Panels & Masterclasses
The Panels and Masterclasses are spread throughout the day and are included in your Assemble pass.
Note:
The 'Register Interest Button' on each panel helps us to manage numbers / venue sizes.
Some masterclasses are in smaller venues and entry will be on a first come first serve basis.
Keynote
Cinema without Editing: is it still Cinema?
ROOM:
Walker Space (ground floor)
TIME: 10.00
DURATION: 60 mins
Walter Murch
With digital technology, and now AI, we are able to make films without any cuts: just one unbroken shot from beginning to end. Adolescence, 1917, Victoria, Birdman, etc.. Is this the future of cinema? Was editing just an enzyme, a prosthesis, that made early cinema possible? Training wheels that we can now finally dispense with? Or is editing a fundamental, essential and defining aspect of cinema?
Bio:
Walter Murch was born in 1943 in New York City to Canadian parents. After graduating Phi Beta Kappa from Johns Hopkins University in 1965, he studied for two years at USC’s School of Cinema-Television and began a remarkable six-decade career as a film editor, sound designer, writer, and director. His credits include THX-1138, American Graffiti, The Conversation, The Godfather trilogy, Apocalypse Now, Ghost, The English Patient, The Talented Mr. Ripley and many others. He also co-authored and directed Return to Oz (1985) as well as co-authoring and editing the feature documentaries Particle Fever (2014) and Coup 53 (2020). A pioneer of modern film sound, he introduced the title “Sound Designer” and was instrumental in developing the 5.1 surround format. Murch has been nominated nine times and won three Oscars and three BAFTAs for his work in editing and sound. His Oscar and BAFTA for editing The English Patient were the first to be awarded to a digitally-edited film. His many books and articles on cinema include In the Blink of an Eye (1995) and the newly published Suddenly Something Clicked (Faber, 2025). Walter and his wife, Aggie, divide their time between London and Bolinas, California, and have four children and three grandchildren.
Book Signing
Sponsored by
Walter's latest publication 'Suddenly Something Clicked' will be available to purchase.
Book signing from 11am - 11.30am in the trade show area on level 4.
Does diversity behind the screen shape the story?
ROOM:
Walker Space
TIME: 12.30
DURATION: 45 mins
While on-screen diversity has made visible strides, the creative decisions made behinds the scenes remain far less examined, despite their profound influence on the final story audiences experience. Editing is where performances are shaped, narratives are refined, and meaning is constructed. Yet who is making these decisions? Whose perspectives are influencing pacing, character emphasis, emotional tone, and ultimately, the story itself?
This panel explores how representation shapes what we see on screen and why diversity in Post-Production is essential for authentic storytelling.
Jasmin
John
Speaker
Founder & CEO of
Black Women in Post Production (BWIPP)
Marcus
Ryder
Speaker
CEO, TV and Film Charity
It's true - but is it real?
AI in documentary production.
ROOM:
Walker Space
TIME: 15.00
DURATION: 60 mins
Generative AI is rapidly reshaping factual filmmaking including documentaries, docu-series, investigative journalism, and historical programming. While it offers powerful creative and practical tools, it also raises significant ethical and editorial challenges. The panel will also explore: What are the 'approved' AI Industry tools being used now and does it free up more time for creativity?
Olly
Strous
Speaker
Chief Technology Officer at Zinc Media
Samuel
Mensah-Bonsu
Speaker
Principal Product Designer at Microsoft AI
Adam
Mitchenall
Speaker
Head Of Production
at Zandland
Alexis Vivas
Speaker
Editor
The Squeezed Middle
Moving Between Sectors in Post, VFX & Production
ROOM: 211
TIME: 3.00pm
DURATION: 60 mins
This session explores how professionals can successfully move between adjacent parts of the screen industries — particularly post-production, VFX, production technology and production management — and how transferable skills can become a real advantage rather than a barrier.
Framed around the idea of the “squeezed middle”, the conversation speaks to people who are no longer entry-level but are looking to pivot, progress or redefine where they sit in the industry. It addresses the challenge of feeling experienced but not yet clearly “placed”; of having built strong skills in one area but not always knowing how to translate them into another.
