UK FILM COURSES

This intensive 3-week programme covers all aspects of traditional hand drafting for film and television.

The course is specifically designed to cater for a...

This intensive 3-week programme covers all aspects of traditional hand drafting for film and television.

The course is specifically designed to cater for a variety of levels. There will be a maximum of 6-8 participants, and the primary aim of the three weeks will be to develop each student’s abilities and build confidence in precisely those areas where they are needed. An organic process of learning without a rigid timetable will allow each participant to work entirely at his or her own pace. Under tutor David McHenry’s guidance, each participant will receive the one-to-one assistance they need to make the most of their time with us.

The starting point for each participant will be a designer’s rough sketch, from which a set of working drawings will be created. Essential drafting techniques and basic geometry will be practiced as required, with specific areas to be addressed as follows:

Plans, sections, elevations and larger scale details. The construction of arches in various forms, staircases (and spirals), windows and doors. The use of lenses and screen aspect ratios. Methods of creating lens projections. Extensive reference documents will be provided throughout the course, as will all equipment and materials.

The course will be taught from Mondays to Fridays. In addition, those who wish may access the space on the two middle Saturdays to continue with their drawings unsupervised (i.e. Saturday 21st and Saturday 28th July).

Do you know how your project fits into the marketplace, and what practical things you can do to ensure a greater chance of success? Do you want to make films, b...

Do you know how your project fits into the marketplace, and what practical things you can do to ensure a greater chance of success? Do you want to make films, but have no idea of how to get them to be seen by an audience?

Do you know exactly how the international and domestic marketplaces work? Do you know exactly what a sales agent and distributor does and why?

Have you been involved in making a film and found that part easy but been completely mystified by the sales, distribution and marketing process? Do you worry about how the business models are changing but not know how to keep up?

In this intensive 2-day workshop, Oscar winning producer and marketeer Mia Bays presents an A-Z guide to the current sales marketing and distribution landscape, with advice and contacts from over 20 years in the film industry.

The workshop features:

Industry guests, including leading independent distributors, sales agents, marketeers, digital specialists, producers and cinema bookers. They'll be discussing strategy, implementation and results across UK and International. Case studies of recent and forthcoming UK cinema releases. Extensive access to the facts, figures and tricks of the trade from an insider's point of view. Networking drinks. Ideal for producers, writers, directors and other film professionals at all levels from entry level to veterans – top up your knowledge!

Mia's guests for the April 2012 course so far include:

Pete Buckingham – Formerly Head of Distribution & Exhibition, BFI Jason Wood (TBC) – Head of Programming, Curzon Cinemas David Shear – Head of Distribution, Revolver Entertainment Stephen Kelliher – Director of Bankside, one of the UK’s leading International sales companies Michael Hayden (TBC) – Senior Programmer, The London Film Festival Chris Watts – from Film3Sixty

Following on from the 3-day Mackendrick on Film-Making course, this new and intensive 1-day script surgery will use Mackendrick’s ideas on dramatic constructi...

Following on from the 3-day Mackendrick on Film-Making course, this new and intensive 1-day script surgery will use Mackendrick’s ideas on dramatic construction and film grammar to analyse participants’ own work. If you have a draft version of a script, or a rough cut of a film, bring it along and as a group we’ll address any specific issues and problems you might have.

This is an excellent opportunity to see Mackendrick's ideas in action. There wasn't a problem with a student script or film that he hadn't encountered a thousand times before. His Slogans for the Screenwriter's Wall speak to his understanding of the issues that writers and filmmakers are confronted with at every stage of their work.

For the past year Paul has been offering Mackendrick surgery sessions to small groups of filmmakers in New York, with a great deal of success.

A maximum of 8-10 places are available, and priority will be given to those who have already attended the Mackendrick course (including those who sign up for the forthcoming April course). A waiting list will be operation for everyone else.

Based on Alexander Mackendrick's influential teachings, this comprehensive 3-day workshop offers an excellent opportunity for anyone who wishes to learn more a...

