Sound Editing Workshop with Oscar winner Nina Hartstone 4-5 October Berlin
Pete Travis DIRECTING ACTORS for Film and TV Workshop 4-5 October Berlin
ABOUT PETER WEBBER Peter Webber has had a diverse career as a director of film, television and documentaries including the critically renowned ˜Girl with a Pearl Earring™ and the HBO series "Six Feet Under". Peter is perhaps best known for his film directorial debut ˜Girl With a Pearl Earring", the film adaptation of Tracey Chevalier's bestselling novel. The film tells the story of the creation of the famous painting by Dutch master Johannes Vermeer of the same name. The film saw Peter directing Scarlett Johansson and Colin Firth as the films leads. Released in 2004 the film went on to be nominated for no less than 3 Academy Awards, 10 BAFTA nominations as well as numerous other honours. Webber was then tapped by Dino de Laurentis to direct "Hannibal Rising". Based on Thomas Harris upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, In 2012 Peter directed the Feature Film "Emperor", Starring Tommy Lee Jones, and Mathew Fox. Peter has also directed the Netflix Original Pickpockets (2018). His documentary work includes the award-winning environmental feature documentary Ten Billion (2015) and Earth: One Amazing Day (2017), narrated by Robert Redford and Jackie Chan. Webber's productions include the "Kingdoms of Fire" (2019), television series, which takes viewers back to the past as the Ottoman Empire seeks to conquer Cairo, as well as the documentary "Inna de Yard" (2019), a portrait of the pioneers of reggae music in Jamaica Peter Webber is currently directing DRAGN, an action-horror film that follows a group of colleagues on a team-building retreat in a remote forest, where they become prey to a rogue AI-driven drone. The film is now in post-production. Peter Webber's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION This workshop is designed to equip directors, cinematographers, and film professionals with essential blocking techniques for film. Under the guidance of Peter Webber, participants will combine theoretical knowledge with hands-on practical exercises using live actors, learning how to stage scenes that enhance narrative and visual storytelling. Day 1 – Foundations and Practical Application Welcome & Introduction Introduction of participants and an overview of the workshop objectives. Brief presentation of Peter Webber’s career and his approach to blocking in film. Fundamentals of Blocking Theoretical discussion on the principles of blocking: The importance of spatial arrangement and movement. How blocking contributes to character dynamics and narrative pacing. Analysis of selected film clips to illustrate effective blocking techniques. Practical Exercise: Initial Scene Work Hands-on session with live actors on set. Guided exercises focusing on: Positioning and movement of actors. Adjusting blocking to complement camera angles and narrative flow. Immediate feedback and group discussion on the exercise outcomes. Day 2 – Advanced Techniques and Collaborative Practice Recap & Q&A Brief review of key insights from Day 1. Open forum for questions and discussion regarding challenges encountered. Advanced Blocking Techniques In-depth exploration of: Adapting blocking strategies across various genres. Integrating the director’s vision with technical considerations. Discussion on how subtle adjustments in blocking can dramatically alter a scene’s impact. Practical Exercise: Live Scene Blocking Peter Webber to block a scene using live actors. Selected participants stage a scene, followed by a analysis. Peter Webber provides critiques and suggestions for improvement. Final Group Discussion & Wrap-Up Sharing experiences and insights from the day’s exercises. Discussion on how to incorporate blocking techniques into larger film productions. Concluding remarks and key takeaways from the workshop. Workshop Outcomes: Develop a solid understanding of how effective blocking enhances storytelling. Hands-on experience in staging scenes with live actors. Learn to adapt blocking techniques to different narrative styles and production contexts. Receive direct, personalized feedback from Peter Webber. PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. WORKSHOP LOCATION Lisbon, Portugal Duration: 2 days 10:00 - 18:00 Dates: 29th - 30th of November 2025 Location: Lisbon, Portugal Price: 599EUR (399EUR Until 25th 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:
You've no doubt heard the claim that "A poet needs a pen, a painter a brush, and a filmmaker an army." Well, with the advent of AI-generated film, we're approaching the time where a filmmaker just needs to sit at their computer and get access to AI. We're not there yet - but this course will help you get there, and see where we are now.
This intensive weekend workshop will take you through the complete pipeline of AI-assisted filmmaking, from initial concept to finished production. By the end of this course, you will have created your first AI-generated short film - or a substantial chunk of it - whether a trailer, TV commercial, or short drama, and gained hands-on experience with the most powerful AI tools currently available.
Are AI tools perfect? No. Things which are easy to film - two people speaking in a room - can be very hard or impossible to do well in AI. By contrast, things that are very hard to film for real - a 19th century dock scene with working steam trains and tall sailing ships - can be done trivially easily in AI. You're not making a film in 5 years' time - you're making a film now. So we will show you what you need to know now, warts and all.
Do you need technical skills to participate? No. But it's helpful if you have some basic familiarity with using AI. We will focus on accessible tools that are easy to use for non-technical people, not complex systems requiring coding experience.
You will have the chance to not only learn these cutting-edge techniques but also interact in a very direct way, as the group will have up to 25 participants, making it extremely practical and interactive. The workshop will be hands-on, with participants working on their own material throughout the weekend. Depending on the scale and complexity of your vision, you may not complete your short film by the end of the workshop, but you will have all the tools you need to continue independently.
WORKSHOP CURRICULUM PRE-WORKSHOP: SCRIPT DEVELOPMENT Two weeks before the in-person course, we conduct a 1-hour Zoom call exploring Claude (and ChatGPT) for script writing, including document upload techniques for improved writing style. We'll review successful AI films and current limitations to help you prepare your script in advance. FOUNDATIONS: PROMPT ENGINEERING AND IMAGE GENERATION Using Claude or ChatGPT to generate advanced prompts for Midjourney; Midjourney fundamentals - creating compelling images from text; understanding AI image generation strengths, limitations, and quality control; considering your "shooting ratio" - how many images to create for the one you really want.CHARACTER CONSISTENCY AND VIDEO GENERATION Processing characters with Runway Elements for consistency across multiple angles; building character libraries; generating videos in Veo 3 using image-to-video with audio; managing challenges with voice and performance control; understanding video "shooting ratio" and costs.
ENHANCEMENT AND POST-PRODUCTION Processing Midjourney and Runway images with enhancer software; "Reverse Photoshop" techniques with Enhancor to make AI images more realistic; refining images in Photoshop for video generation readiness; the critical importance of human oversight in editing - why AI systems give imperfect results requiring human intervention at the edit stage.
FINISHING AND MUSIC Video-to-music generation for adding musical scores; upscaling with Topaz (comparing 720p, 1080p, and 4K); final delivery considerations.
ETHICS AND POLITICS: AI AS HISTORICAL MILESTONE AI represents a milestone in human history with vast effects on all our lives. If you describe yourself as an AI Film Maker, you'll likely be challenged about AI ethics. We don't push a particular viewpoint, but explore key questions so you can articulate your own position on these issues.
SUBSCRIPTIONS To take the best of this workshop, you should sign up for: Midjourney (online image generator) www.sonovid.ai/ (the most cost-effective way to access Veo 3) We will provide group subscriptions to: Enhancor (image enhancement software) Runway ML (video generation and character processing) ABOUT MARTIN PERCY Martin Percy is a British director celebrated for his pioneering work in interactive cinema, virtual reality, and the creative use of artificial intelligence in film. A graduate of King’s College, Cambridge, Percy has built a career defined by experimentation with new forms of storytelling that actively involve the audience, merging narrative, technology, and participation.
His breakthrough came with Lifesaver (2012), an interactive crisis simulator that won a Grand Clio Award, a Webby Award, and received a BAFTA nomination. The project, which featured Daisy Ridley in her first professional role, established Percy as a leading figure in interactive film. He later expanded this format with Heart Class (2019), which won an Emmy in the United States, and CardiacCrash (2023), a Canadian project that won three Webby Awards and was nominated for the Canadian Screen Awards.
Percy has collaborated with some of the most respected institutions in the world, including the Tate Modern, the British Film Institute, the National Theatre, and the Asian Art Museum of San Francisco. His projects have often brought together acclaimed actors such as Sir Ian McKellen, Sir Derek Jacobi, and Daisy Ridley, combining high-profile talent with cutting-edge interactive design. His VR project Virry VR (2017), filmed at Lewa Wildlife Conservancy in Kenya, received both BAFTA and Webby recognition and reinforced his reputation as a leading innovator in immersive media.
In recent years, Percy has increasingly integrated artificial intelligence into his practice, creating works that adapt to the user’s emotions, decisions, and interactions. Projects such as AI Basics: Thrills or Chills (2023) and the Adaptive-Media Interview Coach exemplify his commitment to exploring how AI can reshape creative expression and audience engagement. His TEDx talk, How to Save Lives with Interactive Film, highlighted his dedication to using new technologies not just for storytelling, but also for education and social impact. Throughout his career, Martin Percy has been recognised with a BAFTA, an Emmy, a Grand Clio, and more than a dozen Webby Awards. His work stands at the intersection of creativity and innovation, continually pushing the boundaries of how stories can be told and experienced.
PROFILE OF PARTICIPANTWORKSHOP DESCRIPTION Techniques for directing non-actors: Singular Drama Throughout the two-day practical workshop, participants will learn and experience the technique that Scandar uses during the preparations of his actors and non actors as well as during the shooting. Participants will get hands-on insight into the process of creating drama in a film using the human capacity to respond emotionally to fictional situations. The Singular Drama method is applicable on professional actors as well as non-actors. Filmmakers often use the element of surprise to direct actors for certain scenes to get authentic emotional responses. The directors of AJAMI based their film entirely on this principle. Unlike other forays into improvisation, AJAMI had a very precise screenplay and a well-constructed plot that demanded specific emotional responses from its actors. The actors ended up acting out a story, without being aware that they were being directed according to a pre-written script. The film is a work of fiction which shows “real” people acting in situations that are orchestrated by the directors, but very “real” to the performers, resulting in the actors projecting emotions on camera that they actually experienced at the time. This was achieved over specialized workshops, in which the actors were brought to each character’s emotional and psychological state as written in the script. Workshop learning objectives: 1. Participants will learn techniques to liberate their non-actors from the fear of the camera. 2. Participants will learn how to prepare their actors/non-actors for filming. 3. Participants will learn and experiment with improvisation techniques. 4. Participants will experience the method as actors in order to get a better understanding of the involved processes. 5. Participants will get insights on pre-production, production and shooting techniques when applying the method. 6. Participants will learn how to direct actors and non-actors using the Singular Drama method. Participants are encouraged to bring scenes they would like to direct. ABOUT SCANDAR COPTI Scandar Copti is a Palestinian Oscar-nominated filmmaker and an acclaimed visual artist. His first full-length feature film 'Ajami' won the Camera d'Or Special Mention at the Cannes Film Festival and was nominated for the 82nd Academy Awards in the Best Foreign Film category. Copti is the only Arab filmmaker ever to receive the prestigious Sutherland Trophy. He is also the recipient of the Human Rights Film Award of the Council of Europe in 2010. Copti's video art projects were exhibited worldwide at venues such as the Herzliya Museum, Nachum Gutman Museum, NYU gallery at Abu Dhabi, The Israeli Center for Digital Art, b_tour Foothold Festival, Beit Ha'Gefen, and the Oslo Kunstforening Art Gallery, among others. Copti was on the jury of dozens of film festivals, including the Tribeca film festival, Thessaloniki film festival, FEST, AFAC, ON, and many more. He also served as the President of the Human Rights Award at the Istanbul International film festival 2011. Copti was part of the team that launched the Doha-Tribeca Film Festival and the Doha Film Institute (DFI), where he headed the DFI's Education department until 2011. Scandar has been teaching at NYU Abu Dhabi since 2013, where he headed the Film and New Media program from 2014 to 2017. He is currently in production for his next feature film, 'Happy Holidays,' with the support of funds such as Eurimages (the European Council Cultural fund), Doha Film Institute, Aran Fund for Arts, and Culture (AFAC), Filmförderung Hamburg Schleswig-Holstein as well as worldwide presales and distribution deals. PROFILE OF PARTICIPANT The workshop is designed to Directors, 1st AD, Producers, Film Students, and filmmakers interested in developing the skill of directing non actors. 16 hours Duration: 2 days Dates: 24-25 January 2026 Location: Lisbon, Portugal Price: 599EUR (399EUR Until the 7th of October) 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 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. LOCATION OF THE WORKSHOP The workshop will take place in our venue partner - Catalyst - Institute for Creative Arts and Technology FUNKHAUS BERLIN Nalepastraße 18, 12459 Berlin Germany Duration: 2 days 10:00 - 18:00 Dates: 4th - 5th of October 2025 Location: Berlin, Germany Price: 599EUR (399EUR Until 30th of September) 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 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 – “Omaghâ€. 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 Dramaâ€. “Vantage Pointâ€, 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 “Endgameâ€, 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 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 and "Project Blue Book" with Aidan Gillen and Michael Malarkey 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 LOCATION OF THE WORKSHOP The workshop will take place in our venue partner - Catalyst - Institute for Creative Arts and Technology FUNKHAUS BERLIN Nalepastraße 18, 12459 Berlin Germany PROFILE OF PARTICIPANT The workshop designed for Directors, Assistant Directors, Film Students, or filmmakers serious about a career in the Film Business on the area of Directing Actors Duration: 2 days 10:00 - 18:00 Dates: 4th - 5th of October 2025 Location: Berlin, Germany Price: 599EUR (429EUR Until 30th of September) 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: