<\/a><\/p>\n\n\n\nFilm & Television Editor | Director | Post-Production Advisor<\/p>\n\n\n\n
Srdjan is a highly accomplished film and television professional based in Belgrade, with a diverse career spanning over two decades in editing, directing, and post-production. He holds a B.A. in Film and TV Editing from the Faculty of Dramatic Arts at the University of Arts in Belgrade, where he also served as a Teaching Assistant in the History of Film.<\/p>\n\n\n\n
Currently acting as an Editor at TV Nova\u2014following his tenure as Chief Post-Production Editor for “The Biggest Loser” (Seasons 1 & 2)\u2014Srdjan\u2019s extensive television background includes key creative roles across major regional networks. He spent eight years as a Producer, Editor, and Director at MTV Adria, and nearly a decade shaping promotional content at TV B92. His technical expertise was further refined at Radio Television of Serbia (RTS), where he focused on film digitalization, restoration, and color correction.<\/p>\n\n\n\n
As an editor, his feature film credits include T.T. Syndrome (2000) and Little Night Music (2002). His documentary portfolio is marked by significant international recognition; his film We Are What We Lost (Mi smo ono \u0161to izgubimo) was screened at the Berlinale and selected as one of the top 10 documentaries at the Berlinale Talent Campus. Other notable works include Life Of A Mutt (2021) and the historical documentary Sajmi\u0161te: History of the Camp. Most recently, his short film CTRL+Z won the first prize at the Los Feliz Film Festival in Hollywood.<\/p>\n\n\n\n
Beyond his primary roles, Srdjan is a prominent trailer director and editor, creating campaigns for major feature films such as Ajvar, The Witch Hunters, and Lazar’s Path. He is proficient in DaVinci Resolve, Premiere Pro, and After Effects, bringing a comprehensive skill set to every stage of post-production.<\/p>\n\n\n\n
Director Statement<\/p>\n\n\n\n
“Alfred Hitchcock once famously claimed that in a feature film, the director is God. As a long-time film editor, I\u2019ve spent my career realizing that if the director is God, then the editor is the one who controls the universe\u2019s laws of physics. With ‘CTRL+Z: Stuck in the Edit’, I wanted to dismantle the traditional cinematic hierarchy. By creating a ‘one-take’ sequence and then brutally deconstructing it through the editing process, I aimed to show the existential dread of a character caught between the frames. This film is a tribute to the unseen power of the cut\u2014where reality isn’t captured on set, but manufactured on the timeline. It is a story about the ultimate authority of the ‘Undo’ command over our human experience.”<\/p>\n","protected":false},"excerpt":{"rendered":"
PLAY MOVIE (please click here)<\/a>\t\t<\/p>\n\nIn the world of film theory, the director is the supreme creator. However, for Bob, the protagonist of this one-minute meta-metaphysical nightmare, that hierarchy collapses with a single keystroke. While trying to enjoy a well-deserved moment of peace with a piece of cake, Bob realizes his reality doesn\u2019t belong to him, but to an invisible Editor.<\/p>\n
Time for Bob ceases to be linear\u2014he becomes a victim of a brutal “Undo” process. Through a series of violent jump cuts, absurd wardrobe changes, and forced rewinds, Bob experiences a digital version of purgatory. The film explores the thin line between the silver screen and reality, turning a technical glitch into existential horror. In the end, Bob doesn’t seek salvation from a director; instead, he attempts to “cut” the very light source of the machine that created him, proving that in the digital age, the only true God is the one with their finger on CTRL+Z.<\/p>\n","protected":false},"author":1,"featured_media":6006,"comment_status":"open","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"class_list":["post-2079","episode","type-episode","status-publish","has-post-thumbnail","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/episode\/2079","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/episode"}],"about":[{"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/types\/episode"}],"author":[{"embeddable":true,"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/comments?post=2079"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/media\/6006"}],"wp:attachment":[{"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/media?parent=2079"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![<\/a><\/p>\n\n\n\nFilm & Television Editor | Director | Post-Production Advisor<\/p>\n\n\n\nSrdjan is a highly accomplished film and television professional based in Belgrade, with a diverse career spanning over two decades in editing, directing, and post-production. He holds a B.A. in Film and TV Editing from the Faculty of Dramatic Arts at the University of Arts in Belgrade, where he also served as a Teaching Assistant in the History of Film.