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13/14.01.2018London UK
COLOUR GRADING WORKSHOP WITH GARRY MADISON

SOLD OUT For waiting list please email filmlab@fest.pt ABOUT GARRY MADISON

One might say that Garry Madison’s career started when he was a young child and received from his granddad a couple of 35mm photography cameras. Shooting b&w still photography from such an early stage, allowed him to deeply understand how film works and everything about exposure, shutter speed, aperture among other aspects of working with film. Maddison’s deep love with cinema started when he was working in a Blockbuster video rental store and at slow times he had the chance to watch every kind of film, blockbusters, foreign films to arthouse films. At the time, he was studying performance arts and media at college and started to incorporate his new interest in this performances designs, using the projectors to add flashbacks and story development. After finishing his degree, Maddison felt that film was his path and as many of his colleagues, he started his career as runner. Then, when the opportunity to work as neg developer came up, he jumped at it due to his love to film. The turning point of his career was when he was working the night shift. After developing the film, he would drop it to the dailies colourists. After a short time, he started to rack up the film on the telecine and was doing technical grades on the Davinci2K. After that, he started to work as an assistant colourist at Pepper Post where he had the opportunity to learn how to work with directors and DoPs. His next step was working as a colourist at Prime Focus, grading commercials and old archive film due to his expertise in film, whilst also assisting DI colourists Vic Parker and Tom Russel on “Age of Heroes” and “The Retreat” and with Tareg Kubaisi, a chief creative director and senior colourist, on Joe’s Wrights “Channel” film featuring Kiera Knightly. After his successful work on Ed Sheeran and Lewi Whites music videos, Garry went freelance and about two months later, Double Negative was calling him to work as a colourist on the VFX grade for Christopher Nolan’s “Dark Night Rises”. The turning point of his career was working as a DI Colour Grader in “Interstellar” directed by Christopher Nolan again, for which Double Negative received the Visual Effects academy award. After that, he worked as a VFX grading supervisor in “The Hunger Games - Mockingjay - Part 1” and “The Hunger Games: Mockingjay - Part 2” both directed by Francis Lawrence and as a VFX colourist in films such as “Assassin’s Creed” directed by Justin Kurzel and “Wonder Woman” directed by Patty Jenkins. Working again with Christopher Nolan, working as VFX Colourist in “Dunkirk”. Now working as a Freelance Colourist, Maddison is still based in London but travels round the world grading, most recently completing a Swarovski commercial in Berlin. Colour grading is one of the most important parts of the post-production process. As a Colourist, Garry Maddison will focus on quality, information and on how to get the most out of your footage to achieve the best results in the final grade through live grade examples. Maddison will also discuss the creative relationships between the Colourist, Director and DoP. Last, he will present the process of grading onset and how that can influence the look of the film at later stages, including the effect this has on the edit and VFX shots. You can check Garry's full list of credits on these links: http://www.imdb.com/name/nm3947545/ https://www.garrymaddison.com/creditlist/ WORKSHOP DESCRIPTION COLOUR GRADING WORKSHOP The Grading workshop with Garry Madison will focus on a diversity of topics of the craft of colour grading and VFX. You will have the chance of not inly receive this knowledge from Garry Madison, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your own work and the projects you have worked on r will work, and receiving the feedback to unblock situations in the future. Day one What is grading, from a story telling perspective to a fixing tool. Examples of grading, break downs and mimic grades live. From Set to Suite, how to manage colour workflows, from onset grading, offline edit, VFX, Grade and Online edit. Workflow charts. Colour spaces, what are they and how to decide which one to use, Alexa LogC, Redgamma, Red Log. HDR grading. Live grade showing the difference between HDR grading and 2k/4k grading. Day two How to communicate with the Director and DOP, before the grade and during. The difference between grading and VFX work, problems a colourist encounters, examples and live grading. Mood boards and colour pallets, design and examples. How to grade, live grade session, the different techniques used to grade alternative formats such as Feature, Broadcast, Documentary and Commercial/Pop promos. PROFILE OF PARTICIPANT The workshop is designed for DoPs, Colourists, Colour gradings supervisors, VFX Technicians, VFX Supervisors, Film Students, Film Directors or anyone interested in entering the Film Business on the area of Colour Grading and VFX.

LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 13-14 January 2018 Location: London UK Price: 449GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

13/14.01.2018London UK
DIRECTING ACTORS FOR FILM WORKSHOP WITH PETE TRAVIS

ABOUT PETE TRAVIS

Established director and BAFTA winner Pete Travis actually had a late start in his filmmaking career: before becoming a director, Pete Travis was a social worker. However, inspired by Alan Clarke and Costa-Cravas, he decided to take a post-graduate course in filmmaking. Soon after graduation he acquired the rights of “Faith” (short story written by Nick Hornby) and presented his first short film at the London TV Festival (1997). Later, he directed episodes of “Cold Feet” (1999) and the TV series “Other People's Children” (2000), as well as “The Jury” (2002) mini-series and the TV movie “Henry VIII” (2003), featuring Helena Bonham-Carter and Mark Strong. Impressed with his work, Paul Greengrass, “Captain Phillips´” director, sent Travis a script that he co-wrote with Guy Hibbert – “Omagh”. The film premiered in 2004 at the Toronto International Film Festival, where it won the Discovery Award. The film also won the 2005 BAFTA Award for “Best Single Drama”. “Vantage Point”, was his first major motion film, starring Dennis Quaid and Matthew Fox. It was released in the USA, in 2008. Just one year later, in January of 2009, Pete Travis took to Sundance to premiere “Endgame”, which dramatizes the last days of Apartheid in South Africa and stars Chiwetel Ejiofor, William Hurt, Jonny Lee Miller and Mark Strong. Later, Travis directed a film adaptation of the popular UK comic book series, “Dredd” (2012). In Travis' feature film, Karl Urban takes on the role of judge Dredd with Olivia Thirlby playing his young accomplice. The film quickly gathered a cult following. Pete Travis most recent work stars Riz Ahmed and Billie Piper: “City of Tiny Lights” (2016) - a crime thriller film, written by Patrick Neate and based on his own novel of the same name. WORKSHOP DESCRIPTION

The Directing Actors for Film workshop will focus on a diversity of topics of the art of directing actors, you will have the chance of not only receive this knowledge from Pete Travis, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. The workshop will also cover the following structure: PRE-PRODUCTION Introduction to “acting” / How to actors work? The Actor/Director relationship Letting the actors to build their own characters The Actor’s tools and methodologies The director in a casting What is a character? The importance of the story through the eyes of the character Planning Rehearsal - What to Rehearse and Why. Rehearsal Tools Directing The Character ON SET How to communicate with actors Staging the Scene and Blocking the Action How the camera affects performance. Business and endowment Keeping performances dynamic and the actors engaged. Keeping the set as a creative environment. What to ask for in a new take. Maintaining Continuity - Emotional and Physical WORKSHOP LOCATION London UK PROFILE OF PARTICIPANT The workshop designed for Directors, Assistant Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing Actors 16 hours Duration: 2 days Dates: 13-14 January 2018 Location: LONDON UK Price: 499GBP (349GBP with 30% Discount Until 27th of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

20/21.01.2018Berlin
PRODUCTION DESIGN WORKSHOP WITH ALLAN STARSKI

Venue Partner DBS Berlin ABOUT ALLAN STARSKI

Allan Starski is one of the top Production Designers working today. He has collaborated with directors such as Roman Polanski, Steven Spielberg, Andrzej Wajda, Peter Webber, among many other notable names. Son of famed screenwriter/ songwriter Ludwik Starski, Allan graduated in Architecture in Warsaw’s Academy of Fine Arts and began his filmmaking career in Poland with Oscar and Palme d'Or-winning director Andrzej Wajda. With a wide range of successful collaborations (including Człowiek z marmuru (Man of Marble),Człowiek z żelaza (Man of Iron) and Panny z Wilka (The Maids of Wilko) and Pan Tadeusz), it was with the film Danton (1982) that Starski began being noticed by his peers around the world. In 1993 Starski received an Academy Award for his work in Steven Spielberg’s revered film Schindler’s List – starring Liam Neeson, Ben Knigsley and Ralph Fiennes - which also secured Starski a BAFTA nomination. His extensive work includes Roman Polanski’s The Pianist (starring Adrien Brody) in 2002 (for which he won a Cesar Award) and Oliver Twist in 2005; Peter Webber’s Hannibal Rising; Agnieszka Holland's Europe, Europe and Washington Square. Starski also has an impressive body of worked on stage productions, having collaborated with acclaimed professionals such as Arthur Miller, Aleksander Bardini and Andrzej Tapicki. full credits on http://www.imdb.com/name/nm0823649/ Allan Starski is one of the most versatile and accomplished Production Designers of our age – his filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Production Design workshop with Allan Starski will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Allan Starski, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. Participants will learn what makes a strong visual, and what to expect when working as a Production Designer. The workshop will also help directors and DP's understand the importance and how to deal with the Production Designer. The topics covered on the workshop will be: Creative team, Director, DP and PD. Story Board as a visual tool for discussion. Art department Breakdown and it influence on the film budget. Period research and artistic interpretation of historical knowledge. Concept drawings, models and final drafts. Location or Studio Sets ? Color in the movie. Creating color palette according to visual concept of the movie. Case study: Washington Square by Agnieszka Holland. Split locations in historical movie. Case study: "Franz Schubert" Specifics of black and white movies. Case study: "Doctor Korczak" By Andrzej Wajda. Case study: "Schindler’s List" by Steven Spielberg How director emotional knowledge influence visual style of the movie. Schindler’s List versus Pianist. Big historical movie with sets built entirely in the Studio. Case study: "Oliver Twist" by Roman Polanski Sci- Fi and the low budget, does it go together ? Case study: “Fear of Flying” Can you make big historical movie with shooting in 3 continents and 5 countries ? Case study: "The Cut" by Fatih Akim. CGI as an additional tool for Production Designer. Extending sets by Visual FX. Rates and Agents PROFILE OF PARTICIPANT The workshop designed for Production Designers, Art Directors, Costume Designers, Set Designers, Directors, Art Directors, DP's, Film Students, or anyone interested in entering the Film Business on the area of Production Design LOCATION OF THE WORKSHOP Berlin, Germany Duration: 2 days Dates: 20-21 January 2018 Location: Berlin, Germany Price: 499EUR (374EUR with 25% discount until the 27th of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

