A not very wise man once reflected that the strongest examples of film editing are the sequences where you don’t notice it. Day-long seminars such as “Sight, Sound & Story,” which took place last Saturday at the Florence Gould Hall in Manhattan, seek to pull back the curtain on the constantly evolving digital tools and techniques in need of demystification. Structured around a series of topical, industry-specific interests, the panels I attended approached the craft (and the difficulties of perfecting it) from a myriad of vantage points, none the least being narrative structure, the identification of theme and post-production sound design. Speaking to a house compromised primarily of similarly minded film craftsman, the panelists dug out their own portfolios to provide concise case studies.