Through Laki’s own career journey - from post house and technical operations into VFX, production technology and high-end TV and feature production - the session will unpack how cross-disciplinary experience can strengthen communication, leadership and problem-solving across departments. It will also address the confidence gap and imposter syndrome that often accompany career reinvention
Laki Pattapola
AI & VFX production Manager
Bio:
Laki has a strong technical background spanning pre-production, production, and post. Core member in teams pioneering virtual production and animatronic technologies. Foundation in AI & machine learning, digital asset management, and IT. Credits on BAFTA-winning and Oscar-nominated productions. Selected as a Screenskills Leader of Tomorrow and BAFTA Connect member.
Genna McWhinnie
Post Production Consultant
Bio:
Genna is a highly experienced 25yr veteran of broadcast post production, specialising in post production management. Proven track record leading teams of all sizes and delivering high-quality documentary, entertainment, and sports programming across the UK and internationally. Credits include work for major broadcasters such as the BBC, Channel 4, ITV, Channel 5, Sky, Discovery, and National Geographic. Also an active educator and industry voice, teaching at the BBC Academy and contributing to university programmes, panels, and consultancy across the sector.
The Post House of the Future.
Sponsored by Televisual
ROOM:
Walker Space
TIME: 16.15
DURATION: 75 mins
What will the post house look like in 5 years?
MDs of some of the leading post houses will discuss the future post house model.
Physical, location-bound facilities ? highly automated ?AI-native? cloud-based creative ecosystems?
Smaller, flexible physical hubs ? or massive virtual, globalised networks?
Nick Long
Speaker
Managing Director
Salon
Rowan Bray
Speaker
Managing Director
Clear Cut Group
Meryl McLaren
Speaker
Managing Director
Racoon
AI - Focus on the Fine Print. 'Fix it in Post'....but read the terms first!
ROOM: 210
TIME: 13.45
DURATION: 45 mins
There are many use cases for AI in post-production workflows - from transcription and localisation to VFX clean-up and editing. But as impressive as these tools are, we can't forget about the fine print behind the software. In this session, media lawyer and AI expert Kelsey Farish will offer a no-nonsense overview of some of the most important clauses in AI tool T&Cs. She'll go through a few real examples from her work with film & tv clients, and explain what these contracts often say about IP ownership, confidentiality, warranties, and liability - and why you should care.
Kelsey Farish
Solicitor | Media, Entertainment & AI
Bio: Kelsey is a media and entertainment lawyer and an internationally recognised expert in artificial intelligence. An IP and technology solicitor by background, her path to becoming one of the first lawyers to specialise in digital replicas and voice cloning grew from a lifelong love of stories on stage and screen. In 2019 - three years before ChatGPT was released and the Hollywood strikes hit headlines - she published one of the earliest peer-reviewed papers on how actors could use publicity and copyright law to prevent unauthorised deepfakes. Since then, Kelsey has focused on helping people understand and control how their work and likeness are used in the age of AI. Increasingly, she also helps those choosing to embrace the technology do so legally, sensibly, and always on their terms.
AVID - Behind AppleTV+ hit 'Spy Thriller' Slow Horses
Sponsored by
ROOM: 210
TIME: 15.00
DURATION: 60 mins
Editor Robert Frost explores his process for “spy thriller” post-production as he takes you on a tour of his Media Composer timelines and techniques for the AppleTV+ hit, Slow Horses.
Robert Frost
Film Editor
Bio:
Robert Frost, ACE BFE is a film and television editor based in London, UK. His recent credits include the Apple TV+ thriller series Slow Horses and the film My Fault: London for Amazon MGM Studios. Robert received a BAFTA in 2025 for his work on Slow Horses Season 4 and has edited the upcoming Season 6.
Neil Hatton MBE, UK Screen Alliance
ROOM:
Walker Space
TIME: 11.30
DURATION: 45 mins
Neil Hatton MBE in conversation with Rowan Bray, MD of Clear Cut Pictures.
Details to follow.
Bio:
Neil Hatton MBE is the CEO of UK Screen Alliance, which in partnership with Animation UK is the trade body which represents around 200 companies in VFX, post-production, animation, production services and studios. His role is to influence government and its agencies to optimise the business environment for the UK Screen Alliance members, particularly in the areas of tax incentives and skills policy.
Neil Hatton MBE
Chief Executive
UK Screen Alliance
Bio:
Rowan leads the Clear Cut Group, comprising several award-winning post houses that specialise in all forms of non-scripted television and feature documentaries. The key to delivering successful post production lies in client service, adaptability, unerring operational & technical standards and a total dedication to the programmes we work on. The market for post production is ever-changing and new challenges emerge with each evolution which have to be navigated despite small margins and technological demands.
