EDIMOTION ACADEMY WORKSHOPS 2025

The images we use to tell our stories carry the potential to trigger emotions, stir associations and define the world of our characters. The more effective the efforts placed in enriching those images over a production’s lifecycle — the more engaging and satisfying the connection between characters and an audience will be.

In this session you'll journey through how an audience's eyes respond to images and colours and how a project's 'look' is developed over time to create a world as unique as its characters. On route you'll examine key moments in which the many custodians of the image (editors very much included) have an opportunity to elevate and protect the creative goals of their visuals.

Through various examples it'll become clear that it's not budget but creative collaboration — based around broad, inclusive conversations that flow from early development all the way to final grading — that is the decisive factor in creating richer, more rewarding visuals that draw audiences in. Edmond Laccon is a former Look Development Technologist at Netflix — in part serving as a liaison between the studio and artists working on Netflix Originals from across Europe, the Middle East and Africa. He is also a colourist of feature films and will share a spectrum of insights relating to visual development from high budget studio titles to independent feature films.

Edmond Laccon is a former Look Development Technologist at Netflix — in part serving as a liaison between the studio and artists working on Netflix Originals from across Europe, the Middle East and Africa. He is also a colourist of feature films and will share a spectrum of insights relating to visual development from high budget studio titles to independent feature films.

Whether documentary or narrative: There is usually a moment in a scene, sequence or the filmic journey itself, when we realize “something is not working”. Is it lacking in story points and structure, psychology, believable performance or effective imagery? This realization can be painful, but it’s also an enlightening experience and helps us make a better film. As editors it’s our jobs, if not our calling, to deepen the truth of the story and stitch in an immediacy of experience that raises the work closer to excellence. Come curious or angry, inspired or downtrodden – it’s all part of the process.

In this workshop Susan Korda – and the participants – will share tools, creative orientations and simple tricks of the trade while also looking into some grand saved moments from Walter Murch to Dede Allen. To address how to sculpt emotions by cutting for subtext and creating expectations, Korda will screen a “before” cut of the award-winning short “Climbing Miss Sophie.” Together the group will brainstorm how to “save” the film; the “after” will then be screened and analyzed.

Susan Korda taught at NYU and Columbia University in New York City, and conducts editing and story-telling workshops in the U.S., Europe, Israel and South Africa. As an editor she has worked on Astrid Rondero and Fernanda Valadez’s last two features “Sin señas particulares" and “Sujo”, both films winning top Sundance awards amongst other honours. She also edited Al Reinert's Oscar-nominated & Sundance crowned documentary “For All Mankind” and was editor and creative collaborator on “Trembling Before G-d”. She co-produced and co-directed “Vienna is Different” and from her 2-year Fulbright Fellowship in Berlin, she produced the personal documentary “One of Us.”