<\/p>\n\n\n\nCurrently acting as an Editor at TV Nova\u2014following his tenure as Chief Post-Production Editor for “The Biggest Loser” (Seasons 1 & 2)\u2014Srdjan\u2019s extensive television background includes key creative roles across major regional networks. He spent eight years as a Producer, Editor, and Director at MTV Adria, and nearly a decade shaping promotional content at TV B92. His technical expertise was further refined at Radio Television of Serbia (RTS), where he focused on film digitalization, restoration, and color correction.<\/p>\n\n\n\nAs an editor, his feature film credits include T.T. Syndrome (2000) and Little Night Music (2002). His documentary portfolio is marked by significant international recognition; his film We Are What We Lost (Mi smo ono \u0161to izgubimo) was screened at the Berlinale and selected as one of the top 10 documentaries at the Berlinale Talent Campus. Other notable works include Life Of A Mutt (2021) and the historical documentary Sajmi\u0161te: History of the Camp. Most recently, his short film CTRL+Z won the first prize at the Los Feliz Film Festival in Hollywood.<\/p>\n\n\n\nBeyond his primary roles, Srdjan is a prominent trailer director and editor, creating campaigns for major feature films such as Ajvar, The Witch Hunters, and Lazar’s Path. He is proficient in DaVinci Resolve, Premiere Pro, and After Effects, bringing a comprehensive skill set to every stage of post-production.<\/p>\n\n\n\nDirector Statement<\/p>\n\n\n\n“Alfred Hitchcock once famously claimed that in a feature film, the director is God. As a long-time film editor, I\u2019ve spent my career realizing that if the director is God, then the editor is the one who controls the universe\u2019s laws of physics. With ‘CTRL+Z: Stuck in the Edit’, I wanted to dismantle the traditional cinematic hierarchy. By creating a ‘one-take’ sequence and then brutally deconstructing it through the editing process, I aimed to show the existential dread of a character caught between the frames. This film is a tribute to the unseen power of the cut\u2014where reality isn’t captured on set, but manufactured on the timeline. It is a story about the ultimate authority of the ‘Undo’ command over our human experience.”<\/p>\n","protected":false},"excerpt":{"rendered":"PLAY MOVIE (please click here)<\/a>\t\t<\/p>\n\nIn the world of film theory, the director is the supreme creator. However, for Bob, the protagonist of this one-minute meta-metaphysical nightmare, that hierarchy collapses with a single keystroke. While trying to enjoy a well-deserved moment of peace with a piece of cake, Bob realizes his reality doesn\u2019t belong to him, but to an invisible Editor.<\/p>\nTime for Bob ceases to be linear\u2014he becomes a victim of a brutal “Undo” process. Through a series of violent jump cuts, absurd wardrobe changes, and forced rewinds, Bob experiences a digital version of purgatory. The film explores the thin line between the silver screen and reality, turning a technical glitch into existential horror. In the end, Bob doesn’t seek salvation from a director; instead, he attempts to “cut” the very light source of the machine that created him, proving that in the digital age, the only true God is the one with their finger on CTRL+Z.<\/p>\n","protected":false},"author":1,"featured_media":6006,"comment_status":"open","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"class_list":["post-2079","episode","type-episode","status-publish","has-post-thumbnail","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/episode\/2079","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/episode"}],"about":[{"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/types\/episode"}],"author":[{"embeddable":true,"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/comments?post=2079"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/media\/6006"}],"wp:attachment":[{"href":"https:\/\/colortapeinternational.eu\/2026\/wp-json\/wp\/v2\/media?parent=2079"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/filmfreeway-production-storage-01-connector.filmfreeway.com\/press_kits\/headshots\/003\/852\/037\/original\/ea161944ec-headshot.jpg?1775667395\"){kind=link}