Today, with the rapid development of digital technologies in the world of cinema, the role of editing has become more important than ever. Mkhitar Serobyan ACG, founder of Kelvin Film Lab LLC, presents a new editing course titled “From Set to Cinema”, offering an accessible and practical approach—covering everything from the work of a Digital Imaging Technician (DIT) to the delivery of a DCP file to cinemas.
– Mkhitar, thank you for joining us today. What inspired you to organize this editing course, and how does it relate to your personal experience?
– Thank you for the interview. After years of working in the Armenian film industry, education and continuous development have become top priorities for me. I firmly believe that sharing knowledge and experience not only supports beginners but also helps us grow as professionals. That’s my motivation—to help newcomers shorten the path they must take. I also want to contribute to the development of skilled DIT professionals, who will become our colleagues and support cinematographers and editors, filling a crucial gap in Armenian film production.
– The course title “From Set to Cinema” is indeed intriguing. How would you describe the editor’s journey from the film set to the movie screen?
– The title itself suggests a broad scope of work. The editor’s journey is filled with challenges, and for the content to be properly delivered to the audience, the editor must do their job correctly. In the course, I will cover this journey in detail so that students are more protected from making mistakes and are better equipped to overcome difficulties that may arise.
– How does the course balance the technical and creative aspects of editing? Are storytelling and creative decisions just as important as technical details?
– Preserving the footage filmed on set and extracting the necessary information from it is critical. We will address both the technical and creative aspects of editing. That’s why we cover everything from DIT work to delivering the DCP file to cinemas, symbolizing the process of presenting the crew’s work to the audience.
Course Structure and Methodology– As the founder of Kelvin Film Lab, can you tell us about the stages of the course? Could you speak about its focus on practical work?
– The course includes both theoretical and practical parts. We’ll be working on real films—either previously released or preparing for release.
– The course also includes training in the role of a Digital Imaging Technician (DIT). How is DIT connected to the editing process?
– The importance of the DIT role becomes evident on set—from safeguarding materials and managing proper backups to quality control and monitoring light and color ranges, which helps the cinematographer work accurately. In Armenia, this role is often confused with that of a data wrangler, but it’s much broader and more integral.
Editing as an Art Form– Editing is often referred to as an “invisible” art. How can we appreciate it as an independent art form, not limited to its technical aspects?
– For me, editing begins with the Kuleshov Effect, when he juxtaposed the same shot with three different images, proving how editing can shape the perception of a film. It’s still the same today—the story is what matters most, and how you build it.
– As an editor, do you focus purely on the technical side, or do you also engage in creatively developing the story?
– Not at all. I first try to understand what story the creative team wants to tell, and only then do I start editing—enriching the narrative with my approach. Once, Peleshyan said, “Editing is a French word meaning to attach, but when I edit, I separate the shots; I can’t say whether this is editing or not.” That thought really stayed with me. One thing is clear to me: editing is about separation—removing shots that don’t serve your story, and through that, helping the audience connect more deeply with it.
– What kind of challenges do beginner editors usually face, and what advice would you give them to stay both effective and creative in their work?
– I started learning editing at a very young age—back when there were no YouTube tutorials or platforms for learning. You either discovered things on your own or found someone who would help. Today, the volume of available information is massive, but you must navigate it wisely: what to learn, where from, and why. It’s also crucial now to apply what you’ve learned effectively.
– Have you prepared specific assignments or exercises for the course?
– Yes. During the course, we’ll edit a complete film and create a DCP. This not only helps students learn but also allows them to see the real-world outcome of their work. Once, we almost lost a film due to a poorly prepared file. That experience proved just how important the small details are.
Future Plans and Vision– What can you share about future plans for the course? Are you planning to continue it, involve more participants, or expand the topics?
– Everything depends on the level of interest from our students. If we see that there’s strong demand, we’ll continue to expand and improve the course, making it more relevant and timely with each iteration.
Are you interested in this unique journey of editing—from set to screen? The new Kelvin Film Lab course could be your starting step.
For more information and to register, email: kelvinfilmlab@gmail.com
