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 most recent 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 Weber's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION Pete Webber's workshop will focus on a diversity of topics relating to the art of directing for film. You will have the chance to not only receive this knowledge from a very revered professional, but also to interact strongly, 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 receive the feedback to unblock situations in the future. The workshop will also cover the following: - THE ESSENCE OF THE CRAFT - Film History is your friend; Developing a hinterland; Auteur versus Industry – the realities of the business; DIY - low budget approaches; The writer/director conundrum; The genius myth; Understanding your abilities. - GETTING THERE - Looking at the steps before you go into production; The development process; Raising finance; Producers and writers; Hollywood versus Europe; Agents/managers/lawyers; The One Hour Meeting. - PREPPING - Aesthetic overview – the look and the story; Crewing up; Casting and auditioning; Location hunting; Rehearsing/working with actors before the shoot; Storyboarding; How to work with: Art department; Costume; Camera; Assistant directors; Planning for Digital VFX. - SHOOTING - The politics – picking your battles; The fear; Planning your day; Blocking the scene; Shotlists; Storyboards on set; Shooting strategy; Blocking the scene; The Master shot trap; The second unit. - POST PRODUCTION - Working with an editor; Digital VFX in post; Guide music; Working with a composer; Test screenings; ADR; Sound Design; Grading; The final sound mix; Test screenings. - INTO THE WORLD - Film Festivals; The Press; The Internet and Social Media. PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, and filmmakers serious about a career in the Film Business on the area of Film and TV Directing. WORKSHOP LOCATION The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. -The workshop group will have a limited number of 25 participants. - We will maintain the tailor made aspects, with the possibility of troubleshooting projects you have been involved or challenges you are facing. We will introduce new tools to enhance the interactivity between participants. - We have rearranged the session of the workshop that will take place on 4 days instead of the typical 2 days, so that the workshop is less overwhelming, as the typical two full days online would impact the capacities of the participants to retain the learning outcomes. 16 hours Duration: 4 days Dates: 16th to the 19th of December 2024 1PM - 5PM (London) 2AM - 6PM (Brussels) 5PM - 9PM (Dubai) 8AM - 12PM (New York) 9PM - 1AM (Beijing) 6:30PM - 10:30PM (New Delhi) 10AM - 2PM (Rio de Janeiro) 12AM - 4AM (Sydney) Location: Online Price: 599EUR (349EUR with 40% Discount 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 DAVID THACKERAY David Thackeray is an experienced Intimacy Coordinator. After training as an actor for five years and graduating from The Royal Central School of Speech and Drama, David transitioned into directing for stage, with one of his productions receiving critical acclaim and a transfer to London’s West End. His passion for storytelling soon led him into film and television, where he directed and produced an episode of Amazon Prime's Silent Eye. In 2017, David became one of the pioneering Intimacy Coordinators, a field that was still emerging at the time. He quickly established himself in the industry, working on a diverse range of high-profile productions across major platforms including Netflix, Disney, HBO, BBC, and Sky. His expertise has been integral to ensuring safe and respectful environments during the filming of intimate scenes, making him a sought-after professional in this area. David’s notable projects include the acclaimed TV series Sex Education (2020–2023), where he worked as an Intimacy Coordinator across 24 episodes, helping to navigate the show’s complex and sensitive themes. He also contributed to the global phenomenon Heartstopper (2022–2023), ensuring the portrayal of intimacy was both authentic and considerate across 16 episodes. His work on The Crown (2022) further cemented his reputation, bringing his expertise to one of the most watched and critically acclaimed series of the decade. David's recent projects include high-profile productions like The White Lotus (2022), The Continental (2023), and Kaos (2024). He has also worked on upcoming titles like The Radleys (2024) and 3 Body Problem (2024), demonstrating his ongoing commitment to elevating the standards of intimacy coordination in the industry. His work is a testament to the importance of safety, respect, and collaboration in film and television, making him an invaluable asset to any production. David Thackeray experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION This intensive 2-day workshop on Intimacy Coordination for Film and TV offers a thorough exploration of the essential practices and techniques required to effectively manage intimate scenes on set. The workshop aims to equip participants with the knowledge and skills to ensure the safety, comfort, and creative freedom of all involved, while maintaining the highest standards of professionalism. Throughout the workshop there will be practical exercises for us to explore best practice of intimacy coordinating. Day 1: Understanding Intimacy Coordination Morning Session: Fundamentals of Intimacy Coordination Introduction to Intimacy Coordination: Learn about the role and responsibilities of an intimacy coordinator and why this position is crucial in today’s film and television industry. Creating a Safe Environment: Techniques and best practices for establishing a secure and respectful environment for actors during intimate scenes. Pre-Production Planning: How to integrate intimacy coordination into your pre production processes, including script analysis, casting, and rehearsals. Risk Management: Identifying and mitigating risks associated with intimate scenes, including legal and ethical considerations. Working with Actors: Techniques for building trust and ensuring actors feel safe and respected. Afternoon Session: Analysis of case studies Communication Strategies: Exploring effective communication strategies to ensure clear consent and comfort levels among actors and crew. Tools and Methodologies: Introduction to the various tools and methodologies used to ensure realistic yet safe portrayals of intimacy. Case Study : "Sex Education" Analysis of Intimate Scenes: An in-depth look at how intimacy coordination was crucial in the production of "Sex Education," examining the processes and challenges faced in choreographing intimate scenes. Lessons Learned: Discuss the outcomes and feedback from both the cast and crew on the implemented intimacy protocols. Case Study 2: "Industry HBO" Behind-the-Scenes: A breakdown of the intimacy coordination for "Industry," focusing on specific scenes and the strategies employed to address challenges. Impact Assessment: Evaluating the positive impact of intimacy coordination on the actors' performances and the overall production quality. Case Study 3: "3 Body Problem" Scene Analysis: Analyzing the intimate scene in "3 body problem" and the meticulous planning and coordination that ensured their success. Coordinator’s Perspective: Insights from the intimacy coordinator on the set about the complexities and solutions implemented. Day 2: Implementing Intimacy Coordination Morning Session: Practical Implementation Choreographing Intimate Scenes Detailed insights into choreographing intimate scenes, including the physical, emotional, and psychological aspects to consider. Live Demonstrations: Practical demonstrations of choreographing intimate scenes, allowing participants to observe and understand the coordinator's role in real-time. Interactive Exercises: Hands-on exercises where participants will develop and present their intimacy coordination plans for hypothetical scenes. Afternoon Session: Review Feedback and Discussion: Group discussions and feedback sessions to refine participants’ plans and address any questions or concerns. Conclusion: Moving Forward with Confidence Integrating Practices: Strategies for integrating intimacy coordination into your future projects to enhance actor safety and production quality. This workshop is an invaluable opportunity for producers and directors to deepen their understanding of intimacy coordination, ensuring that their projects are conducted with the highest levels of professionalism and respect for all involved. PROFILE OF PARTICIPANT The workshop designed for, Directors, Producers, Actors, Intimacy coordinators, Movement coordinators or filmmakers serious about a career in the Film Industry on the area of Intimacy coordination WORKSHOP LOCATION London UK Duration: 2 days 10:00 - 18:00 Dates: 11th - 12th of January 2025 Location: London UK Price: 599GBP (349GBP Until 17th 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 KLE SAVIDGE Kle Savidge is one of the UK’s most distinguished music supervisors, with an impressive portfolio that includes two Oscar®-nominated films and several BAFTA-winning productions. Her career in music began in Toronto, where she spent her teenage years working in record shops, immersing herself in the sounds that would later define her professional path. A holiday in London quickly turned into a permanent move, driven by her desire to engage more deeply with the British music scene that had shaped her youth. Over the years, Kle has collaborated with a wide range of iconic artists, including Oasis, Snow Patrol, Michael Kiwanuka, Primal Scream, Teenage Fanclub, Ride, My Bloody Valentine, and Jesus and Mary Chain, gaining extensive experience in all aspects of recorded music. Her successful career as a music supervisor has seen her seamlessly blend her passion for music and film, establishing herself at the top of her field. Kle’s work in film, TV, and advertising is marked by her ability to create unforgettable soundtracks that elevate the storytelling. She has lent her expertise to notable films such as Ridley Scott's House of Gucci (2021), starring Al Pacino, Jeremy Irons, Jared Leto, Lady Gaga, and Adam Driver, and Operation Mincemeat (2021), featuring Colin Firth and Matthew Macfadyen. Her credits also include The Courier (2020), with Benedict Cumberbatch and Rachel Brosnahan, Tomb Raider (2018), starring Alicia Vikander, and the critically acclaimed Brooklyn (2015). Her earlier work includes the beloved film An Education (2009), directed by Lone Scherfig and starring Carey Mulligan and Peter Sarsgaard. Throughout her career, Kle has consistently demonstrated her ability to enhance a film’s narrative through music, making her a sought-after collaborator in the industry. Kle Savidge experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Music Supervision for Film workshop will focus on a diversity of topics in preparing the right soundtrack for a film or tv show. You will have the chance of not only receiving this knowledge from Kle Savidge, 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. Music Supervision for Film: From Script to Screen with Kle Savidge" Day 1: Integrating Music into the Filmmaking Process Implementing collaborative strategies for directors, editors, producers, and music supervisors to work cohesively. Understanding the impact of music choices on a film's narrative and thematic elements. Pre-production - identifying music needs at script stage Production - working in conjunction with other departments (art, casting, set design, props). Analyzing the interplay between script, direction, and music. Day 2: Practical approaches to selecting and securing the ideal soundtrack including organising rights holders and budget information Navigating complex legal and budgetary aspects of music in film. Maintaining artistic integrity while managing logistical challenges. Composer relationships and the scoring process Music deliverables - from audio to contracts. Understanding legal, logistical, and financial aspects of music in film. PROFILE OF PARTICIPANT The workshop designed for, Directors, Producers, Music Supervisors, Post Production Supervisors or filmmakers serious about a career in the Film Industry on the area of Music Supervision WORKSHOP LOCATION London UK Duration: 2 days 10:00 - 18:00 Dates: 11th - 12th of January 2025 Location: London UK Price: 599GBP (349GBP Until 27th 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

WORKSHOP DESCRIPTION This comprehensive 2-day workshop is designed to demystify the world of Visual Effects (VFX) for experienced directors and producers. The aim is to enhance understanding and collaboration between filmmakers and VFX artists and companies, ensuring a more time and cost efficient process but also improve the creative process. Participants will gain insights into the possibilities, how to effectively communicate with VFX teams, and the best practices for integrating VFX into their projects. Day 1: Understanding the VFX Landscape Morning Session: VFX Fundamentals Introduction to VFX: An overview of what VFX entails, its various categories (CGI, compositing, motion capture, etc.), and its importance in modern filmmaking. History and Evolution: A brief history of VFX in cinema, highlighting key advancements and influential projects that have shaped the industry. VFX Pipeline: Understanding the VFX production pipeline from pre-production to post-production, including stages like concept design, previsualization, asset creation, animation, and rendering. Case Study 1 Project Breakdown: Analyzing the VFX production focusing on the collaboration between the director, producers, and VFX teams. Challenges and Solutions: Discussing the specific challenges faced during production and the innovative solutions that were implemented to overcome them. Afternoon Session: Pre-Production Planning Script Breakdown for VFX: How to identify and plan for VFX sequences during the script development phase. Budgeting and Scheduling: Strategies for budgeting and scheduling VFX work, understanding cost drivers, and ensuring efficient resource allocation. Storyboarding and Previsualization: The importance of visual planning tools like storyboards and previsualization in communicating the director’s vision to the VFX team. Case Study 2 Visual Planning: Exploring the previsualization and storyboarding processes that helped shape the visually stunning worlds Director-VFX Collaboration: Insights into how effective communication and planning ensured the seamless integration of VFX into the film. Day 2: Implementing and Managing VFX Morning Session: On-Set VFX Management VFX Supervision: The role of a VFX supervisor on set, including managing practical effects, green screens, and motion capture. Best Practices for Shooting VFX: Techniques for capturing footage that will integrate smoothly with VFX, including lighting, camera angles, and reference materials. Real-Time VFX Tools: Introduction to real-time VFX tools and how they can assist directors and producers in visualizing effects during the shoot. Case Study 3 Innovative Techniques: Discussing the innovative techniques used to capture complex VFX scenes, including the use of real-time tools and practical effects. Afternoon Session: Post-Production and Beyond Post-Production Workflow: Understanding the post-production workflow for VFX, including editing, compositing, and final rendering. Review and Feedback: Best practices for providing feedback to VFX artists and ensuring that the final product aligns with the director’s vision. Integration and Delivery: Strategies for integrating VFX seamlessly into the final cut and preparing deliverables for various distribution formats. Case Study 4 Collaborative Review: Examining the iterative review process between the director, producers, and VFX artists to achieve the film’s stunning visual effects. Conclusion: Moving Forward with VFX Future Trends in VFX: A look at emerging trends and technologies in the VFX industry and their potential impact on filmmaking. By the end of this workshop, participants will have a deeper understanding of the VFX process, enhanced communication skills with VFX teams, and practical knowledge to efficiently integrate VFX into their future projects, ensuring high-quality visual storytelling. ABOUT SEBASTIAN BARKER Sebastian Barker is a prominent force in the world of visual effects, co-founding the London-based visual effects boutique Automatik VFX. From his beginnings leading a small team out of hired space in the back of a nail salon, Sebastian has grown Automatik VFX into a facility of 100 across offices in London and Berlin. With more than 15 years of experience designing visual effects and growing businesses accross the visual effects and post-production industries, Sebastian has a breadth of knowledge that transcends visual effects alone. Establishing Automatik VFX 10 years ago, Sebastian quickly established the company as a leading boutique in the visual effects industry. As the Managing Director, he prioritizes quality and client satisfaction, overseeing a vast range of projects while thriving in the role of VFX Supervisor. His involvement in The Post Republic UK as a partner further cements his status as a key player in the post-production and visual effects landscape. Throughout his career, Sebastian has supervised and produced VFX for around 40 productions, recently playing a key role in high-profile projects such as Disney+'s Doctor Who, the Amazon Prime series The Wheel of Time, and Yorgos Lanthimos's Kinds of Kindness (2024). His work has also extended to feature films like The Wonder (2022) starring Florence Pugh, The Outfit (2022) with Mark Rylance, and Spencer (2021), where Kristen Stewart portrayed Princess Diana. Sebastian's diverse portfolio also includes The Girl with All the Gifts, Outside the Wire and The Bastard Son & the Devil Himself (2022), each showcasing his ability to adapt to different genres and visual effects challenges. Whether leading complex CG environments for fantasy epics like The Wheel of Time, designing period details for The Duke (2020), or bringing to life a world of military robots in Outside the Wire (2021), Barker's eye for detail and storytelling ensures that every frame is enriched with quality VFX work. In addition to his supervision roles, Barker has executive produced five films, demonstrating his comprehensive understanding of both the creative and production aspects of filmmaking. His growth from working solo on smaller projects to overseeing large-scale productions for global platforms like Amazon, Netflix, and Disney+, showcases his drive, creativity, and vision in the ever-evolving VFX industry. Sebastian Barker filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. PROFILE OF PARTICIPANT

The workshop designed for Directors and Producers, or filmmakers interested in better understanding how to work with and budget for VFX on a production. WORKSHOP LOCATION Berlin, Germany Duration: 2 days 10:00 - 18:00 Dates: 18th - 19th of January 2025 Location: London UK Price: 599EUR (399EUR Until 9th 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 MARK ULANO, CAS, AMPS Mark Ulano has been recording sound for film professionally since 1976 and has mixed over 150 film and television projects. He is a four times Oscar nominee, most recently for ONCE UPON A TIME IN HOLLYWOOD, AD ASTRA and INGLORIOUS BASTERDS. His work on TITANIC won him an Academy Award for Sound Mixing as well as the Cinema Audio Society Award for Best Sound mixing for a Feature Film. Most recently, his work can be heard on WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY and in 2023 on the new Martin Scorsese spring release: KILLERS OF THE FLOWER MOON, staring Robert DeNiro and Leonardo DiCaprio. He has had a 28 year collaboration with Quentin Tarantino. With many articles published, Mark is very active in the cinema mentoring world as a teacher of workshops and speaker at sound symposiums internationally; including Academy of Motion Picture Arts and Sciences Gold Program, American Film Institute, Digital Video Expo, AES and Cinema Audio Society and many others. Mr. Ulano has long been involved in leadership within the creative film sound community. He sat 30 years as a board member for the Cinema Audio Society and served the full two terms both as President and Vice President of the CAS. He also has served five terms as president of IATSE Local 695 (the film sound union in Los Angeles) and also served nine terms on the Sound Branch Executive Committee of the Academy of Motion Pictures Arts and Sciences as well as various AMPAS subcommittees. ABOUT PATRUSHKHA MIERZWA Patrushkha Mierzwa is one of the first women boom operators in Hollywood. She has worked on 80+ movies and television shows for major directors including Robert Altman, James Gray, Quentin Tarantino, and Martin Scorsese. She has also been a judge for the Emmys and was a Director on the Board of the sound union - IATSE Local 695. Patrushkha has spoken on multiple panels and given workshops at universities in China, Ireland, Norway, England, France, Los Angeles, and New York City on the duties and responsibilities of Boom Operators and Sound Utility Technicians. She has lectured on the performance work skills necessary to succeed under a fast production schedule with A-list talent. Patrushkha wrote the multiple award-winning best-selling book on sound, “Behind the Sound Cart: A Veteran’s Guide to Sound on the Set” and has contributed to film retrospectives and books, including “Nope, Nothing Wrong Here: The Making of Cujo” and is featured in “1000 Women in Horror.” She is currently writing a book on boom operating.

WORKSHOP DESCRIPTION OVERVIEW AND OBJECTIVES-Sound for storytelling: The tools are not the artist, they are passive instruments until played by the creative practitioner. We do not come to the project with a preconceived ideology; We come to the project to discover, to learn, to interpret. We hope to create something new. This workshop is conducted primarily as a conversation and is fully interactive. We use case studies to teach a solution-based creative use of sound. Topics covered in the workshop will include: Using the sound palette for directorial intent. What is being transmitted to the audience at this specific moment? Connecting the characters to the audience Sound as a tool for emotional connection/truth/communication Character perspective, 1st person vs 3rd person, Like lenses and frame composition but not visible. Every shot is hand made by a team of artists Absence of understanding of the sound process on the set and beyond can limit the reach of the director Brief historical survey Not the Jazz Singer, but 40 years of evolving before the late 1920’s, when dialogue and sound-scape emerge. The creation of a film’s sound-scape begins in pre-production. The production sound team lays the bed of performance and most often are the primary liaison or decision maker of approach from pre-production through production. Including sound artists in the circle of trust. The production sound team performs the essential foundation in the creation of your film’s soundtrack. Capturing performance in collaboration with the artists in front of the camera in tandem with those behind the camera What is “good sound”? What does “technical” mean on a film set? Linking with the other departments PROFILE OF PARTICIPANT The workshop designed for, Sound Mixers, Sound Editors, Music Editors, Boom operators, ADR Editors, Directors, Film Students, or filmmakers serious about a career in the Film Industry in the area of Sound.

LOCATION OF THE WORKSHOP Berlin, Germany Duration: 2 days 10:00 - 18:00 Dates: 18th - 19th of January 2025 Location: Berlin, Germany Price: 599EUR (399EUR Until 3rd 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.

ABOUT SAMI ARPA Sami Arpa is the Founder and CEO of Largo.ai, that integrates artificial intelligence into the filmmaking process. Sami holds a Ph.D. in Computational Aesthetics and Computer Vision from the École Polytechnique Fédérale de Lausanne (EPFL) in Switzerland, where his research focused on the intersection of AI and artistic expression. His academic pursuits laid the groundwork for his later innovations in AI applications within the film industry. Before founding Largo.ai, Sami gained experience as a filmmaker and producer, directing short films, including "Les bruits des pas" (2014) and "L'évasion" (2015). His firsthand understanding of the challenges faced by filmmakers fueled his desire to develop tools that would streamline and enhance the filmmaking process. He also founded the Ouchy Film Awards, a film festival in Lausanne, further cementing his commitment to nurturing creative talent and promoting independent cinema. Largo.ai, established in 2018 as a spin-off from EPFL, quickly gained recognition for its innovative approach to using AI in film production. Headquartered at the EPFL Innovation Park in Lausanne, with additional offices in Los Angeles, London, and Istanbul, Largo.ai has grown into a global enterprise. The company's SaaS platform, launched in 2020, offers data-assisted intelligence to filmmakers, providing comprehensive analysis of content, characters, casting, and financials. This platform has been instrumental in reducing risks and optimizing decision-making for producers and directors, leading to the successful release of numerous films in theaters and on major streaming platforms. Some of these films have even garnered Oscar nominations, highlighting the effectiveness of Largo.ai's technology. Under Sami's leadership, Largo.ai has earned multiple accolades, including the Best Start-up Award at the San Sebastian Film Festival, recognition at EFM Horizon Start-ups at the Berlinale, and placement in the Top 100 Swiss Start-up Awards. These honors reflect the company's impact on the industry and its potential for future growth. Sami Arpa continues to drive Largo.ai’s mission to revolutionize filmmaking through AI, helping filmmakers make more informed decisions, reduce risks, and enhance storytelling. His work represents a significant leap forward in how technology can be harnessed to serve the creative arts, making him a pioneer in the fusion of AI and cinema. Sami Arpa 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 AI and film industry expert, is designed for film professionals seeking a comprehensive understanding of the transformative role of artificial intelligence in the film and television industries. With a focus on practical applications and real-world case studies, this workshop offers an in-depth exploration of how AI is revolutionizing everything from script analysis and casting to production and post-production processes. Participants will gain valuable insights into the possibilities AI presents, and how to effectively integrate these technologies into their projects to enhance creativity, efficiency, and overall production quality. Day 1: Introduction to AI and Its Applications in Film and TV Morning Session: Understanding how AI works? This session will begin with an overview of AI, covering its fundamental concepts, history, and significance in the film and TV industry. Participants will learn about the various AI ecosystems, including machine learning, natural language processing, and computer vision, with a specific focus on how large language models (LLMs) and decision models (DMs) function. The session will also address the challenges faced and the benefits realized when incorporating AI into the script development process, providing a comprehensive understanding of the foundational aspects of AI and its potential applications. Afternoon Session: Practical AI Applications in Film and TV Development Pre-production Stages In the afternoon, the workshop will focus on practical applications of AI in the pre-production stages of film and TV projects. Participants will explore how AI can assist in script analysis, casting, and audience predictions using specific AI tools like Largo.ai. The session will include two detailed case studies: one for a TV project and another for a film project. Each case study will cover story analysis, character and casting analysis, and audience predictions, illustrating the tangible benefits of AI in real-world scenarios. Day 2: Practical Applications of AI in Film and TV Morning Session: Audience design through Simulated Focus Groups and Financial Planning This session will focus on the use of AI for audience design and financial planning in film and TV projects. Participants will examine case studies demonstrating how AI simulates focus groups to test potential audiences and predict awards outcomes. Additionally, the session will cover the creation of financial plans using AI-generated forecasts, providing insights into how AI can help in making data-driven financial decisions and optimizing project outcomes. Afternoon Session: Practical applications on Production & Post production The afternoon session will showcase the use of AI in production and post-production stages. Participants will learn about various AI applications in production, such as scheduling, special effects, and efficiency enhancement. The session will also cover post-production processes, including automated editing, color grading, VFX, and sound design, with real-world examples highlighting the impact of AI. The workshop will conclude with a discussion on future trends in AI technology and its ethical implications, addressing issues such as bias, data privacy, and the responsible use of AI in filmmaking. This final session aims to equip participants with a forward-looking perspective on AI's role in the entertainment industry. Conclusion: Future Trends and Ethical Considerations By the end of this workshop, participants will have a thorough understanding of how AI can be leveraged to enhance various stages of film and TV production. They will be equipped with practical knowledge and strategies to effectively incorporate AI into their workflows, ensuring their projects are more efficient, innovative, and competitive in the evolving landscape of the entertainment industry. PROFILE OF PARTICIPANT This workshop is designed for Directors, Producers, or filmmakers serious about a career in the Film Business on the area of Film Production or Directing using AI tools Whether you're looking to enhance your understanding of AI's capabilities or seeking to incorporate cutting-edge technology into your filmmaking process, this workshop will provide valuable insights and practical knowledge for professionals. WORKSHOP LOCATION Gerlin Germany Duration: 2 days 10:00 - 18:00 Dates: 18th - 19th of January 2025 Location: Berlin, Germany Price: 599EUR (399EUR Until 25th of September) Maximum number of participants: 25 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 By registering to the workshop you agree with FFL terms and Conditions

