ABOUT NINA HARTSTONE Nina Hartstone is an Oscar-winning Sound Editor with over 25 years of experience in the film industry. Her illustrious career includes work on feature films such as “Evita,” “The Hours,” “Gravity,” “Everest,” “Beauty and the Beast,” and “Mowgli.” Notably, her exceptional skills were instrumental in the sound editing of “Bohemian Rhapsody,” for which she received both an Oscar and a BAFTA award, highlighting her as a leading figure in her field. Recently, Hartstone has worked on “Moonage Daydream” and “I Wanna Dance with Somebody,” both of which have already been released to critical acclaim. Additionally, Nina has worked on the recently released and highly acclaimed film “Saltburn,” directed by Emerald Fennell, further cements her reputation for excellence in sound editing. Nina Hartstone has contributed her skills to an impressive array of feature films, working alongside some of the most distinguished directors in the industry such as Alan Parker, Stephen Daldry, Alfonso Cuarón, Baltasar Kormákur, Bryan Singer and many more Residing in Windsor, U.K., with her husband, three children, and two cats, Hartstone remains at the forefront of her profession, consistently demonstrating her expertise and passion for sound editing in feature films. Nina Hartstone experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Sound Editing workshop will focus on a diversity of topics in the art of editing sound for a film. You will have the chance of not only receiving this knowledge from Academy Award Winning Sound and Music Editors John Warhurst and Nina Hartstone, but also to engage with a group that will have up to 25 participants, making it extremely practical and interactive. In addition you will have the opportunity to assess any issues you have encountered in your own work and get helpful tips for any future projects you might work on. Pre-Production Planning - testing workflow - liaising with the Sound Mixer - logistics for sound on set including music playback if required - director’s vision for final sound track Production Sound: Making the Most of Every Opportunity - making the most of unique opportunities on set - Wild Tracks - SFX - Location ambiences Director’s Cut: beginning Post Production - handover from Production Sound Mixer - supplying sounds to editorial - supplying music to editorial - improving production sound for the Avid tracks - temp ADR - workflow with Editorial - turnover elements First Temp Mix / Test Screening - crewing up - target audience - screening location and sound quality - managing expectations - how to mix (Avid or stage) - Avid tracks or all mics - temp Foley - temp SFX - temp ADR - temp Music - how they can become the finished product - stems to go back into the Avid - workflow of Avid tracks moving forward Finding the Cut - managing new cuts - improving the sound throughout picture edit - editing production dialogues - planning for ADR / Crowd / Foley / FX and Music recordings - source music requirements - sound editorial track lays - ADR tips and tricks - making choices for the mix - preparing alternatives Preparing for the Mix - liaising with the Re-recording mixers - Track layout - Separation of stems - Mixing in Atmos - Score recording Premixing and Mixing - planning your premixes - maintaining flexibility with the tracks - Getting the overview of all the sound and music elements - Mix reviews Deliverables - planning time for all versions - QC ing - M+E - TV Airline Version Politics - different roles and their responsibilities - managing different personalities - being open to other creative ideas - talking through logistics and problem solving - working as a team - building up a client base/securing the next gig - coping with long hours PROFILE OF PARTICIPANT The workshop designed for, Sound Editors, Music Editors, ADR Editors, Directors, Sound Mixers, Film Students, or anyone interested in entering the Film Business on the area of Sound. WORKSHOP LOCATION London UK Duration: 2 days 10:00 - 18:00 Dates: 1st - 2nd of June 2024 Location: London UK Price: 599GBP (349GBP Until 2nd of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW

ABOUT ANDREW McALPINE Andrew McAlpine is a renowned production designer whose visionary work has left an indelible mark on the landscape of contemporary cinema. Over the years, McAlpine has crafted some of the most memorable and visually striking film environments, earning him acclaim and recognition within the industry. His expertise will be shared with participants in the FEST FILM LAB workshops, offering a rare opportunity to learn from one of the best in the field. With a career that spans several decades, McAlpine has collaborated with a roster of illustrious directors, bringing their cinematic visions to life with his design concepts. His work with Jane Campion on the critically acclaimed film "The Piano" is a testament to his ability to create deeply immersive and emotionally resonant spaces. For his work on "The Piano," McAlpine was honored with the BAFTA Award for Best Production Design, showcasing his talent for crafting visually compelling narratives that enhance the storytelling of a film. McAlpine's portfolio is diverse, encompassing a wide range of genres and styles. His collaboration with Lone Scherfig on "An Education" demonstrated his skill in recreating historical periods with authenticity and detail, transporting audiences to the 1960s with elegance and precision. His work on "An Education" further solidified his reputation as a master of production design, capable