POLLY DUVAL POST PRODUCTION SUPERVISION Workshop London 26-27 March
Francesca Jaynes CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM Workshop London 26-27 March
DURATION: 2 days HOURS
08/09 . 07 . 2017
LOCATION: London UK
PRICE: 399GBP (299GBP Until 4th of July)
ABOUT MARK SANGER
With extensive experience in the industry, it was from a very young age that Sanger wanted to make films. He started as an assistant editor in the mid-90s, coming into the industry just as the change from analogue to digital happened.
Under this title Sanger worked on Tomorrow Never Dies (1997), The World is Not Enough (1999), and The Mummy (1999).
As a visual effects editor, he collaborated extensively with Tim Burton, editing Charlie and the Chocolate Factory (2005), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Alice in Wonderland (2010). Also as a VFX artist he worked on 007: Die Another Die (2002), Troy (2004), and on Alfonso Cuarón’s highly acclaimed Children of Men (2006).
Sanger and Cuarón worked together yet again, in 2013’s hit movie Gravity (2013), with Sanger working as a Picture Editor. This successful collaboration earned them, as co-editors, the Oscar for Best Editing, a BAFTA nomination, amongst a very wide list of various awards.
Currently, Sanger has been working on the new Transformers movie, which is already in post-production and will be released later in the year.
Mark Sanger experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB.
It is important to note that this will not be a workshop to teach you editing with any specific software, but instead it will enhance your capacity to edit in your mind, before you actually use your tool. It is about your decision, your choices and your options as an editor.
● Introduction of the participants and Mark Sanger. The participants will then be showed some clips of the work made by him, analyzing some choices and options made in some of his works, generally sharing experiences of editing in the industry / as well as getting into on what was behind of some of his editing.
● Film editing vs. visual effects editing - the specification of the VFX editor job; links beetween film editing, animation editing and visual effects editing
● Traditional editing vs. digital editing - how has digital technology changed the process; how knowledge and experience in traditional editing can be useful in digital editing
● When does the editing process really start? the importance of preparations prior to shooting; editing with storyboards and pre-vis
● How to help the story flow through the editing and best processes; how to serve the narrative through effective editing; how to employ narrative techniques to create tension; how to edit your characters/actors and performance (practical examples of problem solving and good decisions)
● How to apply the craft in different genres, the impact of genre on editing styles.
● Influence of great films, film history to help work.
● Eye for details - how to avoid mistakes
● Technical aspects of the job - looking at recent project showing workflow.
● How to get and improve your professional skills - technical courses at film schools vs. practical experience. What to take into account when choosing a course from the wide range that different film schools, art schools and technical schools provide?
● An overview of available tools / software; advantages and disadvantages; which one to choose?
● Space for creativity - relations between technical skills and thinking outside of the box, how to be a part of the whole process of film and television production and not merely as the final stage, becoming collaborators, not just efficient technicians.
● The relationship with the director, DOP, producer and other members of the film crew; visual effects editor as a bridge between the editorial and visual effects departments, communicating both creative and technical information between the two; the importance of having a broad understanding of all departments
● Practical exercise. The participants will be given footage (a small scene) to work two weeks before the workshop, all participants will show their work at the workshop, the group will then analyze each editing, and learn from each other´s work. Mark Sanger will give his insight on each edited version of the footage. The participants should at the end be self-conscious of their editing choices, as well as aware of the other options taken by the other participants.
● The market reality for editors, agents, rates, and finding your own work
PROFILE OF PARTICIPANT