Rowan Bray
Managing Director
Clear Cut Group
EDUCATING THE FUTURE
FE to HE and beyond
ROOM:
Walker Space
TIME: 13.45
DURATION: 45 mins
What does the landscape look like for current students and do they really need to progress from A-levels or B-TEC into a creative degree?
Are apprenticeships the way forward or does modular learning or YouTube / LinkedIn learning hold the key? Is it better to 'Earn and Learn'? This panel explores the gap between classroom learning and the realities of higher education in creative disciplines and on into industry.
Andy
Greaves
Speaker
Deputy Group Curriculum Director, Creative & Digital , New City College
Charlie
Kennard
Speaker
CEO, Day One Trust, Ex Ceo of Screen Academy
Rob
Sheridan
Speaker
VFX Supervisor
Freefolk
A deep dive into colour
Using the Blackmagic Design Advanced Panel
ROOM: 301
TIME: 12.30
DURATION: 45 mins
Taking us through the full arc of the colour pipeline: from the fundamentals of colour science, colour spaces through to the construction of a professionally managed project in DaVinci Resolve.
Phillippa will demo advanced grading technique, covering primary correction using industry-standard scopes, secondary isolation using the Blackmagic DaVinci Resolve panel.
Phillippa Swanson
Facilitator
Colourist and BlackMagic Design trainer
Bio:
Phillippa Beasley-Swanson, Senior Lecturer on the Editing and Post Production BA at Ravensbourne, and an award-winning Senior Colourist whose work has been delivered to National Geographic, Disney+, Netflix, BBC, and Channel 4.
Immersive Audio Production
ROOM: 211
TIME: 11.30
DURATION: 45 mins
The techniques, technology, and tools used to create in immersive. With over a decade of practical experience designing, installing, and training the UK’s leading post-production facilities using immersive technology, John Johnson will bring his experience and knowledge to FMF. This session will help attendees learn how to work in immersive no matter the size of their studio or which DAW they use.
John Johnson
HHB Communications
Virtual Production Workflow by Mo-SYS
ROOM: 211
TIME: 13.45
Virtual Production does not remove post, but it does change it. In this session James will explore the various ways VP can be used to accelerate post while maintaining creative flexibility. He will draw on examples of his work on shows like Doctor Who (BBC) and Dance Monsters (Netflix).
Mo-Sys' precision tracking technology opens the door to full virtual production, where real-time graphics engines such as Unreal Engine can be used to create photo-real visual effects, and aid pre-production, production and post.
DURATION: 45 mins
James Uren
Chief Technical Officer
Mo-Sys
Bio:
James Uren is the CTO at Mo-Sys Engineering and on-set Virtual Production Supervisor. Mo-Sys design and build robotics, tracking systems and software for film and television that enable visual effects and virtual production. Credits include The Curious Case of Benjamin Button, The Social Network, Life of Pi, The Shape of Water and Aquaman, and serial television credits include Stranger Things, House of Cards, Sherlock, Orange is the New Black among many more. In broadcast Mo-Sys have supported the likes of the BBC, ESPN, FOX, Sky and The Weather Channel.
Modernising Post Production Collaboration
with Tanooki
ROOM: 211
TIME: 12.30
The frustrations of modern production are manifold; the endless back-and-forth, the scattered feedback, the creative energy lost to admin. Meet Tanooki; the collaboration & productivity platform putting AI to work in the places that actually slow productions down so creative teams spend less time managing and more time creating. Hosted by co-founder Charlotte Layton, this masterclass will introduce you to an industry tool you can share with your students for real-world experience.
DURATION: 45 mins
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Charlotte Layton
Co-founder & CCO
Tanooki
Bio:
With a 30 year career spanning L!ve TV, MTV, BBC Studios & Post Production, The Farm Group & Racoon, Charlotte has worked across the production content supply chain from transmission through to studios and post production. Charlotte specialises in translating customer need into profitable solutions focussed on adding value to ensure retention. As the commercial force behind Tanooki, a platform built to give the industry its flow back, Charlotte is responsible for driving the go to market strategy.
Masterclass - Baselight Colour by Filmlight
ROOM: 301
TIME: 13.45
DURATION: 45 mins
For anyone who is keen to learn more about colour finishing and grading in high-end post production.
Details to follow soon