of seamlessly blending historical accuracy with artistic innovation. Not limited to historical dramas, McAlpine has also worked on films such as "Me Before You " directed by Thea Sharrock. Among his other notable collaborations is with Danny Boyle on "The Beach," where McAlpine's design contributed significantly to the films' visual storytelling. Whether creating whimsical, fantastical landscapes or grounding stories in detailed, realistic settings, McAlpine's designs always serve to deepen the narrative impact of the films he works on. In "Clockers" (1995), directed by Spike Lee, McAlpine's production design played a crucial role in bringing the gritty, urban environment of the film to life, enhancing the story's raw and powerful narrative. His ability to create a visually compelling and authentic setting helped establish the movie's intense atmosphere and emotional depth. Similarly, for "Aeon Flux" (2005), McAlpine ventured into the realm of science fiction, crafting a futuristic world that was both innovative and believable. His design for the film provided a unique aesthetic that was integral to the movie's storytelling, showcasing his versatility and creative prowess in production design across different genres. In addition to his film work, McAlpine's influence extends to television and advertising, highlighting his adaptability and broad range of skills within the field of production design. His ability to mentor and inspire others through his work makes his participation in the FEST FILM LAB workshops an invaluable opportunity for production designers and filmmakers to gain insights from a seasoned professional. Andrew McAlpine's enduring passion for storytelling through visual design, combined with his extensive experience and numerous accolades, makes him a relevant figure in the world of production design. Workshop participants can look forward to an enriching experience, learning from McAlpine's wealth of knowledge and expertise in creating captivating cinematic worlds. Andrew's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION This two-day workshop, led by acclaimed Production Designer Andrew McAalpine, is designed for film professionals seeking an in-depth exploration into the art and science of production design. McAlpine's illustrious career, marked by visually stunning and narratively compelling film environments, serves as the foundation for a workshop that covers the entire spectrum of production design. Day 1: Theoretical Foundations and Pre-Production Essentials Defining Production Design: A deep dive into the role of production design in cinematic storytelling, examining how visual environments contribute to the narrative and emotional depth of a film. Script Analysis for Design: Techniques for extracting visual and thematic elements from scripts, facilitating design that is intrinsically tied to the story. Visual Conceptualization: Developing a coherent visual strategy that encompasses set design, locations, and the integration of special effects, with a focus on creating mood and atmosphere. Collaborative Dynamics: Strategies for fostering productive collaborations with directors, DPs, and other department heads, ensuring a unified vision from pre-production through to post-production. Design Research and Mood Boards: Utilizing historical research, location scouting, and mood boards to conceive and communicate the visual palette and stylistic approach of the film. Technical Drawing and Model Making: An overview of the tools and techniques for creating detailed plans, elevations, and models that guide construction and set dressing. Q&A: Interactive Session Day 2: Practical Implementation, Post-Production, and Industry Navigation From Concept to Set: Managing the translation of designs into physical spaces, including practical considerations for set construction, prop sourcing, and on-location modifications. Digital Design Tools: Incorporating digital tools and software in production design, from pre-visualization to CGI and virtual sets, and how they are changing the landscape of physical set design. Sustainability in Production Design: Implementing green design practices, focusing on materials, construction methods, and set strike, to minimize environmental impact. Navigating Post-Production: Ensuring the integrity of the production design in the final film, including collaboration with VFX teams and consideration for color grading. Mastering the Business of Design: Building a personal brand, portfolio development, effective networking, and understanding the financial and contractual aspects of production design. Career Longevity and Adaptation: Discussing the evolution of the production design role, anticipating future trends, and strategies for career growth and adaptation in a rapidly changing industry. Case Studies: Case Study Analysis: McAlpine will present case studies from his notable projects, detailing the challenges faced and creative solutions implemented, encouraging participant discussion and analysis. PROFILE OF PARTICIPANT The workshop designed for Production Designers, Art Directors, Costume Designers, Set Designers, Directors, Art Directors, DP's, or Film Students WORKSHOP LOCATION London UK Duration: 2 days 10:00 - 18:00 Dates: 1st - 2nd of June 2024 Location: London UK Price: 599GBP (349GBP Until 16th of April) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW

ABOUT STUART DRYBURGH

Stuart Dryburgh is one of the most interesting cinematographers in activity, he created the distinctive look in films such as "The Piano" , "Ben is Back", "The Painted Veil", "The Secret Life of Walter Mitty" "The Great Wall" and many other. Dryburgh started on the job as a gaffer. As a result he found himself working and learning alongside many major cinematographers, in the process gaining a reputation as a skilled lighting specialist. After six years as a gaffer Dryburgh moved into the cinematographer's role shooting his first feature "The Leading Edge". Dryburgh was given the chance to shoot "An Angel at my Table" by Jane Campion, the film won accolades, and standing ovations. In 1992 Dryburgh reunited with Jane Campion in "The Piano", his work on the film won him the Oscar, ASC and BAFTA nominations, but was beaten by Schindler's List. Dryburgh followed "The Piano" with impressive work on "Once Were Warriors". After working on John Sayles' acclaimed border drama "Lone Star", Dryburgh reunited with Jane Campion, to shoot Henry James adaptation "The Portrait of a Lady". A long series of projects has followed, including hits "Analyze This", "Bridget Jones's Diary" "Kate and Leopold" and the pilot episode of "Sex and the City". Dryburgh went back to New Zealand to shoot "In My Father's Den", shot wildly out of sequence in an effort to capture different seasons on film. In 2007 he shot "The Painted Veil" Dryburgh's projects also include the pilot for acclaimed Prohibition-era drama "Boardwalk Empire". Martin Scorsese directed, with Dryburgh describing it as in many ways "a dream job". Variety later argued that Dryburgh's cinematography on Ben Stiller's remake of "The Secret Life of Walter Mitty" was "reason enough to see the film on the bigscreen". He followed it with Michael Mann cyber-crime tale "Blackhat". In 2012 he returned to New Zealand as director of photography on Japanese-set drama "Emperor", directed by Peter Webber. In recent years Stuart has shot films such as "Ben is Back" (directed by Peter Hedges), the Upside (directed by Neil Burger), The Only Living Boy in New York (Directed by Marc Webb), The Great Wall (directed by Yimou Zhang), Alice Through the Looking Glass (directed by James Bobin) Stuart has also just finished shooting the Men in Black 4 full list of credits on https://www.imdb.com/name/nm0238698/ WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the art of cinematography, you will have the chance of not only receive this knowledge from Stuart Dryburgh, 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. Day 1: Unearthing Creativity & Distinctiveness in Cinematography Introduction: Evolution of a Cinematographer Brief on how Stuart's experiences in film over the last 30 years apply to today's digital age. Advantages cinematographers can harness by "thinking film, shooting digital". ESSENCE OF THE CRAFT Auteur vs. Industry: Real-world intricacies of the film business. DIY approaches and the value of understanding one's unique capabilities. A deeper dive: clips from Stuart's oeuvre, shedding light on his approach and interpretation. Inspirations & Influences Stuart presents clips from films that have shaped his perception of light and composition. Interactive session: Participants share short clips of movies that have impacted their cinematic vision, discussing their takeaways on light, composition, and style. GETTING THERE: Navigating the Industry Contrasting the worlds of Hollywood and Europe. The crucial role of agents, managers, and lawyers in a cinematographer's journey. PREPPING: The Backbone of Cinematography The nuances of script breakdown and its role in defining the visual narrative. Crew selection, location scouting, and the pivotal pre-shoot rehearsals. The importance of storyboards and collaborating effectively with departments: Art, Costume, Camera, and VFX. The dynamic between the DP and the director: Finding common ground. An overview of camera systems, lens choices, grip equipment, and the selection of originating materials. Day 2: From Conception to Execution: The Cinematographer's Canvas SHOOTING: Bringing the Vision to Life Day planning, scene blocking, and the strategic use of shotlists. The role of storyboards on set and the art of designing master shots and coverage. Navigating the balance between traditional and digital techniques. A comprehensive guide to tech scouting a location. LIGHT: The Cinematographer's Paintbrush The science and art of exposure. The indispensability of light meters, setting the mood through lighting, and techniques for various settings: natural, location, studio, and transitions between night and day. Crafting lighting to enhance actors, and ensuring it aligns with the story's mood and tone. Interactive Lighting Exercise Participants engage in a hands-on small lighting experimenting scene under Stuart's guidance. A practical exploration of the themes discussed, utilizing simple lighting equipment. Wrap-Up: The Path Forward Reflection on the challenges and intricacies of making a movie from a cinematographer's lens. An open discussion where participants can address issues they've faced in their projects, gaining insights to navigate future challenges. Encouraging participants to continue developing their unique voice and style in cinematography. WORKSHOP LOCATION Berlin, Germany PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Directors, Film Students, or filmmakers serious about a career in the Film Business on the area of cinematography. 16 hours Duration: 2 days Dates: 8-9 June 2024 Location: Berlin, Germany Price: 599EUR (399EUR until the 30th of April) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW: