Fade In 2024: Information for International Guests

We kindly invite you to the 2nd International Symposium of Visual and Sonic Creations FADE IN with the subtitle Creative Post-production in Focus that is to be held between the 23rd and 25th of May 2024.

We are honoured to host internationally recognised professionals, including a sound design Oscar laureate Nina Hartstone (Bohemian Rhapsody) and Netflix’s and Arri’s own colour management consultant Miga Bär.

We recognised that the roles of the digital ingest technician (DIT) and assistant editor are less than ideally established, let alone understood, in the local professional environment, therefore, Serbian editor Tijana Todorović will have a take on those roles. The experienced Serbian screenwriter and director Vuk Ršumović will shed light on the dramaturgy of TV series. The Vesna award laureate Sara Gjergek will reveal the principles of keeping a straight storyline of a documentary film with vast amounts of footage iwth a case study of the film Duhovnica.

An important part of the symposium are three admission free screenings where you will be able to meet post production crew members of the screened films. The digitally restored copy of Life of a Shock Force Worker (dir. Bahrudin Čengić, 1972) opens the symposium. Sound designer Nina Hartstone will hold a Q&A session about Gosford Park (dir. Robert Altman, 2001). FADE IN’s closing act will be a panel discussion with director and actor Juraj Lerotić about the role of post production in the making of his feature, Safe Place (2022).


23. 5. 2024, AGRFT

Screening: Life of a Shock Force Worker (dir. Bahrudin Čengić, 1972, 79 min)
Original Title: Slike iz života udarnika
A Bosnian coal miner Adem is glorified for his hardworking achievements and is considered of being an exemplary socialist laborer. However, his life is nothing but a shine and glamor. The film presents a collection of exceptionally beautiful tableaux vivants, depicting the life of the famous proletarian worker Alija Sirotanović, Yugoslavia’s version of Alexei Stakhanov, revealing the vast gap between idealized ideology and the brutal reality of building the communist utopia.

Panel Discussion About Film Restoration with director of photography Karpo Godina, soun designer Julij Zornik, and colourist Emil Svetlik

Moderated by: Lev Predan Kowarski

24. 5. 2024, Slovenska kinoteka

Tijana Todorović (Serbia)
Nailing a role of assistant eDITor: hasten slowly & go with the flow 

The lecture will introduce us to the roles of a Digital Imaging Technician (DIT) and an Assistant Editor, detailing workflows for both roles from the beginning to the end of production. Todorović will approach the topic from both the technical and human aspects, stressing the importance of relationships with other departments and responsibility as key personality traits. Achieving focus, composure, and calmness during work is her way to success. Additionally, software such as DaVinci Resolve, Adobe Premiere Pro, Avid Media Composer, and SilverstackLab will be discussed and differentiated.


Vuk Ršumović (Serbia)
Power for Paradox – The Mechanism of Dramatic Storytelling for TV Series, Part I

Despite the undeniable similarities between the creative processes of writers and editors, it isn’t common for them to share experiences. This lecture aims to bridge that gap by exploring the principles of dramatic storytelling in contemporary TV series. Ršumović will show that paradoxes are integral building blocks of both writing and editing. He emphasises that successful TV series often hinge on the skillful integration of substantial paradoxes, adding depth and complexity to the narrative.


Vuk Ršumović (Serbia)
Power for Paradox – The Mechanism of Dramatic Storytelling for TV Series, Part II

Nina Hartstone (Združeno kraljestvo)
The Cutting Edge: Storytelling with Sound

The role of sound in film is crucial for building the cinematic world on an immersive and sensory level, while also supporting the narrative and emotional thrust of the story. We will explore the approaches and techniques employed to create a captivating soundtrack for any film or show. Great sound starts with the script, and we will examine the best workflows for collaboration from pre-production to delivery. Additionally, we will shed light on the different roles within the sound department and detail the steps needed to create a sound track. Using real-world examples from various genres and budgets encountered during her 30-year long career, Nina will reveal the secrets behind award-winning sound design for film.

