more it opens students minds and invite them to use their imagination and creativity to edit original story just the way they want it to be.

On-screen space is the two-dimensional surface of the frame, while cinematic space is the three-dimensional world in which the characters live and die. The cinematic space is created in the viewer's imagination by the content of individual frames, the content built by the connection of following shots and by the sound which constitutes the space. The filmed content is quite different from classical footage because it doesn't have a specific narrative structure. There is no ready story line. It’s up to an editor to decide what would happen. That makes OIRFET content unique an helpful in film education. What is more it opens students minds and invite them to use their imagination and creativity to edit original story just the way they want it to be.

Although the procedure was successful, the patient died after a few hours. The real event became the inspiration for the final film material.   
For the purposes of the material, we decided to work with two characters, the main surgeon and the patient. These two characters represent unique time plans that can be intertwined in various ways. We focused a lot of attention on subjective dimension of the characters, the effort was to show the internal conflicts and personal emotionality, due to this approach it´s possible to make more variations, the emphasis on subjectivity helps frees up working with time – when we somehow experience events, time doesn´t need to be necessarily linear. The operation itself was also important to us, we realized, that the whole record of surgery has greatest potential of working with temporality (length of the operation/beginning of the operation/end of the operation/what happens during the operation). 
Each character is the holder of their own theme, the surgeon seeks to perform a scientific procedure, for the patient's character we thematize the fate that must be accept. Generally, the film deals with losses and gains that are changing rapidly during medical procedures. 
The resulting effort is to present the simple backstage, breakthrough situations that doctors and patients are facing on a daily basis. 
The material was filmed in a period of 5 days in a historical surgical station from mid 1960s. 
The main inspirational sources was the film All That Jazz (1979), which focuses on heart surgery and emphasizes the subjective experiences of the patient. Another source include the film First Man (2018), although the film deals with the space flying theme, it became the inspiration of the visual aspect of the final images. 

Although the procedure was successful, the patient died after a few hours. The real event became the inspiration for the final film material.   
For the purposes of the material, we decided to work with two characters, the main surgeon and the patient. These two characters represent unique time plans that can be intertwined in various ways. We focused a lot of attention on subjective dimension of the characters, the effort was to show the internal conflicts and personal emotionality, due to this approach it´s possible to make more variations, the emphasis on subjectivity helps frees up working with time – when we somehow experience events, time doesn´t need to be necessarily linear. The operation itself was also important to us, we realized, that the whole record of surgery has greatest potential of working with temporality (length of the operation/beginning of the operation/end of the operation/what happens during the operation). 
Each character is the holder of their own theme, the surgeon seeks to perform a scientific procedure, for the patient's character we thematize the fate that must be accept. Generally, the film deals with losses and gains that are changing rapidly during medical procedures. 
The resulting effort is to present the simple backstage, breakthrough situations that doctors and patients are facing on a daily basis. 
The material was filmed in a period of 5 days in a historical surgical station from mid 1960s. 
The main inspirational sources was the film All That Jazz (1979), which focuses on heart surgery and emphasizes the subjective experiences of the patient. Another source include the film First Man (2018), although the film deals with the space flying theme, it became the inspiration of the visual aspect of the final images. 

This is the way how we give the viewer the opportunity to empathize with the character and live the story with him. Everything must be subject to this - acting, cinematography, sound. We receive information through the screen and the movie fabula is made in our head.
One of the tools that the editor has in his hands is creating a perspective on how the viewer will look at the story. Many times, the story can be told from different perspectives, and choosing the best conditions determines how interesting it will be for the viewer. The editor should use the visual language of the scene to express the emotional impact of the scene through the mental and emotional perspective of the character. Our exercise, a short etude called Surprise, gives students the ability to practice subjective storytelling by following one of three characters and by choosing their preferred genre.

The main focus is on form and atmosphere. The footage presented is a deconstructed dance performance with clear segments from beginning to end. However, students are encouraged to find alternative logic behind certain sequences or even base their assignment on a single sequence. Students are able to choose from four different visual styles present in the material, all differentiated by texture, lighting, color, camera movements and even genre. Each style can be paired with sounds which is left to the students own choice and interpretation. Styles can be combined and put into relation to one another. The goal of the visual style workshop is to encourage building alternate and individual visions from scratch.

