- In what context was the film Galaxi Urnäsch 3000 created
Elias: The film was created as part of the Research 2 seminar. This seminar takes place right at the beginning of the Master's program. The idea is that a large part of the class (documentary filmmaking, cinematography, editing, production) collaborates to create a documentary series and, in doing so, gets to know each other better. We all travel together to the Swiss mountains for two weeks and create a film about the location. In our case, we were in Urnäsch in the Appenzell region.
Elias: Although we were on location in Urnäsch with the crew, we actually only focused on editing. While the others were filming, we were working on the edit back at our accommodation.
Laura: Research, filming, and editing were happening simultaneously. It was quite a challenge for all of us!
- How did you work together as a team? Did each of you have specific roles or responsibilities?
Elias: A key concept of this seminar is that we work as a large crew, with an emphasis on collaboration. For example, there were four directors, three cinematographers, two producers, etc.
When editing as a team of three, we needed a system to divide up the work. Since our primary task during the shoot was assisting with editing, we initially divided the footage by camera. For instance, Laura handled the material from Camera A, Axel worked on Camera B, and I took care of Camera C. The goal at that stage was simply to prepare everything for the edit.
However, actual editing on-site in Urnäsch was only minimally possible. We attempted to cut a few scenes and assigned material based on themes, but none of that early work made it into the final film. The real editing process only began once we returned to Zurich.
Laura: At some point in Zurich, Axel and I had to stop editing due to another Master's seminar, so Elias took over. He structured the entire film and completed the final edit.
- How did you organize the editing process? Did you follow a particular structure or method?
Laura: That’s a great question! It’s important to remember that this was an exercise. It was the first time any of us had edited in such a large collective (four directors and three editors). We divided the work into scenes and developed the sections piece by piece. Each editor worked closely with at least one director, and we rotated tasks. Throughout the editing process, we frequently exchanged ideas with the four directors.
Elias: Editing in a collective was a new experience for all of us. Four directors and three editors—none of us had worked that way before. The directors provided us with a structural plan as a starting point. By the last days in Urnäsch, they had decided not to create an episodic structure, as originally planned, but rather one continuous film. They developed a sequence on paper based on the footage, which became our foundation.
In our director-editor pairs, we then began selecting and cutting these pre-chosen scenes. This resulted in a rough cut of various segments according to the proposed structure.
The next challenge was figuring out how to unify all these diverse elements. Since the film featured many different characters and stories, we needed a common thread or connecting element. At that point, we decided that I would take over as head editor. We felt it made sense for one person to be responsible for the "macro-edit" and maintain an overview of the entire project, while the others focused on the "micro-edit," refining individual scenes. In the end, I also took over the final cut. By that stage, only five of us remained: me and the four directors in an editing room, where we finished the film together.
Elias: The directors provided a structural framework, giving us some guidance. But within that framework, we had the freedom to experiment and propose changes. Some key storytelling elements—such as the space and galaxy theme—actually emerged during the editing process.
Elias: The selection of footage was primarily thematic. We had a clear idea of which characters and storylines we wanted to follow. There were fewer formal criteria since the cinematographers had already established a cohesive visual language, allowing us to mix material freely.
- What were the challenges and benefits of editing as a team of three?
Laura: One challenge was maintaining a consistent editing style and rhythm. When we assembled our individual sections, we had to refine the cuts to create a unified flow. But a major advantage was learning from each other. The discussions—about what each of us noticed in the footage, why we structured things in a certain way—were incredibly valuable.
Elias: I also think having multiple perspectives on the material was beneficial. The film features many different characters and locations, so it made sense to have diverse viewpoints in the editing room. Galaxi Urnäsch 3000 presents Urnäsch as a cosmos of different realities, and it was fitting that a whole cosmos of people worked on the film behind the scenes as well.
Axel: We often had to continue editing sequences that others had started, which allowed us to learn a lot from each other. Sometimes it was difficult to see a sequence I had initially edited change, but that was an important part of the process. In the editing room, the director has the final say. As an editor, you have to accept that you can't win every battle. Our job is to help the director realize their vision.
- How long did the editing process take?
Elias: The intensive editing phase lasted from October to December 2023. From January to April 2024, we made occasional changes and adjustments. The final edit was completed by the end of April 2024.
- What was the biggest editing challenge in this film?
Laura: Since filming, research, and editing were happening simultaneously, we weren’t working with pre-defined footage. Usually, editors receive material with a clear goal in mind—this time, we had to figure that out ourselves. Finding a unified voice for the film, despite so many contributors, was a challenge.
Elias: A major challenge was ensuring the film felt cohesive despite having so many contributors. Another was staying true to the characters and the town of Urnäsch. The best compliment we received was at the premiere in Solothurn when locals told us they felt well represented. Some even said they discovered aspects of their town they hadn’t noticed before—that was the highest praise we could have hoped for.
Axel: As editors, we didn’t have the usual director-editor tandem that we were used to on this project. In Galaxi Urnäsch 3000, we all had to find our roles, which was a new challenge
- Who advised you during the editing process?
Elias: Mike Schaerer was our editing mentor, and Sabine Gisiger led the project. Mike visited us in Urnäsch and later provided feedback during the editing phase in Zurich.
- What was it like seeing your film at a festival, on a big screen in a sold-out theater?
Axel: It’s always a wonderful experience for me to share a project with the audience. After so many hours in the editing room, you sometimes forget why you edit films in the first place… to evoke emotions in the viewers. At the same time, I always find it difficult to see the film as a finished product rather than just another edit.
Laura: It was amazing to watch the film in Solothurn. Almost the entire team was there, and many of the film’s protagonists attended the premiere. We even had a small concert after the screening—it was a unique and special event.
Elias: Seeing the film in a cinema setting is always eye-opening. In the editing room, we try to anticipate audience reactions, but experiencing them in real time is different. It was insightful to see whether certain moments resonated as intended.
- How do directors and editors typically connect at ZHdK?
Elias: It varies. Usually, editors are approached by other students, but sometimes we reach out to filmmakers whose work interests us. We can also edit external projects within the program. There’s a lot of flexibility.
Axel: I love learning something new every day here: whether it’s editing with directors or in seminars with lecturers/colleagues. I find the Master in Editing program very well-structured and wonderfully led by Mike Schaerer.
Laura: The people. Our professor, Mike Schaerer, is an incredible mentor. The collaboration with the entire film department—faculty and students alike—makes the learning experience truly enriching.
Elias: I appreciate the creative freedom and hands-on experience. There’s plenty of time to edit films, and we receive valuable guidance from mentors like Mike Schaerer. For thesis films, we can even bring in external mentors, which is a fantastic opportunity.
- Any insider tips for new students at ZHdK?
Axel: Buy cheap coffee capsules... There are many coffee machines in Toni, and you can use the capsules there. You need a lot of coffee for editing films.
Elias: Anyone interested in visual and sound storytelling. If you enjoy storytelling and have a technical mindset, this program is ideal. Teamwork and patience are also essential.
Laura: Passionate, motivated individuals who love film and want to refine their narrative skills.
Laura: If you want direct connections to the Swiss film industry, this Master's is a great choice.
Axel: I think, we have a "Picture-Lock".