Screening: Gosford Park (dir. Robert Altman, 2001, 137 min)
+ Q&A with sound designer Nina Hartstone

Sir McCordle (Michael Gambon) often hosts various gatherings of the upper class. At Gosford Park estate, in the early 1930s, a high society of eccentric and self-absorbed wealthy individuals gathers, accompanied by their servants. Will murder connect the upper and lower worlds? Altman’s classic ‘whodunit’ crime drama, complete with Scotland Yard, lays bare the class divides.

25. 5. 2024, Slovenska kinoteka


Miga Bär (The Netherlands)
Color Management and the Color Journey

Why are terms like ACES, scene-referred colour pipelines, colour-managed frameworks, and Arri REVEAL becoming increasingly relevant in recent years? Is it truly necessary for editors, DITs, VFX artists, or cinematographers to understand and use these concepts? The implementation of a comprehensive colour management system not only aids in navigating the processes of balancing different cameras and various distribution standards but also ensures much greater control over the creative outcome at every stage of production – from shooting, editing, and VFX to final colour correction. 


Miga Bär, Jure Teržan, Teo Rižar, Lev Predan Kowarski (The Netherlands and Slovenia)
Color Journey and the starting point

Colourist Jure Teržan and Teo Rižnar, along with colour management consultant Migo Bär and cinematographer Lev Predan Kowarski, will explore approaches to defining the look of the image. They will dissect the starting points determined by various colour management processes and emphasise the importance of creative considerations. Using examples from recent Slovenian films shot with the Arri Alexa 35 camera, they will compare different approaches to colour science in the initial stages of colour grading. Active participation from the audience is highly encouraged during this interactive presentation.


Sara Gjergek (Slovenia)
Iskanje dramaturgije pri montaži večletnega dokumentarnega projekta na primeru filma Duhovnica

Editor Sara Gjergek will present her approach to finding the appropriate sequence within an above-average amount of footage. She will focus on the key question: how to merge multiple different themes while maintaining the central thread of the film’s narrative?

Juraj Lerotić (Croatia)
Varen kraj za režiserja? 

A discussion with screenwriter and director Juraj Lerotić about the post-production of the film Safe Place. We will learn about the director’s perspective on post-production and the challenges he faced in completing his first feature film
Moderated by: Matevž Luzar. 

Screening: Safe Place (dir. Juraj Lerotić, 2022, 102 min)
+ Q&A with director Juraj Lerotić
Original title: Sigurno mjesto
After Damir’s (Goran Marković) failed suicide attempt, his mother (Snježana Sinovčić Šiškov) and brother Bruno (Juraj Lerotić) try to protect him – both from himself and the system. This deeply personal depiction of memories from an intense whirlwind of events raises questions about personal and societal attitudes towards the ignorance and taboos associated with mental health and suicide. The director shot the film based on a traumatic personal experience. Safe Place received main prizes at Liffe in Ljubljana and Sarajevo Film Festival, and was also awarded Best Debut Prize in Locarno.

Evening Mixer


Tijana Todorović (Serbia)

Tijana Todorović studied film and TV editing at the Faculty of Dramatic Arts in Belgrade and later enrolled at the international KinoEyes Master’s Degree programme. In addition to editing short films, promotional content, music and fashion videos, she has worked as a DIT and assistant editor on notable productions such as Hellraiser (Hulu TV series), Kalup (TV miniseries), Medju bogovima (drama), Dug Moru (TV series), and Kalkanski krugovi (TV series).


Vuk Ršumović (Serbia)

He is an award-winning screenwriter and director. He studied film and theatre writing at the Faculty of Dramatic Arts in Belgrade and analytical psychology by Carl Gustav Jung in Belgrade and Zürich. His feature film debut, “No One’s Child” (Ničije dete), premiered at the Venice Film Festival Critic’s Week, where it received three awards. The film has won over 35 awards worldwide. He has also written extensively for television. He adapted the regional hit comedy “Andrija & Andjelka,” the teen drama “Košarkaši,” the crime dramas “Besa” and “Grupa”, as well as the drama “Zlatni dečko.” Additionally, he wrote and directed the limited TV series “Kalup.” He teaches screenwriting and serves as chief mentor in the first regional master’s program for the development of high-concept TV series at the Faculty of Media and Communications in Belgrade. He is an active member of the European Film Academy.”