Based on Alexander Mackendrick's influential teachings, this comprehensive 3-day workshop offers an excellent opportunity for anyone who wishes to learn more about film-making from one of the masters of the medium.

Mackendrick’s practical approach to film-making serves as one of the best introductions to the craft available today.

His writings were designed specifically for students, and are masterful studies of the two primary tasks confronting the film director: how to structure and write the story they want to tell, and how to use those devices particular to the medium of film in order to tell that story as effectively as possible.

The weekend is structured around the illustrated lecture MACKENDRICK ON FILM, which features footage of Mackendrick discussing his approach to film-making, interviews with some of his former students and colleagues who discuss his ideas in detail, and a host of film clips.

Topics covered include:

Crafting a narrative screenplay. The fundamentals of film grammar: turning your script into a film. How the director works with actors. 'When not to write a shooting script'. Why you should always try to cut dialogue from your script. How 'Movies show and then tell'. Why a 'clever plot' might not be a good starting point for your story. Why props and 'incidental business' are crucial to the job of the director. 'The Pre-verbal Language of Cinema'. Why you should be beware of flashbacks. 'Exposition is boring unless it is in the context of some present dramatic tension or crisis'. 'Passivity is a capital crime in drama'. 'The role of the antagonist may have more to do with the structure of the plot than the character of the protagonist'. Setting the fuse and the obligatory scene. How different camera angles and movement help create different emotions in the audience. 'What is happening now is apt to be less dramatically interesting than what may or may not happen next'. 'If you've got a beginning but don't yet have an end, then you're mistaken: you don't have the right beginning'. 'Drama is expectation mingled with uncertainty'. Use of the foil character. Why a good story can be told from the point of view of any character. Why you should always look for the longest axis on your set. 'What you leave out is as important as what you leave in'. Postcarding as a method of structuring your story.

Novice film-makers will leave the workshop equipped with valuable craft-based ideas that will help at all times when writing and directing. Those who are more experienced will have their understanding of the craft greatly enriched.

This inspiring 4-day workshop is lead by artist and filmmaker Dylan Stone. Designed primarily for directors wishing to develop their visual imagination and refi...

This inspiring 4-day workshop is lead by artist and filmmaker Dylan Stone. Designed primarily for directors wishing to develop their visual imagination and refine their visual storytelling techniques, it is also ideal for aspiring storyboard artists. Both analytical and practical in nature, the course allows participants to consider the work of key artists and filmmakers before learning basic drawing skills and applying them to practical storyboarding exercises.

Through analysing great art - both on screen and on canvas - participants will learn how to harness the imagery of others and use it to hone and inspire their own work.

The group will examine powerful examples from key film directors, relating their images to their aesthetic. Directors and films to be considered include: David Lean (HOBSON’S CHOICE); Alfred Hitchcock (NORTH BY NORTHWEST); Martin Scorsese (RAGING BULL); Robert Bresson (A MAN ESCAPED); Jean-Luc Godard (BANDE À PART); Orson Welles (THE MAGNIFICENT AMBERSONS).

Participants will also consider a wide variety of artists. How does Rembrandt draw the viewer into his portraits? How do the Rococo painters, Boucher and Fragonard make their work so coquettish, so sexual? Artists have always manipulated and played with their viewers' emotions. How does Kathe Kollwitz bring such a sense of sadness to her black and white work, John Singer Sargent such joy, and Goya such violence in his ‘Disasters of War’?

This learning will then be applied to narrative storytelling: how each element of the frame can connote information – deft, compact, succinct. By imagining any scene as a succession of images, which themselves convey narrative, the films become predominantly visual, rather than dialogue-driven.

By combining this analytical study with the central discipline of figure drawing, the course will enable participants to create effective and powerful storyboards of their own. All four days will begin with an intensive life model drawing class with a focus on creating figures in different situations.

The group will then apply their new drawing skills to specific work – to their own projects, if they wish. Participants will visualize chosen scenes in order to translate the storyboards ready for the camera.

All levels of drawing experience are accommodated on this workshop.

The lives of writers, directors and producers are highly individual. No two are quite the same. It’s hard to apply the usual career-pattern criteria to creati...