That formula would then have to be built into the way the film is conceived and shot. Perhaps a kind of mechanised Hitchcock – the script reduced to a storyboard and the editor following the timing and structure already determined for them.
Editor = computer.
But editing is not about finding the perfect form that is already built into the material. If nothing else the edit suite is where you discover possible alternatives and surprising solutions to each and every moment. It is one thing to be secure in the details of the story you are telling, but quite another to edit in such a way that the emotional truth in all its complexity can be grasped and enjoyed by the audience. This is why any attempt to describe the perfect editor or indeed perfect editing is a foolhardy enterprise, since emotional truth and the way it is communicated to the audience is frankly impossible to reduce to a formula.
However putting the different demands of individual films aside it is possible to describe some elements of the variables at play, if we accept that ‘perfect’ editing is not the name of the game. If I ignore the considerable anxiety associated with reducing a creative process to words on the page, it may be worth trying to address one or two of these elements.

With that comes behaviours, attitudes and lifestyles that are both positive and concerning. The nature of my work involves introducing editing to entry-level film diploma students in this age group. They need to build foundational knowledge on editing and develop creative and technical skills in the art of editing, on an (often) unfamiliar software, for the purpose of narrative-driven storytelling. Of late, this has been managed through a mixture of synchronous and asynchronous learning, where communication and learning is supported through the use of digital platforms and social media, and where the material used and covered has to factor the stage of the educational process the learners are at. This presentation will seek to illuminate on the merits and pitfalls of using these tools for communication and learning, as well as the issues faced and overcome in the teaching process.

AI/ML is a hot topic in many areas. Mostly connected with industry but also with art.
AI/ML exists now on every step of film creation and helps to speed up many processes. How AI/ML tools can help filmmakers to achieve more? What can be achieved?
Are AI/ML tools mature enough to be used with high quality demanding movies? These are questions for which we will try to find answers.

Presentation will also include inspirations and work by partners, artists and academics that we encountered in our process. (That will include presentation from the RNDR and our collaboration - a design studio from Hague).

We will discuss in details the project and explain the work, philosophy and mechanisms behind it.

Presentation will also include inspirations and work by partners, artists and academics that we encountered in our process. (That will include presentation from the RNDR and our collaboration - a design studio from Hague).

We will discuss in details the project and explain the work, philosophy and mechanisms behind it.

This artistic aspect of editing is often attributed to intuition – unreflective, split-second expert judgements. However, attributing this expertise solely to ‘intuition’ makes it problematic to teach the shaping of characters beyond craft skills like keeping continuity and emphasizing a particular perspective.
The proposed presentation aims to explicate methods for teaching: interpretation of actor performance; tools for molding it further; and skills to ultimately create a character for viewers to emotionally invest in. By providing explicit articulations of implicit knowledge such as kinesthetic empathy, laws of physics, autonomous reactions, and cultural conditioning, these methods can further student’s ability to: shape and develop multifaceted characters through editing; build narratives around characters and relationship that offer depth and nuance across the role roster; and respond to multiple complexities of dramaturgy, perspectives, style etc.
The presentation is a case study of a teaching practice developed through an artistic research project and used with editing students at Stockholm University of the Arts, applied to both narrative fiction and documentary film.

These are skills that can be very useful for story development and dramaturgical work on the screenplay. So why don´t see it as another creative field in teaching and a future working environment for editing students?
I want to present my idea of a joint seminar where directing, dramaturgy and editing students are working together on a script draft. The seminar should focus on the role of the editing students and on their special, intuitive approach to dramaturgy. There is a special quality in skills that come from practical work, from feeling what feels right and the experience of trial and error. Editing can be described as a form of artistic research in the field of dramaturgy and the seminar should explore this in a deeper way by practical assignments.
In the panel I want to present some methods that I developed for the seminar. I am very interested in an exchange with people who are already teaching editing to enrich my thoughts and to further develop this seminar.