02/03.12.2017London UK
MICK AUDSLEY EDITING WORKSHOP

ABOUT MICK AUDSLEY Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, as well as collaborations with directors such as Stephen Frears, Terry Gilliam, Mike Newell and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High FIdelity" "Harry Potter and the Goblet of Fire" or more recently "Everest". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) and, most recently, Everest, working with Icelandic director Baltasar Kormákur. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION

Introduction of the participants and the Mick Audsley, the participants will then be showed some clips of the work made by Mick Audsley , analyzing some choices and options made in some of his works. Mick will focus on how to help the story flow through the editing, and his best processes.The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work Practical exercise. The participants will be given footage (a small 2 minute scene) to work on one week before the workshop, all participants will show their work at the workshop, the group will then analyze each editing, and learn from each other’s work. Mick Audsley will give his insight on each edited version of the footage. The participants should at the end be self-conscious of their editing choices, as well as aware of the other options taken by the other participants. PROFILE OF PARTICIPANT

The workshop designed for Editors, Directors, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Editing WORKSHOP LOCATION

London, UK 16 hours Duration: 2 days Dates: 2-3 December 2017 Location: LONDON UK Price: 499GBP (349GBP Until 14 of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

25/26.11.2017London UK
CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM WORKSHOP WITH FRANCESCA JAYNES

ABOUT FRANCESCA JAYNES Francesca Jaynes has been a Choreographer and Movement Director in the film industry for over 25 years. Her work is incredibly diverse, ranging from movement in “A.I. Artificial Intelligence” and “Gravity” to musical films such as “De-Lovely” and “Muppets Most Wanted”. She has worked with top directors on both sides of the Atlantic, including Mike Leigh, Steven Spielberg, Tim Burton, Joss Whedon, Ron Howard, Michael Winterbottom, and Mike Newell, and with a host of stars such as Judi Dench, Dustin Hoffman, Sandra Bullock, Andy Serkis, Christoph Waltz, Tina Fey, Jude Law, Keira Knightley, and Kevin Kline. In addition to a wide-ranging CV in film, she works regularly in the theatre in musicals, opera, and plays, and also in television drama. For a complete look at her career to date, please visit www.francescajaynes.com .

WORKSHOP DESCRIPTION CHOREOGRAPHY AND MOVEMENT IN FILM Work in dance and movement in film can be an ever-changing and diverse experience. This is what makes it exciting! But it’s also what makes it extremely challenging. The top people in the industry have a vast range of skills (ballet, tap, historical dance, contemporary social dance, etc) and must always be ready to adapt and change to best serve their director and the film. Within this two-day exploration of the discipline, we’ll look at the complete process of working in dance/movement on a film production, from initial meetings with producers and directors, to casting, rehearsals, and ultimately filming. There are a host of details and elements that need to be considered at each stage of the process, in addition to the actual creation of the work. With discussions, Q and A’s, and practical ‘on your feet’ workshops, we’ll explore the myriad of fun and challenging scenarios that can present themselves on a variety of job assignments. Topics will include: Different approaches for different films, Genres, and directors; How does the dance/movement fit into the narrative of the film and/or scene; Relationships with other departments (Directors, Assistant Directors, Costume Departments, Sound Departments, Art and Props Departments); Practical sessions in creating and filming the work (historical dance, etc); Actors, dancers, and Muppets - working with differing levels of skills, abilities, and comfort zones. PROFILE OF PARTICIPANT The workshop designed for, choreographers, dancers, Actors, and Directors, who can directly benefit from the knowledge and know how presented on this workshop. The workshop is also suited to different profiles, such as cinematographers, Art Directors, who will directly work with Choreographers and Movement Directors, and can improve their work by knowing how to interact with this department in a more effective way. The workshop is also suitable for anyone interested in entering the Film Business on the area of Choreography and Movement Direction.

LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 25-26 November 2017 Location: London UK Price: 399GBP (279GBP with 30% discount until 14th November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions