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
Dave Stephenson
Speaker
Head of Post Production Operations at Molinare
Annika
Allen
Speaker
Head of Diversity, Equity and Inclusion
ALL3 Media Group
Caroline Orme
Facilitator
Associate Professor and Senior Lecturer of Editing and Post Production
Ravenbourne University London
It's true - but is it real?
AI in documentary production.
ROOM:
Walker Space
TIME: 15.00
DURATION: 75 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
Production & Operations Executive
Alexis Vivas
Speaker
Offline Editor
Laki Pattapola
AI & VFX Production Manager
Speaker
Kyran Speirs
Speaker
AI Producer
Supervisor and Director for Fremantle Global AI and Arrow Media
Phillippa Swanson
Facilitator
Senior Lecturer. Ravenbourne
Lead Researcher in AI Systems and Media Futures University London
The Post House of the Future.
Sponsored by Televisual
ROOM:
Walker Space
TIME: 16.30
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
Andy Craig
Speaker
Co-Founder & Director of Operations
Strawberry Post
Valery Akpojiyovwi
Speaker
Co-Founder | Producer
Nuevos Post Production
Sam Hardy
Speaker
Head of Post Operations ITN Post
James Bennett
Facilitator
Managing Director
Televisual Media UK
Sponsored by:
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
ROOM: 210
TIME: 15.00
DURATION: 60 mins
Sponsored by
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.
Skills, Growth and Jobs: Aligning Education and Training with the needs of Post and VFX
Neil Hatton MBE, UK Screen Alliance and Rowan Bray, MD of Clear Cut Group.
ROOM:
Walker Space
TIME: 11.30
DURATION: 45 mins
The post-production and visual effects sectors continue to evolve at pace, creating both opportunities and challenges for education providers, employers and learners.
At a time when Higher and Further Education institutions are navigating an increasingly complex policy landscape, understanding the realities of workforce demand has never been more important.
This session explores the latest labour market intelligence for post-production and VFX, identifying where growth is occurring, which skills are most in demand, and where future employment opportunities are emerging.
Drawing on current industry trends, the discussion will examine how employment models differ across post-production and visual effects, from freelance and project-based work to permanent roles, and what these differences mean for curriculum design, careers guidance and workforce development.
The session will also address one of the sector’s most pressing questions: do apprenticeships work in post-production and VFX? With government incentives available, should more employers be investing in apprenticeship pathways and industry placements?
Can the sector afford not to, given the cost of developing skilled talent by other means?
This session will provide practical insights into aligning training provision with labour market needs, strengthening talent pipelines, and ensuring the next generation of creative professionals is equipped for a rapidly changing screen industry.
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
Andy Rees MA, PGCE, BA (Hons), SFHEA
Facilitator
Executive Dean, School of Design,
Media and Creative Industries
Ravenbourne
EDUCATING THE FUTURE
FE to HE and beyond
ROOM:
Walker Space
TIME: 13.45
DURATION: 60 mins
What does the landscape look like for current students and do they really need to progress from A-levels or B.Tech 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
Sarah Winstanley
Speaker
Senior HETV Mid-Career Manager - ScreenSkills
Charlie
Kennard MBE
Speaker
CEO, Day One Trust, Ex Ceo of Screen Academy
Rob
Sheridan
Speaker
VFX Supervisor
Freefolk
Natalie Ashman (MA, PGCert, BA)
Facilitator
Head of Further Education and Apprenticeships
Ravensbourne University London
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:
LEVEL 4 CEETS AREA
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:
LEVEL 4 CEETS AREA
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: 60 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:
LEVEL 4 CEETS AREA
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
.jpeg)
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 - Introducing Colour Mode. Colour grading reinvented for video editors.
ROOM: 209 / 10
TIME: 11.30
Adobe Premiere’s new Colour Mode is a complete rethink of colour grading for editors. Designed from the ground up, it introduces a cleaner, more intuitive workflow that makes professional colour correction faster, easier, and far less intimidating. In this session, you’ll explore the new interface, smart grading tools, clip-based workflows, and modern colour management features that help you stay creative without leaving your edit.
DURATION: 45 mins
Eran Stern
Motion Designer / Educator
Bio:
Motion design maestro and Adobe educator with over 30 years of experience in post-production and visual storytelling. He has created courses for LinkedIn Learning, School of Motion, Maxon, and Adobe, helping creatives master powerful tools through clear, practical, and engaging teaching.
Masterclass - Advanced techniques for high-end finishing in Baselight Colour.
Presented by FilmLight and Molinare
ROOM: 301
TIME: 13.45
DURATION: 45 mins
During this masterclass Ross Baker, Head of Grading at Molinare will take you through some of the more advanced techniques he uses for high-end finishing on prime TV shows and feature films. Using the latest tools in Baselight he will cover several fascinating topics including day-for-night scenes in ’SAS: Rogue Heroes’, how to use alpha channels and mattes to separate out and grade individual elements in animation projects and also techniques used to integrate multiple contrasting visual styles into a single production. This is an ideal opportunity to learn some valuable tricks from one of the uk's leading colourists.
Bio:
Ross Baker is Head of Grading at Molinare and one of the UK's most respected colourists. Over a career spanning more than 20 years, he has collaborated with leading cinematographers, directors and producers on award-winning dramas and documentaries for broadcasters and streaming platforms including the BBC, ITV, Channel 4, Netflix and Apple TV+
Masterclass - Why Music Matters
Presented by MediaTracks
ROOM:
Level 4 CEETS
TIME: 15.00 - 16.00
DURATION: 60 mins
An insight into music options for your production that will give you the tools on how to correctly license music, how to choose the right track, how the music can impact storytelling and it’s importance in shaping a story. This talk is delivered by Jo Belcher and Oli Godfrey who both have around 20 years experience working in production music across a range of roles within the industry including composer and artist project management, catalogue curation, A&R and roster development, Music Research, Copyright and Royalty Tracking, and Sync Licensing.
Jo Belcher
Business Development Manager, EDI Lead
Oli Godfrey
Sync Manager