By providing access to professional feature film rushes and associated production documents, DAVA aims to expose students to the creative and organisational processes faced by working film editors and editing assistants.
At the heart of this intense period of editing immersion is a journey of creative self-discovery, in which students are encouraged to evaluate their emotional response to actors’ performances and explore various storytelling possibilities.
Guided by regular tutorials, where editing choices and processes are discussed and analysed, students gain new and tangible insights into the film editor’s responsibilities and central role in the filmmaking process.
Examples from students’ editing work will be shown.
This session invites schools to discuss how the use of professional film footage affects practice-based editing pedagogy and how this helps students prepare for a career in the field of post-production.

By providing access to professional feature film rushes and associated production documents, DAVA aims to expose students to the creative and organisational processes faced by working film editors and editing assistants.
At the heart of this intense period of editing immersion is a journey of creative self-discovery, in which students are encouraged to evaluate their emotional response to actors’ performances and explore various storytelling possibilities.
Guided by regular tutorials, where editing choices and processes are discussed and analysed, students gain new and tangible insights into the film editor’s responsibilities and central role in the filmmaking process.
Examples from students’ editing work will be shown.
This session invites schools to discuss how the use of professional film footage affects practice-based editing pedagogy and how this helps students prepare for a career in the field of post-production.

Iconic Australian films "Strictly Ballroom", "Muriel’s Wedding", "Moulin Rouge!", "Red Dog", and "The Dressmaker" bear the unmistakable look and sensibility of Bilcock’s visual inventiveness, but it was her brave editing choices in Baz Luhrmann’s "Romeo+Juliet" that changed the look of cinema the world over, inspiring one Hollywood critic to dub her editing style as that of a “Russian serial killer on crack”.
With a back-story as colourful and surprising as her films, and featuring commentary from Cate Blanchett, Baz Luhrmann, Shekhar Kapur, Phil Noyce and Fred Schepisi, this documentary is a wonderful insight into the art of editing and the profound impact it has on storytelling.

I have been using this theory in film editing classes with a question – what is punctum in film? What is this element of chance which makes film interesting and how to notice that in editing? If a documentary filmmaker shoots a scene where chance itself directs it with start, middle and end – he/she does not know why it happened, it is only left for him/her to witness that rhythm. And in feature film – what is the chance element there, which we can only witness but not construct?
My proposition is that teaching editing requires a change of focus from the cut to the invisible flow between cuts and philosophical discussions over punctum in film have very effectively made students focus shift to the actual inner drive of the film. Also it can be asked – if AI could replace film editors then would AI notice and be able to recognize punctum?

Education is preparing students for the future, but no one knows what the future will bring.
The future is totally unpredictable, but we try to give students a grounded basis, hopefully helping them in this transition with creativity, flexibility, openness, extended knowledge, etc.
I am a professional editor and I also teach editing. My method is to transfer my own professional experiences accumulated during the past 25 years. I have tried out myself in a wide variety of film genres, my editing work having been recognized worldwide with several international awards. I still have, however, the urge to learn. I can teach the students what the film editing was in my time, but what it will be like, we must figure out together by learning from one another.
I was trained “Learning by doing”. I still think this is ideal only if supported by extended curriculum in film history, film theory, technical skills, dramaturgy, literature and if focuses on innovative project based, cooperative and collaborative exercises, with the aim of self-knowledge development and social sensitization. Mentor-student relationship is very important. I have set off a senior-tutoring programme, whereby senior students are teaching freshmen. It proved effective and help students to connect with the editors’ community.

From peaceful dialogue scenes to fast-paced action scenes, all have rhythm and it moves at a particular pace. When we watch a film it is much easier to access, but while making it, editors do face problems. Some say, they hear a rhythm as they edit the scenes. So, fundamentally, an inherent rhythm sense is what drives the editor to choose a cutting point, or the nature of the shots. But is rhythm always 2|2 or 4|4? Not really. If someone is acquainted with Indian classical music s/he would know that some rhythm patterns are quite complex. Some are not even symmetric in nature. From a 5 beat cycle, the Hindustani Classical music may range to a 18 beat cycle or more. Song writers have used these complex patterns to emphasize on particular words used in the songs. The musicians go on creating even more complex patterns on the given asymmetric structure. But are these natural? Do we really experience rhythm in an asymmetric manner? If we just go back to the point where the editor was imagining a rhythm pattern, if it’s asymmetric, do we get a proper scene?
My presentation will try to find out how edited sequences from known films have incorporated asymmetric pattern structures for a better effect.