The lives of writers, directors and producers are highly individual. No two are quite the same. It’s hard to apply the usual career-pattern criteria to creatives. This isn’t a bad thing, but it can make your own career-development assessments difficult. To be blunt, it’s often hard to know if you’re on your way up, on the way down, or just stuck.

This new and intensive short programme is devised by Shiona Llewellyn, author of Skillset’s ‘Career Handbook for TV, Radio, Film, Video and Interactive Media’. It proposes that self-knowledge and personal authenticity, properly understood and clearly presented in a strategic way, are the most powerful drivers for creative and professional advancement.

A unique combination of individual coaching and group workshops are designed to help you understand where you are, and how you can move yourself forward.

Shiona will provide tools for self-analysis, helping you to identify your strong and less-developed skills. The course will offer insights into the demands the industry makes of writers, directors and producers and match them with your own skill set, identifying areas for future development.

Shiona will guide each individual in devising strategies for self-presentation and self-promotion, including CV and credit list presentation, and contact and networking ideas.

Colorists refer to their main grading display as "The God Monitor" and there is no doubt that color correction is only useful if the display is calibrated in a ...

Colorists refer to their main grading display as "The God Monitor" and there is no doubt that color correction is only useful if the display is calibrated in a meaningful way. This workshop covers basic color science and color spaces, followed by a practical workflow for setting up, and calibrating displays using THX cineSpace software.

This color management class is ideal for anyone who uses a display for critical viewing decisions, including DITs, Colorists, Editors, VFX artists and anyone and anyone who needs accurate monitoring. No prior knowledge is assumed, and by the end of the day everyone should be capable of calibrating a display device, and matching monitors. The course also covers workflows and suggestions for working on television, film and digital cinema projects. It covers the use of Look Up Tables (LUTs) to transform media from one space to another.

The workshop begins with the basics of any color-managed workflow, and then explains and demonstrates calibrating, profiling and matching monitors. At the end of the day we produce LUTs to make a broadcast display look like a film print and discover how they can be used as a creative effect too.

Colour Management Basics: Why display devices and colour spaces do not look the same. Colour Managed Workflows: What is a colour managed workflow, and how does it help? Calibration: Do all display devices need Look Up Tables (LUTs)? Profiles: What is the difference between profiling and calibration? Gamma: What is the relevance of gamma to gamut? How to work in log and linear . LUTs: What is the difference between 1d and 3d LUTs, and which is best? Generating LUTs – and using them. Choosing a colour space – and establishing a color managed workflow. Exporting a project for different colour spaces.

This is a follow on to the Introduction to Colour Grading workshop and is aimed at anyone who has or will have a project to grade. The course concentrates on tw...

This is a follow on to the Introduction to Colour Grading workshop and is aimed at anyone who has or will have a project to grade. The course concentrates on two very different case studies, and includes many examples of problems solved and opportunities made.

180 is a big budget feature film shot on Red, Phantom and DSLR cameras and delivered as film print, digital cinema and broadcast masters. In contrast SEMI-SKINNED is a low budget short shot on 16mm film and aimed at the festival market.

The workshop offers a wonderful insight to anyone who is interested in making the most of postproduction and getting beautiful images that fit the budget. It is an ideal foundation for more in depth courses and workshops, as well as a guide for anyone planning or supervising a colour grade session.

Topics covered include:

Introduction: What is a DI Workflow? Case Study Overview: The Short Film Big Ideas and a Small Budget; The Feature Film with Big Budget and Multiple Deliverables. The Timeline: Data Management, Editing and VFX from the Colorist POV; Round Trip Grading; DI Finishing. The Grading: Colour Management; Style and Continuity; Colour Effects and Fixes; Compositing and Titles. Summary: Planning Ahead; Working with the Colourist; Delivering Perfect Pictures.

This intensive 2-day workshop with Insight News TV introduces the tools and techniques essential to making broadcast quality News features.

Emmy and Rory Pec...

This intensive 2-day workshop with Insight News TV introduces the tools and techniques essential to making broadcast quality News features.

Emmy and Rory Peck award-winner Ron McCullagh reveals how the industry professionals make factual films using the most basic equipment: a digital camera, a microphone and a light. By the end of the workshop participants will be armed with the knowledge, confidence and practical experience required to single-handedly shoot a well-crafted twelve minute News feature. In addition participants will have been introduced to some of the realities of international journalism, finding ways to truthfully report stories through the experiences of the people involved. In short, to make the important interesting.

Course Aims The workshops aims to:

Introduce participants to the necessary skills to single-handedly shoot their own short factual films. Increase confidence in the technical aspects of cameras, lighting, and sound. Give a raw insight into guerrilla style camera work from award winning professionals with many years of experience of filming in adverse conditions. Outline the basic requirements necessary to make broadcast quality films, keeping in mind the ethical responsibilities of the journalist.

Day 1

The deconstruction of a selected film - insights into why shots were used, how sequences were filmed and what is required to make a twelve minute News feature to a professional standard. The Sony HVR-Z1E HDV camera - a detailed demonstration, from how to use the menus and the importance of timecodes, to understanding how to use the camera's functions to creative advantage. Sound - a discussion on types of microphone, their proper uses, and monitoring levels. Lighting - a discussion on how to use lights and gels to achieve the best visual effects, appropriate to factual filmmaking.

Day 2 Practical shooting - teams of three will put into practice the lessons from Day 1, followed by a detailed criticism of their work. "The Interview" Theory and Practice - participants will be given advice on all aspects of interviewing, from the correct method of questioning to the rules of angles, lighting, and close-ups. Final deconstruction - using their new knowledge participants will deconstruct and criticize a twelve minute News feature.

How does a piece of music get into a film? What are the considerations for using pre-existing tracks versus specially commissioned scores? How do you find the r...

How does a piece of music get into a film? What are the considerations for using pre-existing tracks versus specially commissioned scores? How do you find the right track, the right composer? How much does it all cost and what steps are necessary to ensure it’s all done legally?

In this intensive 1-day workshop, leading UK Music Supervisor & Record Company Executive Ian Neil and expert industry guests explore the complexities of placing music onto film. The course is open to all filmmakers, with particular relevance to producers, directors and post production, as well as media lawyers and music composers.

The programme will include a chaired panel discussion with industry guests. The team will discuss various publishing rights issues, as well as how best to structure the deal for the composer and the producer, and what role the music publisher plays within this process.

Topics covered include:

Film composers Soundtracks How to get the right piece of music for the right price Budgeting Pitfalls to avoid Rights ownership and how to potentially own your own music rights from your film How a director and producer work creatively with composers, music supervisors and music editors Music publishing Master recording

TUTOR PROFILE

Before becoming a leading independent Film Music Supervisor Ian Neil built a strong reputation through his work as Head of Film and TV for Polygram Records; Head of Film, TV and Advertising and ultimately Director of the department at Warner/Chappell Music Ltd. During this time he placed artists such as LIGHTHOUSE FAMILY, THE CARDIGANS, MOBY, GOLDFRAPP, OVERSEER, GROOVE ARMADA, LAMB & SMASHMOUTH and many more in high profile advertising campaigns, TV and Film Productions.

One of Ian’s first big films, LOCK, STOCK AND TWO SMOKING BARRELS, resulted in a double platinum soundtrack and a strong collaboration with Brit director Guy Ritchie. Ian was therefore Ritchie’s first choice for his follow up feature, SNATCH. Other film credits as music consultant during this time included Barry Skolnik’s MEAN MACHINE, Robert Altman’s GOSFORD PARK and UP ‘N’ UNDER directed by John Godber.

Since 2004 Ian has enjoyed success as a freelance Music Supervisor with feature credits including the award-winning CONTROL, JOE STRUMMER-THE FUTURE IS UNWRITTEN, ST.TRINIANS, KIDULTHOOD, ADULTHOOD, THE CRIMSON WING, ROCKNROLLA, THE HISTORY BOYS, HANNIBAL RISING, TAKING LIBERTIES. and OF TIME AND THE CITY from the highly acclaimed director Terence Davies.

