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18/21.10.2021Online
CINEMATOGRAPHY WORKSHOP WITH CHRISTIAN BERGER SOLD OUT

ABOUT CHRISTIAN BERGER

Christian Berger is an Austrian Cinematographer, director, producer, and writer of numerous documentaries, TV films and features. He is mostly known for his work on The White Ribbon with Michael Haneke, which brought him an Oscar Nomination for Best Cinematography at the 82nd Academy Awards. He was the winner at the American Society of Cinematographers Awards for Outstanding Achievement in Cinematography in 2010 and a big number of other awards, both national and international. Born 1945, he started his career working mostly as a documentary filmmaker. in 1973 founded own production company TTV Film an a few years later built experimental video studio. In late 70’s / early 80’s he increased his work in TV plays and screen adaptations with various authors and started working as DOP for feature films and as a director. His own projects (director and cinematographer) include Raffl (1983/1984), Hanna Monster, Darling (1988/1989), Mautplatz / Tollgate (1994). He worked as a cinematographer for such renowned directors as Michael Haneke, Luc Bondy, Wolfgang Glück, Stephen Gaghan, Amos Gitai, Peter Sehr and Marie-Noèlle, János Szász, Angelina Jolie, Virgil Widrich, Terrence Malick. Christian Berger developed the new “Cine Reflect Lighting System Berger/Bartenbach” in collaboration with Bartenbach Lichtlabor. In addition to creating new esthetic possibilities for the camera, this system gives actors and directors unprecedented flexibility and freedom. Berger employed this system for the first time to some degree in The Piano Teacher and exclusively used it to shoot films: Dead Man’s Memories, Ne Fais Pas Ça, Mein Mörder, Caché / Hidden, The White Ribbon, Ludwig Ii, The Notebook, By The Sea, The Night Of A Thousand Hours and most recently Happy End by Michael Haneke. Christian Berger is one of the most influential figures in the area of cinematography and it is an absolute honor to have him as FEST Film Lab speaker. Unquestionably it will be an unmissable session. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the art of cinematography, specially the topic of light, you will have the chance of not only receive this knowledge from Christian Berger, 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 overall theme of the workshop will focus specially on the treatment of light.: Christian Berger is one of the inventors of the highly innovative CINE REFLECT LIGHTING SYSTEM, which he has used in several of his productions. Christian will also focus on the difference of working between digital and film. Chrstian will also show examples of how he achieved the look in a few of his films. The workshop will also cover the following topics: ESSENCE OF THE CRAFT Auteur versus Industry – the realities of the business. DIY - low budget approaches Understanding your abilities Overview and “Case Study” clips of my work LIGHT light meters Lighting Setup - Mood natural light location lighting studio lighting Night and day Lighting to suit actors Lighting plans how luminance and chrominance behave Light-night PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Gaffers Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. WORKSHOP LOCATION The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. In the next few months we will be hosting the workshops online, however we will maintain not only the standard of quality you have come 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 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 workshops' sessions, which will take place in 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. 16 hours Duration: 4 days Dates: 18-21 October 2021 8AM - 12PM BST (London) 9AM - 1PM CEST (Brussels) 11AM - 3PM Gulf Standard Time (Dubai) 6PM - 10PM AEDT (Sydney) 9PM - 1AM CST (Beijing) 12:30AM - 16:30PM IST (New Delhi) Location: Online Price: 499EUR (299EUR with discount of 40% Until 17th of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions All communications and confirmations will be sent to the email you use while making your workshop payment. If you wish to receive in another email please inform us on filmlab@fest.pt

19/22.10.2021Online
Film Financing in an Entrepreneurial Age

ABOUT PAUL MILLER

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. Prior to this Miller produced The Birder’s Guide to Everything directed by Rob Meyer, Babygirl, 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, with Les Films d’Ici for ARTE in 2011. 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 Becksinale and Golden Globe nominated, and A Love Song For Bobby Long starring John Travolta and Scarlett Johansson, released by Lionsgate Films in 2006. 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, 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 Guide of America and the Producer’s Guild of America. 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 anyone interested in entering the Film Business on the area of Film Production. WORKSHOP LOCATION 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 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. 16 hours Duration: 4 days Dates: 19th to the 22nd October 12PM - 4PM BST (London) 1PM - 5PM CEST (Brussels) 3PM - 7PM Gulf Standard Time (Dubai) 7AM - 11AM EDT (New York) 7PM - 11PM CST (Beijing) 4:30PM - 8:30PM IST (New Delhi) 8AM - 12PM BRT (Rio de Janeiro) Location: Online Price: 499EUR (299EUR with 40% Discount until the 17th 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: