Join Julie Busse, an Emmy-nominated film editor and the Co-Director of The Old Bear as she shares tips and tricks of the trade of film editing. 

​

Date/Time: Mon, 4 Nov 2024, 2 p.m. - 4 p.m.

Venue: The Prinsep Gallery, 30 Selegie Road,

Photographic Society of Singapore

Cost: $80 per pax or $50 per pax for students (Limited slots available)

*Students will be required to show proof of their matriculation card upon registration

​

In this masterclass, we will explore how film editing employs technical elements, stylistic choices, and narrative traditions to form emotionally-powered cinema. We will discuss how nature filmmaking has a place in the larger context of global cinema. Throughout, we will breakdown current and historical examples from documentary and narrative cinema cut by cut, discussing how the elements of post production - editing, color, sound, and music - alchemically combine to convey exactly the right emotion for each film.​

For filmmakers of all experience levels, you will come away with a greater understanding of how editing can help manifest the films that you feel in your soul. For cinema affectionados, you will learn new ways of watching a film that shine a light on how it affects your emotions. And for
conservationists, scientists, and nature lovers, you will be presented with storytelling tools that can help move people to conserve our planet.

​

As great storytellers will confirm, how the story is told is just as important as what it’s about. Film, one of the greatest storytelling mediums of them all, is not passively watched. Films are experiential, and use images, sound, and artistry to permeate the hearts and minds of people worldwide.

Editing is the tool that carves film from its raw materials. Whether it's to use a jump cut or a dissolve, how exactly to place the sound, or how the color conveys information about the story world, there are myriads of decisions the post production team makes that create all the difference in how a film feels. The role of editing in the artistic content of films is especially clear in documentaries, where the scenes are unscripted. To not carefully consider the style of the edit is to rob a project of its greatest influential power.

​

Supported by:

​

​