In an age where artificial intelligence is creating original work, and where machine learning is producing better results than human intervention, professionals across the board are learning to negotiate a future where many roles which were once thought to only be possible with humans may be lost to robots.
The craft of editing has been caught in a perpetual loop - over many decades, it has gone through cycles of progressive simplification, from rudimentary to reverent and back. Training courses tend to focus on the basic mechanics of editing and the technology that facilitates it. The result is a crop of editors that are fast and precise, but yet failing to create substantial experiences with their work. This rubik's cube kind of editing can be formulated and automated - both by humans and by software. However, what cannot be formulated currently (or in the foreseeable future) are the qualities that editors bring to editing that are exclusively human. 
Mirror neurons, kinesthetic empathy, and embodied simulation theory, among other discoveries, can give us better insight into why we experience things the way we do, and if incorporated into the teaching process, can inform editors on how to use those abilities to craft better audio-visual experiences. 
This essay makes a case for shifting training efforts away from film history - which is constantly being rewritten - as well as away from film technology - which is better taught by manufacturers - towards the exploration of human experience in storytelling.

The conceptual framework here proposed does not intend to invalidate them, but to provide a new look at how they become processes of artistic creation.
It is possible to identify a significant set of contextual changes in the production and consumption of audiovisual fiction. The editor's relationship with creative procedures undergo relevant changes. It also introduces the democratization of the process now distributed and accessible to most people.
In this framework the focus is on filmic elements, which exists within the shot, but also in sound, music, words, and dialogues. The central operation of editing becomes the creation of relationships between filmic elements. The experience of a film should emerge from this network of connections.
This implies the understanding of complexity, of networks, of the phenomena of emergence. For this framework we use the systematization of the assemblage theory developed by Manuel DeLanda from the book "The Thousand Plateaus" by Deleuze and Guattari. From the assemblage theory, conceptual tools are identified, and a rereading of the montage theory is made to find the creative processes in question.

Is this threat real for modern film editors? Artificial intelligence and Machine Learning became today’s buzz words in almost every field. But what does it actually mean in the world of film editing? Why would editors want AI support in the first place?
Thanks to YouTube, streaming platforms (Netflix) and social media revolution (including TikTok subrevolution) video became the most popular form of content on the Internet. According to the Cisco visual networking index, more than 80% of the Internet traffic has been video content.
All of this content needs to be edited and postproduced. The demand highly exceeds the capabilities of all of the world’s existing human editors.
Everyone who tried to edit anything himself is surprised how tedious, mundane, time consuming and technical this activity is. How little fun is actually there. That’s one of the biggest blocks for people who would like to edit anything for themselves. Another problem is that while editing in it’s essence seems simple, it requires intelligent manipulation of the moving images from a high level of abstraction. Try one of the most basic editorial tasks: take selection. What makes the take “good” or “bad”? In fact there are hundreds of parameters the human editor takes into consideration: technical, artistic, visual, context-based, etc.
But what if AI could take all of the editing drudgery and leave to us the creativity alone?
We’re on the way there. There already are advanced AI-supported tools on the market, ready to use for consumers and professional editors. I would like to briefly present the most spectacular ones and test what they actually can and cannot do.
I divided the tools into two main categories: speech-oriented (speech-to-text recognition and text-to-speech generation, automatic content generation tools like Lumen5 or Magisto, advanced search mechanism, etc.) and image-oriented (shot recognition, automatic cropping and reframing, AI supported matte generation, rescaling, etc.). Some of them are even capable of editing simple video entirely themselves.
But - as we’ll see - the services for now are fragmented. They do not form any cohesive editorial system. It also seems research in the field is led by scientists who are AI specialists but not editors. But automatic editing of fixed TV formats (like docu-drama) or social media promo videos seems just a matter of time, leaving human editors the space to embrace art-driven part of filmmaking.