Nina Hartstone (United Kingdom)

She is an Oscar, BAFTA, and Emmy award-winning sound designer with over 30 years of experience. She began her career at Pinewood Studios, where she honed her skills from apprentice to sound editor. Now, she passionately mentors the next generation of sound designers with extra care about diversity and equal representation. Recognizing the significance of sound for the cinema audience, she innovates in recording, designing, and mixing sound. Among her musical films are the biographical film about Queen, Bohemian Rhapsody, and David Bowie’s documentary Moonage Daydream. Additionally, she has contributed to blockbusters such as Gravity, Enola Holmes, and Saltburn.


Miga Bär (The Netherlands)

Miga Bär began his career in 2008 as an independent post-production supervisor. After three years of managing production and IT at the Netherlands Film Festival, he returned to post-production, taking on the role of Director of Technology and Innovation at Filmmore in Amsterdam and Brussels.
In 2018, he joined Netflix to build and lead the production technology team in Europe, the Middle East, and Africa (EMEA). In this role, he assisted numerous productions in implementing HDR Dolby Vision workflows at both technical and creative levels.
Since 2022, as a workflow consultant in post-production, he offers his services to production and post-production companies worldwide and lectures at the Netherlands Film Academy.


Sara Gjergek (Slovenia)

She holds a Master’s degree in film and television editing from AGRFT in Ljubljana. As an editor, she regularly collaborates on feature films and documentaries, and has been part of the post-production team for several Slovenian TV series.
The film Consequences, which she edited, has been screened at renowned international festivals, including Toronto and London. It has received numerous domestic and international awards, including a joint student Prešeren Award. For her latest feature-length documentary film Duhovnica she won the Vesna Award for editing, and the film was also accepted at the HotDocs festival in Canada.

iMDb, Baza slovenskih filmov

Juraj Lerotić (Croatia)

Juraj Lerotić graduated from ADU with a degree in film and TV directing. His debut film, ‘Safe Place,’ which he wrote, directed, and starred in, has been screened at festivals worldwide, from Locarno, Rotterdam, Shanghai, to New York’s MOME, and has garnered over 50 awards. He lives and works in Zagreb.


Jure Teržan (Slovenia)

Pred odprtjem lastne postprodukcije Korektif je več let delal v enem največjih postprodukcijskih podjetij v regiji, kjer se je specializiral za barvno korekcijo, VFX, obdelavo DCP-jev in delovne procese ACES. Od takrat se je kot kolorist pod več kot 1500 televizijskih oglasov, 21 celovečernih filmov, številne kratke in dokumentarne filme, TV-serije ter videospote.

iMDb, Baza slovenskih filmov

Teo Rižar (Slovenia)

Before opening his own post-production company Korektif, he spent several years working at one of the largest post-production companies in the region, where he specialised in colour correction, VFX, DCP processing, and ACES workflows. Since then, as a colourist, he has worked on over 1500 television commercials, 21 feature films, numerous short and documentary films, TV series, and music videos.

iMDb, Baza slovenskih filmov

Lev Predan Kowarski (Slovenia)

He holds a Master’s Degree from the Polish National Film, Television, and Theatre School in Lodz. He is actively involved in filmmaking as well as film restoration and archiving. His films have been screened and awarded at several foreign and domestic festivals. He is also the founder of the Slovenian Film Database project.

iMDb, Baza slovenskih filmov


More info

Events are admission-free.
Sessions will be held in English or Slovene as per the title of the session.
Event Website (in Slovene): fadein.dppu.org
Contact us at fadein@dppu.org
Follow news about the event on DPPU’s Facebook page or the @dppu.org Instagram account.

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