Where film editing gets taught by people who actually do it
Mentex Hub started in 2017 with one simple frustration — most editing courses skip the messy, real parts of the craft.
Every live session on this platform is run by an editor who is actively working on productions — not someone who retired from the field a decade ago. You get current workflows, current software quirks, and honest opinions about what actually matters on a deadline.
Who runs the sessions — and how we think about teaching
Editing is a decision-making skill, not a software skill. Our instructors spend most of their time explaining why a cut lands — the pacing logic, the emotional beat, the rhythm that viewers feel but can't name. Software buttons come second.
Sessions run live so participants can ask mid-stream. When an instructor makes a choice in the timeline, you can interrupt and ask what they almost did instead. That kind of conversation doesn't happen in pre-recorded tutorials.
Terms we use — and what we mean by them
- Assembly cut The first rough pass where all selected footage is placed in sequence order — no timing refinement, just raw structure. We start every critique session here.
- J-cut / L-cut Audio transitions where sound from the next or previous clip overlaps the picture cut. One of the first things we teach because it immediately changes how a scene breathes.
- Coverage The range of angles and takes available for a scene. Understanding what coverage gives you — and what it doesn't — shapes every editing decision downstream.
- Rhythm edit Cutting driven by the internal tempo of a scene rather than dialogue or action cues. Harder to explain, easier to hear once you've seen it demonstrated live.
Instructors share their actual project files — not cleaned-up demo timelines. Participants see real label chaos, real proxy workflows, and real moments of second-guessing. That's where the learning actually happens.
Orsolya has been cutting documentary features for television and festival circuits for over a decade. Her sessions focus on structural editing — how to shape hours of footage into something that holds attention.
Taavi works primarily in short-form commercial editing. His sessions are fast, opinionated, and full of shortcuts that actually hold up under deadline pressure.
Got a question before you sign up?
Drop your email and pick a time slot that works for you. We'll reach out personally — no automated sequences, just a direct reply from someone on the team.