Each instructor at Little Italie has spent years working on real productions — commercials, documentaries, short films — before stepping into teaching. What they share is a genuine interest in passing on what they learned the hard way.
Editing is not just cutting — it is deciding what the story actually is.
The team formed gradually around a shared frustration: most editing tutorials focus on software shortcuts rather than the decisions that make a sequence work. Every instructor here has sat in an edit suite at 2am wondering if a scene was salvageable. That experience shapes how they teach.
Since 2019, the group has grown to cover narrative pacing, sound design, color grading, and documentary structure — different disciplines that all feed into a single skill: making an audience feel something at the right moment.
Six editors, six different paths into the craft — each one with something specific to teach.
Lead Editing Instructor
Nour spent eight years cutting narrative short films across Egypt and Lebanon before joining Little Italie. His sessions focus on the moment-to-moment decisions that separate a functional cut from one that actually lands.
Narrative Structure Specialist
Amira's background is in screenwriting, which makes her approach to editing unusual — she reads a rough cut the way a writer reads a first draft. Her workshops on three-act pacing in the edit suite are consistently the most requested.
Sound Design & Pacing Mentor
Tarek started as a sound editor on television productions, which gave him an ear for how audio shapes perceived pacing. He teaches editors to listen to a sequence before they watch it — a habit that changes how most people approach their work.
Color Grading Instructor
Yasmine grades commercials and music videos professionally and teaches alongside that work. Her masterclasses are built around real project briefs — students grade actual footage rather than exercises — which makes the feedback more honest.
Documentary Editing Lead
Sherif has edited long-form documentaries for regional broadcasters for over a decade. His sessions deal with the specific challenge of documentary work: building a coherent story from footage that was never scripted to fit together.
Curriculum Designer
Dalia does not teach editing — she designs how it gets taught. With a background in instructional design and a decade of experience in online learning, she ensures each course builds skills in the right order and at the right depth.
Every instructor maintains an active practice alongside their teaching. That is not accidental — it keeps the feedback grounded in what is actually happening in the industry rather than what was true five years ago.
Sessions are structured around real decisions: why this cut, why here, what does the audience feel at this frame. Students work on their own footage and receive specific notes, not general encouragement.