His most recent film releases include SEX & DRUGS AND ROCK & ROLL directed by Mat Whitecross and exec produced by Ian Neil, THE BOYS ARE BACK directed by Scott Hicks and NOWHERE BOY directed by Sam Taylor Wood. Recent TV credits include Channel Four’s RED RIDING TRILOGY directed by Julian Jarold, Anand Tucker & James Marsh for Revolution Films, PLUS ONE and ECHO BEACH for Kudos along with series two of ASHES TO ASHES.

Creating a long-running TV Drama series is a complex and difficult process but, if successful, the rewards can be immense. This new 2-day workshop explores how ...

Creating a long-running TV Drama series is a complex and difficult process but, if successful, the rewards can be immense. This new 2-day workshop explores how a successful drama series is put together and analyses the elements involved in its creation.

The workshop is aimed at practising writers, producers and directors who would like to develop their skills in creating TV Drama Series. Producer and workshop tutor Archie Tait will introduce the 4 Types of Drama Series, before examining the concepts of Subject Selection, the Series World, Character, Story, and the interplay between Series and Serial.

The course perspective is UK/US, and participants should have familiarity with current UK and US drama series. Participants should bring laptops as the workshops will involve an overnight writing exercise.

DAY ONE On the first day of the course each participant should arrive with an idea for a TV drama series, which they will pitch to the class. The class will then be then divided into three groups of four. Each group will appoint a member to be the Editor and select a project to work on over the two days. The group will then jointly create the Series Bibles for the selected show. The Bible will define the Series World and the cast of characters, sketch the Pilot story, further possible storylines, and define the show’s style and tone.

A screening and analysis of the pilot episode of a major drama series will illustrate the principles.

Each participant will write a draft of an agreed section of the Series Bible overnight.

DAY TWO Day two will begin with the Group Editor pulling together the various elements of the Bible, after which the group will write a fast polish to integrate all of the various elements. The Bibles will be presented to the class for their analysis and commentary.

Each Group will then re-write their Series Bible over a working lunch, for re-presentation in the afternoon.

The tutor will summarise the learning of the two days, and locate the series ideas that have been developed within a market context.

Archie Tait - Tutor Profile Archie Tait has 20 years’ experience as a creative executive and producer of TV Drama Series. He has script-edited INSPECTOR MORSE, developed HAMISH MacBETH and OUTLAWS, and produced THE PARADISE CLUB, 99-1 and HEARTBEAT. He teaches screenwriting at the London Film School and on the NYU-Tisch School of the Arts London Visiting Program.

Recording quality sound when shooting on location is essential if time, money and hassle are to be saved in post production. It is therefore an area which canno...

Recording quality sound when shooting on location is essential if time, money and hassle are to be saved in post production. It is therefore an area which cannot be compromised.

This intensive weekend workshop is designed to introduce filmmakers to the fundamental techniques for recording and mixing sound for film, television, documentary and video.

Aimed at those who feel they would benefit from a theoretical and practical grounding in location sound techniques, participants will be taught how to achieve the most professional results using the equipment most widely-used in the industry today.

Course Outline The workshop will cover the following areas:

What is sound? How does it behave in interior vs. exterior environments? Understanding the recording chain for sound recording on HDV and film: Equipment; Calibration. Types of microphones: For different genres; Radio Mics; Directional Mics; Stereo recording. Participants will handle the Schoeps MK5, Senneheiser 416, and the Radio Mic 2020. Planning sound recording in a shoot: Considering locations; Equipment (including the Nagra Hardisk recorder); Sound kit. Sound Recording: Recording techniques; Boom operating; Recording to camera; Noise; Protocol. Practical recording and listening exercises: Indoors; Outdoors; Troubleshooting.

Saturday 3rd & Sunday 4th December 2011

Following the success of our advanced 5-day courses in improvisation, this 2-day workshop goes "back to basics" offering writers and directors who are new to ...

