Choreography & Movement Direction for FILM AND TV Workshop with FRANCESCA JAYNES London 4-5 NOV
Allan Starski PRODUCTION DESIGN for Film and TV Workshop 30 SEP - 1 OCT London
DURATION: 4 days HOURS
06/09 . 07 . 2021
PRICE: 499EUR (299EUR Until 3rd of July)
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/
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.
The over all theme of the workshop will be: How Stuart applies 30 years of shooting on film to shooting in the digital age, and what younger cinematographers can gain by ‘thinking film, shooting digital’
The workshop will also cover the following structure:
Day One - Essence of the Craft
Pt 1. My Personal Story
How I became interested in film, how I got my start and what opportunities did
I have that led me to having a career as a cinematographer. This will include
some film clips
About 1 – 1 ½ hours followed by question time.
Pt 2. The Business
The differences between Europe and the US, TV vs cinema (and where is
that line now?), big budget vs small, and even micro. Some clips to
illustrate and question time after for general discussion.
Day 2 – Prepping the movie
Pt 1: The dP in prep
For those that haven’t had this experience, what is pre production like for
the DP, an over view. Use examples of photography , location hunting and
mood boards (Black hat).
Question time and break
Pt 2. Practical examples
Detailed scene breakdowns (and why is the DP doing this). Use Piano
story boards and clips, Blackhat Hong Kong clips, and MIB end action
Day 3 – shooting the damn film!
Pt 1 – showing up is 95%of success
Hitchcock quote, Plan A and Plan B, leadership, diplomacy and
appearances. Dress for success! Look like you know what you are doing,
and then actually do it! Be nice!
Questions and break
Pt 2 – actual technical stuff
Remembering the plan, revise and modify, but be prepeared, working with
The Pre-light – love your gaffer
Starting the day – to rehearse or not to rehearse, and the different ways of
directors. Choosing camera positions and movement, choice of lens,
lighting adjustment (to tweak or not to tweak).
Day 4 – Post Production and wrap up
Pt 1. Post tutorial
Post starts at the DIT cart (also discuss dailies still reference for film
capture). Watching dailies or just reviewing grabs?
Working with VFX team
The remaster (30 years on)
Questions and Break
Pt 2 Open Forum
I will spend the last 2 hours discussing topics submitted by workshop
participants. These should be emailed to the workshop coordinators in
advance of this final session.
The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking, on the next few months we will be hosting the workshops online, however we will maintain not only the standard of quality you came to expect with the best experts available, but also the networking and interactivity of the workshops:
-The workshop group will have a limited number of participants, we will not host more than 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 absorb the content.
PROFILE OF PARTICIPANT
The workshop designed for Cinematographers, Camera Operators, Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography.
Duration: 4 days
Dates: 6th to the 9th July
4PM - 8PM BST (London)
5PM - 10PM CEST (Brussels)
11AM - 3PM EDT (New York)
8AM - 12PM PDT (Los Angeles)
7PM - 11PM Gulf Standard Time (Dubai)
11PM - 3AM CST (Beijing)
8:30PM - 12:30AM IST (New Delhi)
12PM - 4PM BRT (Rio de Janeiro)
Price: 499EUR (299EUR until 3rd of July)
Maximum number of participants: 25
By registering to the workshop you agree with FFL terms and Conditions
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