Manuel Alberto Claro is a Chilean-Danish cinematographer recognized for his visually striking and emotionally resonant work in film and television. Born in Santiago, Chile, on April 3rd, 1970, and raised in Copenhagen, Claro's early passion for visual storytelling led him from a career in still photography to studying cinematography at the National Film School of Denmark, graduating in 2001. Strongly influenced by the 'Dogme 95' movement, Claro rapidly carved his path in the industry, bringing a unique blend of artistry and technical prowess to his projects. Claro's versatility and unique eye for visual storytelling caught the attention of filmmaker Lars von Trier, leading to their first collaboration as the cinematographer on the critically acclaimed Melancholia (2011). This partnership continued through films like Nymphomaniac Vol. I and Vol. II (2013), and The House That Jack Built (2018), making Claro von Trier’s go-to cinematographer for nearly a decade. Their joint work on The Kingdom Exodus (Season 3, 2022) further cements this lasting collaboration. Claro's breakthrough came with Reconstruction (2003), directed by Christoffer Boe, which won the prestigious Camera d'Or at Cannes. This launched a series of successful collaborations with Boe on films such as Allegro (2005) and Everything Will Be Fine (2010). Claro's recent credits include Families Like Ours (2024), When in Rome (2024), The Chorus Girls (2023), and The Pact (2021), directed by Bille August. He also worked on A Taste of Hunger (2021) and continues to explore both film and television across genres and platforms. His acclaimed work on Hope (2019), The Cake Dynasty (2022), and Forhøret (2021) highlight his skill in bringing powerful visual narratives to life. Throughout his career, Manuel Claro has been honored with multiple awards and nominations. Variety Magazine named him one of the "10 Cinematographers to Watch" in 2012. He has an impressive portfolio of over 30 nominations and 12 wins, reflecting his status as a Cinematographer. In addition to feature films and television series, Claro has lent his talents to various music videos for artists like FKA Twigs and Sons of Raphael, as well as commercials for major brands including H&M, Sony, IKEA, Nokia, and Maersk. WORKSHOP DESCRIPTION Cinematography Workshop w/ Manuel Alberto Claro: Crafting Visual Storytelling This two-day intensive workshop offers filmmakers and cinematographers the opportunity to explore the art of visual storytelling under the guidance of acclaimed cinematographer Manuel Alberto Claro. Designed for experienced participants, the workshop focuses on creativity, collaboration, and finding your unique style in cinematography. With a small group of only 25 participants, the workshop allows for an intimate experience where you can learn directly from Claro’s approach to visual storytelling. Day 1: The Craft of Visual Storytelling On the first day, Claro will share insights into his approach to building powerful visual stories in film. Using examples from his most notable projects, like Melancholia and Nymphomaniac, he will delve into how cinematography can deepen a story’s emotional impact. Topics will include how to translate a script into visual language, collaborate closely with directors, and bring emotion and atmosphere to life on screen. The focus will be on how visuals can drive a story and create a compelling narrative. Key Topics Covered: Finding Your Visual Style: Understanding how to bring a script to life visually, and developing a unique look that complements the story. Collaboration with Directors: Building strong, creative partnerships and working together to achieve a shared vision. Creating Mood and Emotion: Using visual elements like light and color to enhance the emotional depth of a scene. Bridging Art and Practicality: Balancing creative ideas with the realities of different budgets and production sizes. Day 2: Bringing Your Vision to Life The second day will focus on turning creative ideas into practical realities on set. Claro will discuss how to make the right choices when it comes to camera movement, lighting, and working in various locations, whether in a controlled studio or out in the field. Through real-life examples, interactive discussions, and practical exercises, participants will learn how to adapt their approach to different filming conditions, stay flexible on set, and bring their creative vision to life effectively. Key Topics Covered: Lighting as a Storytelling Tool: How to use light to set the mood, highlight characters, and build the visual world of the film. Framing the Story: Techniques for designing shots, camera angles, and movement that enhance the narrative. Adapting to Challenges: Learning how to creatively solve problems on set and make the most of any situation. Wrap-Up & Personalized Guidance Throughout the workshop, participants will have the chance to discuss their own experiences and challenges. Claro will provide tailored feedback and advice, helping attendees refine their skills, overcome creative blocks, and find their own voice as cinematographers. The workshop is a creative journey that will enhance your ability to tell powerful visual stories and develop a distinctive style, offering inspiration and practical advice from one of the industry’s leading cinematographers. 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: 1-2 February 2025 Location: Berlin, Germany Price: 599EUR (399EUR until the 15th of October) Maximum number of participants: 25 Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam.By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

WORKSHOP 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 an 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: 6-7 February 2025 Location: Dubai, UAE Price: 649USD (449USD until 21st 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:

Paul Miller is an independent producer working in the United States, Europe and the Middle East. From May 2012 until October 2013 Miller was Director of Film Financing at the the Doha Film Institute in Qatar. Miller oversaw a regional education training programme, a global grants fund and managed an international film financing fund. Paul Miller is an independent producer working in the United States, Europe and the Middle East. From May 2012 until October 2013, Miller was Director of Film Financing at the the Doha Film Institute, in Qatar. Miller oversaw a $2.5M education training programme, a $1m global grants fund and managed a $25M film financing fund. Prior to this, Miller produced The Birder’s Guide to Everything (2013), directed by Rob Meyer, Babygirl (2013), written and directed by Macdara Vallely, produced with Samson Films and the Irish Film Board. During this period Miller produced a feature length documentary, Poor Consuelo Conquers the World (2011), with Les Films d’Ici for ARTE. Miller also Exec-Produced the feature length documentary, The Man Who Drew the Future, with Una Films and ARTE. From 2002 - 2009 Miller was Head of Film Production at Crossroads Films, where he produced Snow Angels, which was released by Warner Independent Pictures in 2008. The film was written and directed by David Gordon Green and stars Sam Rockwell and Kate Beckinsale. Paul also produced the Golden Globe-nominated A Love Song For Bobby Long, starring John Travolta and Scarlett Johansson, released by Lionsgate Films in 2004. Previous films include John Sayles’ feature The Secret of Roan Inish (1994), the Academy Award nominated Lone Star (1996) and Golden Globe nominated Men with Guns (1997). Miller also produced Prozac Nation (2001), directed by Erik Skjoldbaerg’s (Insomnia) and starring Chistina Ricci, Jessica Lange and Anne Heche. The film was released by Miramax. Miller was educated in England and is a graduate of the National Film and Television School in the U.K. He is a member and consultant with Paris based Ateliers du Cinéma Européen (A.C.E.), Europe’s premiere producer’s association, and a member of the Director’s Guild of America and the Producer’s Guild of America. You can find his full list of credits on https://www.imdb.com/name/nm0589158/ WORKSHOP DESCRIPTION

The Film Financing workshop will focus on the art of producing a film in our entrepreneurial age, where the means of manufacture and distribution are in flux and where finding your audience is key. The workshop will look at the how to develop, finance and complete a movie from the viewpoint of a creative producer. The workshop won’t be looking so much at the making of a movie more about setting off on the right track and finishing ahead of the game. The workshop will be practical and interactive, with participants also having the opportunity to assess the issues they encountered on their own films, and receiving the feedback to help similar situations in the future. Participants should be prepared to discuss an unproduced project that has been previously developed by them to the point of a first draft screenplay. The project doesn't have to be an active project, just an idea that the participant can use in the workshop. The scripts will not be read or shared during the workshop. If the participant doesn't have one, then an idea that has been developed to treatment stage is also sufficient. For each film idea, the participants should also think of a director, lead cast, location, budget range and core audience.In addition, each participant should be prepared to informally pitch a recent idea based on a recent news article or event. These pitches will involve other participants role playing as potential buyers. The topics covered in the workshop: A. THE BEGININGS: Ideas: Auteur vs. Industry/Art vs. Culture/Writer-Directors, Budget/Audience Developing your Pitch: the Elevator Pitch/Longer Pitch Pitching to a writer and director, pitching to investors Partnering with another producer Logline Synopsis B. FIRST STEPS Assembling a Creative Team and making a few Key Decsions: Commissioning a Writer Choosing a Director The Filmmaking Triad: Director/Writer/Producer Hollywood vs. Europe Packaging of Talent: agents, managers and lawyers and casting directors Location of the Filming Screenplay Rights and Collaboration Agreements: Property Rights: Copyright/Chain of Title Screenplay Rights: Option/Purchase Agreements Underlying rights: articles, books, life rights, etc. Creative Team Agreements: Short Form/Long-form Contract: Director Agreement Producer Agreement Writer Agreement Producing Partnerships Development Budget Casting: Cast Lists, Casting Directors Securing Cast Actor Agreements: Major Deal Points (Upfront/Contingent Compensation, Deferments, Profit Participation: Gross vs. Net The Glory of Schedule ‘F’. C. MARKETING AND DISTRIBUTION RESEARCH AND BOX OFFICE COMPARABLES Box Office Comparables: including budget, domestic, overseas and worldwide revenue and any known ancillary revenue, year of release, distributor and maximum # of screens Marketing and Distribution Plan, Film Festivals, Distributors and Sales Agent D. FINANCING Revenue Flow -Theatrical and Ancillary Rights: Domestic and Foreign BO, Domestic and Foreign Ancillary Rights Revenue Projections ‘The Waterfall’ Estimating revenue based on Box Office: low, medium and high Budget/Financing - Financing Sources: Equity, Pre-sales, gap financing, loans and soft money E. BUSINESS PLAN How to Create a Business Plan for Your Film: Executive Summary Overview of Industry Investor Return/Deal Comparables Projections Revenue Stream ROI F. MAKING YOUR FILM BETTER AFTER THE SHOOT Post-Production Decisions: Improving the picture edit Composer, Music and Music Rights: Sync and Master Use Licenses, Rights Clearance for Publicity and Festivals, Royalty-free Music, Composer/Score, Cutting Edge) Test Screenings (friends, film professionals and NRG screenings) Deliverables G. INTO THE WORLD: MARKETING AND DISTRIBUTION Who is your audience? Precedents/Box Office Comparables Demographics: age, race, location, gender, socio-economic class, religion, education, consumer tastes, musical tastes, sports identification, hobbies, politics, occupation, exercise habits, food habits, etc. Influencers How will you reach the potential audience for your movie? Promotion: P & A Fund, Producer of Marketing and Distribution, Supporting Materials Marketing: Social Media, Press, Publicist, Website, Blogs, Word of Mouth Release Plan Film Festivals Film Markets Theatrical: Distributor or DIY Non-theatrical VOD Community Screenings Direct Selling PROFILE OF PARTICIPANT

The workshop designed for, Film Producers, Film Financiers, Directors, Film Students, or filmmakers serious about a career in the Film Industry on the area of Film Production. WORKSHOP LOCATION Berlin, Germany 16 hours Duration: 2 days Dates: 1-2 March 2025 Location: Berlin, Germany Price: 599EUR (399EUR until 16th 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 YORGOS MAVROPSARIDIS

Acclaimed film editor Yorgos Mavropsaridis is renowned for his distinctive editing style and significant contributions to the film industry. Born and raised in Greece, Mavropsaridis has built a career marked by a series of successful collaborations and critically acclaimed films. Yorgos early career was marked by work on various short films and independent projects, where he began to make a name for himself with his meticulous and innovative editing techniques. Mavropsaridis' breakthrough in the international film industry came with his collaboration with the celebrated Greek director Yorgos Lanthimos. Their partnership started with the critically acclaimed film "Dogtooth" (Kynodontas, 2009), which won the Prix Un Certain Regard at the 2009 Cannes Film Festival and was nominated for Best Foreign Language Film at the 83rd Academy Awards. This film was notable for its unsettling atmosphere and precise editing, elements that Mavropsaridis masterfully crafted. Following the success of "Dogtooth," Mavropsaridis continued his collaboration with Lanthimos on several other projects, including "The Lobster" (2015) and "The Killing of a Sacred Deer" (2017). "The Lobster," a dystopian dark comedy, earned widespread acclaim and won the Jury Prize at the 2015 Cannes Film Festival. It was also nominated for Best Original Screenplay at the 89th Academy Awards. Perhaps his two most notable work to date came with "Poor Things" and "The Favourite" (2018), again directed by Lanthimos. In "The Favourite" the historical period drama showcased Mavropsaridis' exceptional talent in handling complex narratives and multiple character arcs. The film was a critical and commercial success, receiving ten nominations at the 91st Academy Awards including Best Editing for Yorgos and winning the Grand Jury Prize at the Venice Film Festival. He has recently edited the highly acclaimed "Poor Things" one os the most expected films of last year, and once again teaming up with his collaborator Yorgos Lanthimos. With "Poor Things" Yorgos Mavropsaridis was once again nominated for as Oscar of Best Editing Yorgos Mavropsaridis is known for his bold editing style, often characterized by its rhythmic precision and ability to create tension and dark humor through pacing and juxtaposition. His approach to editing is often seen as integral to the storytelling process, actively contributing to the narrative and thematic depth of the films he works on. Throughout his career, Mavropsaridis has collaborated with numerous notable figures in the film industry, including actors like Olivia Colman, Rachel Weisz, Emma Stone, and Colin Farrell. His work with Yorgos Lanthimos, in particular, has been a defining aspect of his career, placing him among the most innovative film editors of his generation. Yorgos Mavropsaridis influence extends beyond the specific films he has worked on, inspiring a new generation of film editors and filmmakers. full list of credits on https://www.imdb.com/name/nm0561430/ WORKSHOP DESCRIPTION

In this two-day workshop, acclaimed editor Yorgos Mavropsaridis will take participants on an in-depth journey through the editing process behind his most notable projects, including The Favourite, Poor Things, and The Lobster. Yorgos will illustrate how he approaches storytelling through his editing choices, breaking down key scenes to reveal the thought process behind every cut. Through real-time demonstrations, he will show how he crafts the rhythm, emotion, and structure of a film, offering invaluable insights into his creative decision-making and editing techniques. Yorgos will also illustrate the following during the workshop: Character Development in Editing: How to sculpt characters and performances for maximum impact, supported by tangible examples. Story Arcs & Tension Building: Techniques to craft a gripping narrative and maintain audience engagement. Editing Essentials: Achieving fluidity in storytelling and embracing optimal processes. Genre-Specific Editing: Dissecting how the craft varies across genres, and the intrinsic impact of genre on editing techniques. Cinematic Influences: A deep dive into iconic films that have shaped the art of editing, drawing insights that can be applied to contemporary projects. Analyzing Actor Performances: Gaining a comprehensive understanding of performances to make informed editing choices. The Nitty-Gritty: A walkthrough of technicalities, contrasting workflows across different budget films. Sound & VFX: Strategies to seamlessly integrate sound, music, and effects into the edit. Dynamics of Film Collaboration: Unpacking the editor's relationship with other key crew members, emphasizing the collaborative essence of filmmaking. Navigating the Industry: Insights on carving a niche in the market, agent partnerships, understanding remunerations, and strategies to secure projects. Note: This workshop emphasizes the cerebral aspect of editing, prioritizing decision-making over software proficiency. WORKSHOP LOCATION Berlin, Germany PROFILE OF PARTICIPANT The workshop designed for Editors, Directors, Sound Editors, Film Students, or filmmakers serious about a career in the Film Business on the area of Editing 16 hours Duration: 2 days Dates: 1-2 March 2025 Location: Berlin, Germany Price: 599EUR (399EUR until 11th 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 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 filmmakers interested in establishing in Film Business on the area of Choreography and Movement Direction.

LOCATION OF THE WORKSHOP Berlin Germany 16 hours Duration: 2 days Dates: 1-2 March 2025 Location: Berlin, Germany Price: 599EUR (399EUR until 23rd 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: