As artificial intelligence continues to enter creative fields, veteran editor Sreekar Prasad shared his thoughts on its role in filmmaking. Speaking at the 17th Bengaluru International Film Festival (BIFFes), Sreekar remarked that while AI can assist, the heart of film editing is still human.
The session, titled 'The Invisible Art of Editing' and moderated by producer Sandeep Vishwanath, centred on how films are shaped by instinct, experience, and emotional understanding rather than just technology. “AI can help with research and efficiency,” Sreekar mentioned. “But editing relies on intuition and emotional insight, which cannot come from prompts.”
According to Sreekar, an editor’s work begins before filming starts. He likes to be involved at the script stage, often after the first draft, and works closely with the director as the story unfolds. This early involvement brings clarity and rhythm to the narrative. He pointed out that scripts are never set in stone and often change due to locations, performances, schedules, and budget constraints.
Sreekar described the editing table as the space where a film truly takes shape. Many key narrative decisions happen during post-production, sometimes leading to significant changes in the screenplay. Being part of the process from the script phase allows him to engage more deeply with these changes and contribute meaningfully to the storytelling.
To maintain objectivity, Sreekar Prasad avoids visiting film sets. By staying away from the challenges of production, he can view the footage purely as a film and react to it like an audience member. He also highlighted the importance of early editing during the first days of shooting. The first ten days are critical, he noted, as early edits can reveal issues in tone, performance, or coverage while there’s still time to fix them.
Sreekar explained that audience awareness is crucial for editing choices. Different audiences respond to various rhythms. While mainstream films may need emotional peaks, he warned against forcing such moments. Holding a shot, allowing silence, or choosing not to cut can often be more effective than constant editing. “Knowing when not to cut is as important as knowing when to cut,” he stated.
He outlined his process in two phases: micro editing and macro editing. Individual scenes are polished during shooting, but the bigger challenge comes later when the film is viewed as a whole. Scenes that shine on their own may not fit the overall flow and could need removal. Even one misplaced scene can disrupt the emotional balance of the film.
Regarding technology and visual effects, Sreekar emphasised careful planning. Pre-visualization helps filmmakers grasp what they can achieve within their budget and ensures that technology supports the story rather than distracts from it. While he urged filmmakers to welcome new tools, he also cautioned against letting technology replace creative judgment.
In conclusion, Sreekar returned to a straightforward idea. Tools may change and workflows may evolve, but cinema remains a human medium. The editor’s role, often unseen by the audience, relies on sensitivity, restraint, and an understanding of emotional rhythm. These are qualities that technology cannot replicate.