Following the success of our advanced 5-day courses in improvisation, this 2-day workshop goes "back to basics" offering writers and directors who are new to improvisation a practical introduction in how to use it as a central component of their filmmaking.

The course is designed specifically for those who wish to come together with other professional writers and directors and gain improvisation techniques to create new work and improve existing projects.

Improvisation is a performance method often used by directors and actors to enhance the quality of performance. Writers can also use it to develop their story outlines and screenplays. When used successfully, improvisation allows writers to "write on their feet" and becomes a powerful tool for improving dialogue within scenes and overall story structure.

The workshop will give both writers and directors a clear set of improvisational tools to employ at any stage of the writing, rehearsal and filming process, as well as practical techniques to develop their working relationship with actors.

The course will focus on the following:

Techniques to unlock creativity, and banish writers' block. Using "Status" as a tool to increase and heighten conflict. The difference between "predictable" and "satisfying". "Active" versus "passive" storytelling. Improvising stories from scratch. New ways of using classic story structure. Techniques for working with other people (writers, actors, directors etc) in order to create, develop and improve story outlines and screenplays. Identifying weak areas in pre-existing work, and strengthening them. Using archetypal story forms as a basis of improvisation work.

All participants will be expected to "learn on their feet" through active involvement in the various methods examined - and should expect to spend time out of their seats!

On the second day participants will have the opportunity to direct professional actors.

Note-taking is not required, as full course notes will be issued to participants by the tutor after the workshop. This will leave participants free to immerse themselves fully in the exercises and techniques being examined.

Monday 17th & Tuesday 18th January 2011

Often used to plan more complex sequences, storyboards are in essence a comic strip illustrating the physical events as they will be seen through the camera len...

Often used to plan more complex sequences, storyboards are in essence a comic strip illustrating the physical events as they will be seen through the camera lens. They can save the production valuable time and money, as they communicate to every other department complex issues such as SFX, visual FX and action sequences.

Once participants have been introduced to the basic sketching skills necessary for storyboarding, they will then create an effective storyboard of their own, using:

• a selection of scenes from a screenplay
• a Director's vision expressed as a shot-list
• a rough plan with camera set-ups.

Saturday 11th & Sunday 12th December 2010

This new 2-day course is designed to provide a detailed and practical guide on how to take an idea for a documentary from the early stages of development throug...

This new 2-day course is designed to provide a detailed and practical guide on how to take an idea for a documentary from the early stages of development through to the finished product and onto the international market.

The course is especially useful for those who already have some experience of documentary filmmaking in a particular area, but want to learn how it all fits together in order to manage a project from start to finish. For those with little or no industry experience it will provide a strong grounding in all aspects of the production process.

The interactive nature of the course means that ideas and treatments of participants will be workshopped and discussed within the context of completed films and broadcast schedules. By the end of the two days participants should be able to give a definitive shape to their ideas and have a clear understanding of how it fits into the market place. In addition students should come away with comprehensive knowledge about the budgeting, production process and marketing of their project.

Award winning executive producer Tracey Gardiner (Grierson, Scottish BAFTA, Wincott) has many years experience of developing, selling and making factual programmes, series and long form documentaries in a range of genres.

Course Aims To provide a rigorous framework for deciding which ideas should be developed and what makes a good treatment. To workshop ideas to explore how to make them appeal to funders and how to approach commissioners, co-producers and production companies. To provide a detailed breakdown of how budgets work, including the employment, legal and business aspects that are necessary to consider on a production. To outline different production funding models, from zero-budget to international co-productions, and how to develop a distribution and marketing strategy.

Course Outline

Day 1 What makes an idea good? "“ how to turn an interesting thought into a commissionable idea and the tests you need to apply before working up an idea. Researching an idea - how much research should go into an idea in order to write a treatment? Writing a good treatment "“ useful rules to apply to any written treatment that will make it stand out from the crowd. Presenters - how to find them and get them on board, and how to deal with agents. Filming a taster "“ what form should it take and when is it necessary? Where should I try to sell my idea? - approaching production companies, what sort of deal to expect and how to protect your idea and financial interests. Should you go directly to a broadcaster? - how to build up a relationship with commissioners and how get onto the accepted supplier list.

Day 2 Working up a budget "“ a line by line analysis of all the cost considerations in making a factual programme. How to adjust costs to meet the finance available. Legal considerations "“ release forms, contracts, insurance and copyright. Post production "“ preparing in pre-production for post, and budgeting for international versions. Co-Producers "“ how to find co-production funds and what rights will they demand. Private Finance solutions "“ EIS tax break schemes, deferments, director/producer investment. Sales agents and distributers "“ how to find them, what kind of deal to expect, festivals and markets - how do they work? Alternative Funding "“ foundations like Wellcome and BritDoc, regional Film Council bodies.

Thursday 19th & Friday 20th January 2012

Knowing how to break down a screenplay into its relevant components of sets, props, locations, special effects etc. is key to understanding the Art Department's...

Knowing how to break down a screenplay into its relevant components of sets, props, locations, special effects etc. is key to understanding the Art Department's requirements and the attention to detail it requires to successfully realise a creative and imaginative design concept. Equally vital to anyone working in the Art Department is the ability to read a working budget.

On this course participants will begin to master both of these skills by breaking down a script for themselves. Their starting point will be:

• a schedule
• an overview of how much screen time is to be given to each set/location
• an overview of where the resources are to be placed.

Saturday 13th & Sunday 14th November 2010

Over the past decade Colour Grading has evolved from a very linear telecine process to the very flexible non-linear DI workflows of today. A skilled colourist w...

Over the past decade Colour Grading has evolved from a very linear telecine process to the very flexible non-linear DI workflows of today. A skilled colourist will maintain continuity by matching shots, and also enhance the work of the cinematographer. But colourists also manipulate perception to stimulate emotions, focus attention and improve understanding of a project. Colour Grading can be fantastic production value.

This 1-day introductory workshop is aimed at anyone interested in colour correction, either as a colourist or as a filmmaker working with a colourist. The course will cover practical examples, basic grading advice, and a quick look at the history and workflows of grading. The presentation will include an overview of professional grading theatres and equipment used, with images of example suites from around the world.

The workshop offers a wonderful insight to anyone who has ever thought about grading, but not had the opportunity to explore its potential. It is an ideal foundation for more in-depth courses and workshops, as well as a guide for anyone considering the purchase of grading software or about to book a session with a colourist.

Areas covered include:

Introduction: What does a colourist do? Is grading a technical necessity? A Short History of Colour Grading and Enhancement: How today’s grading technologies and techniques have developed. Grading Workflows: When to colour and what to expect The differences between Film, Video and Digital Colourists: Can it always be fixed in post? Effects of Colour: Examples of correction, enhancement and effects Getting Started: What are the essential tools needed? Taking It Further: A professional approach. Grading Suites and Theatres: When should you use them? Are they all the same?

When we look at film, each image on the screen has tone, contrast, perspective, colour and texture - as well as the source of light. The purpose of visuals is t...

When we look at film, each image on the screen has tone, contrast, perspective, colour and texture - as well as the source of light. The purpose of visuals is to provide the director and production team with sketches, which convey these aspects and which enhance the 'subject matter'. They also communicate to the production clear 'visual ideas' of the overall feel, colour and tone of the piece. Visuals provide information for set-decorators, costume and props; an integral part of the process. The design process can often sets the tone of the piece and gives the production/director ideas to work with.

On this 2-day course participants will create accurate perspective drawings of interior sets and locations from given plans with lens angles and positions. Screen sizes (aspect ratios) and the creation of lens angle templates will be fully explained.

Course dates: Saturday 16th & Sunday 17th October 2010

This intensive 5-day course is designed specifically for directors and writer/directors who would like to use improvisation as a central component of their work...

This intensive 5-day course is designed specifically for directors and writer/directors who would like to use improvisation as a central component of their work, and who would benefit from workshopping a current project with professional actors.

The course is highly practical in nature, and all participants will be encouraged to 'learn on their feet' through active involvement in the various improvisation techniques examined. The focus will be on the relationship between the director and the actor, but there will be a component examining how improvisation can be used to improve the quality and effectiveness of the written screenplay.

Although designed with directors in mind, this course is valuable for any screenwriters who wish to move into direction, or indeed anyone who is interested in exploring the relationship between the actor and the director.

The course will focus on the following key areas:

How to get actors to improvise successfully. How do you do it? Not all actors are trained in improvisation. Some hate it. Some love it but don't always apply it successfully. This course will show you how. Improvisation using pre-existing material - developing scenes / back - story / characterisation and deep character. This is particularly helpful for novice film-makers who want a new set of skills to develop their methods of working with actors. Improvisation from scratch - how to generate story, character, and the foundations of a full screen-play from the ground up. Improvisation as a rehearsal technique AND Improvisation as part of the final shooting script. "Pitfalls, Bad Habits and Areas Of Concern". Improvisation is a tool for creating drama, and can be a help or a hinderance. This course will look at how improvisation can be mis-applied, and also at some common misperceptions about the whole Impro approach. "Does It Have To Be Funny?" Improvisation is a natural generator of humour, but can be used with equal success to create drama of the utmost "seriousness". Further research "“ What should I read? What should I watch? Where are the important areas of research in terms of using improvisation to work with actors? During the final 3 days of the course, participants will have the opportunity to direct professional actors in scenes from their own projects.

By the end of the week, participants will have a deep working knowledge of the fundamentals of improvisational practice, and will have applied their knowledge in numerous rehearsal settings.

The course will be highly practical in nature - although full notes will be issued, and time set aside for feedback, the majority of the course will be spent workshopping the numerous techniques - expect to spend a lot of time out of your seat.

Next course dates: Wed 14th - Sunday 18th November 2011

In this practical 3-day workshop, director Josh Appignanesi [THE INFIDEL] takes participants shot by shot into the heart of cinema by introducing the following ...

In this practical 3-day workshop, director Josh Appignanesi [THE INFIDEL] takes participants shot by shot into the heart of cinema by introducing the following issues:

What choices make a shot tell the story your way? - How do you use composition, framing, blocking of actors and their position to camera? Background, palette, costume, lenses, light, camera movement? How do you juxtapose this shot with your other shots through editing, to create suspense and involvement? How do you create a system of images that, by repetition and inversion, build tellingly into a moving and memorable visual story? Audiences are already saturated in the visual grammar of other films - collectively known as "genres." How do you refer to and exploit the assumptions every audience brings to a film in advance? What is it that makes a given filmmaker distinctive? How do you apply these ideas practically in your prep and on your set, getting your ideal shots as well as your coverage? With inspiring film examples, practical storyboarding exercises, and analysis of participants' own films, this workshop will give you the tools you need.

The workshop would most benefit those with some prior filmmaking experience. A significant part of the workshop will be dedicated to analysing participants' own work. Participants are therefore asked to bring along an example of their own work, preferably a short film in DVD format.

Saturday 5th and Sunday 6th November 2011

The LFS MA Filmmaking Course is an intense two year programme in which the full range of film-making skills are taught at appropriate professional levels.

Le...

The LFS MA Filmmaking Course is an intense two year programme in which the full range of film-making skills are taught at appropriate professional levels.

Learning is based around short films. Each term these film exercises become more technically sophisticated, more considered and more complex in their ambitions. The School specifies the skill base for each exercise, provides the equipment and trains the students up to the new levels in each of the various craft skills. Students take all the aesthetic decisions, solving problems similar to those faced by professional units, on a steeply increasing slope of difficulty. Their work is constantly assessed and criticised. Students themselves are required to reflect on and assess their own learning in Work and Research Journals.

The film exercises are programmed by the School, and are tightly scheduled, requiring the students to learn to work under time discipline. Crews are compact, and consequently there is always need for assistants from the lower terms. Up to sixty films are made each term, which means that whenever students are not busy with their own projects, their services are in demand on many others. This creates a constant sense of excitement, a constant presence of film-making, which becomes the atmosphere and life of the School, a tremendous motivating force.