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: 24th to the 27th of February 2025 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 29th of January) 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 a producer, executive, and consultant working in the United States, Europe, and the Middle East. He is currently Head of Film at Madrid-based ISB Films. Miller frequently produces in the Middle East; his most recent film, Norah, premiered at Un Certain Regard at Cannes 2024. Previous regional films include Scales, which won the Verona Award for Innovation at the 2019 Venice Film Festival and was the Saudi submission for the 2021 Academy Awards. From May 2012 until October 2013, Miller was Director of Film Financing at the Doha Film Institute in Qatar. He 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" (2013), directed by Rob Meyer, and "Babygirl" (2013), written and directed by Macdara Vallely, produced with Samson Films and the Irish Film Board. During this period, he also produced the feature-length documentary "Poor Consuelo Conquers the World" (2011) with Les Films d’Ici for ARTE, and executive-produced "The Man Who Drew the Future" with Una Films and ARTE. From 2002 to 2009, Miller was Head of Film Production at Crossroads Films, where he produced "Snow Angels", released by Warner Independent Pictures in 2008. The film was written and directed by David Gordon Green and starred Sam Rockwell and Kate Beckinsale. He also produced the Golden Globe-nominated "A Love Song For Bobby Long" (2004), starring John Travolta and Scarlett Johansson, released by Lionsgate Films. Earlier in his career, Miller worked on John Sayles’ features "The Secret of Roan Inish" (1994), the Academy Award-nominated "Lone Star" (1996), and the Golden Globe-nominated "Men with Guns" (1997). He also produced "Prozac Nation" (2001), directed by Erik Skjoldbaerg and starring Christina Ricci, Jessica Lange, and Anne Heche, released by Miramax. Educated in England, Miller 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 premier producers' association, and a member of the Directors Guild of America and the Producers 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 31st of January) 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 (429EUR until 5th of February) 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. Francesca has recently contributed to the Disney's adaptation of "Pinocchio," directed by Robert Zemeckis and starring Tom Hanks. She also lent her talents to Marvel Studios' "Black Widow," directed by Cate Shortland, working with Scarlett Johansson and Rachel Weisz. Additionally, she worked on Ridley Scott's "Napoleon," featuring Joaquin Phoenix and Vanessa Kirby, . In "Firebrand," directed by Karim Aïnouz and starring Jude Law and Alicia Vikander, She also recently contributed as a choreographer to the series "House of Dragon". 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 27th of January) 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 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: 24-25 May 2025 Location: Paris, France Price: 599EUR (399EUR Until 7 February) 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 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/ WORKSHOP DESCRIPTION

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. Day 1: Unearthing Creativity & Distinctiveness in Cinematography Introduction: Evolution of a Cinematographer Brief on how Stuart's experiences in film over the last 30 years apply to today's digital age. Advantages cinematographers can harness by "thinking film, shooting digital". ESSENCE OF THE CRAFT Auteur vs. Industry: Real-world intricacies of the film business. DIY approaches and the value of understanding one's unique capabilities. A deeper dive: clips from Stuart's oeuvre, shedding light on his approach and interpretation. Inspirations & Influences Stuart presents clips from films that have shaped his perception of light and composition. Interactive session: Participants share short clips of movies that have impacted their cinematic vision, discussing their takeaways on light, composition, and style. GETTING THERE: Navigating the Industry Contrasting the worlds of Hollywood and Europe. The crucial role of agents, managers, and lawyers in a cinematographer's journey. PREPPING: The Backbone of Cinematography The nuances of script breakdown and its role in defining the visual narrative. Crew selection, location scouting, and the pivotal pre-shoot rehearsals. The importance of storyboards and collaborating effectively with departments: Art, Costume, Camera, and VFX. The dynamic between the DP and the director: Finding common ground. An overview of camera systems, lens choices, grip equipment, and the selection of originating materials. Day 2: From Conception to Execution: The Cinematographer's Canvas SHOOTING: Bringing the Vision to Life Day planning, scene blocking, and the strategic use of shotlists. The role of storyboards on set and the art of designing master shots and coverage. Navigating the balance between traditional and digital techniques. A comprehensive guide to tech scouting a location. LIGHT: The Cinematographer's Paintbrush The science and art of exposure. The indispensability of light meters, setting the mood through lighting, and techniques for various settings: natural, location, studio, and transitions between night and day. Crafting lighting to enhance actors, and ensuring it aligns with the story's mood and tone. Interactive Lighting Exercise Participants engage in a hands-on small lighting experimenting scene under Stuart's guidance. A practical exploration of the themes discussed, utilizing simple lighting equipment. Wrap-Up: The Path Forward Reflection on the challenges and intricacies of making a movie from a cinematographer's lens. An open discussion where participants can address issues they've faced in their projects, gaining insights to navigate future challenges. Encouraging participants to continue developing their unique voice and style in cinematography. 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. WORKSHOP LOCATION Lisbon, Portugal Duration: 2 days 10:00 - 18:00 Dates: 31st May - 1st of June 2025 Location: Lisbon, Portugal Price: 599EUR (429EUR Until 14th of February) 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 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. This workshop is made possible with the support of the Portuguese Film Institute – Instituto do Cinema e do Audiovisual (ICA). As part of this collaboration, a limited number of scholarships will be available for Portuguese filmmakers or those based in Portugal. Details on the application process will be announced soon. 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 Lisbon, Portugal Duration: 2 days 10:00 - 18:00 Dates: 31st May - 1st of June 2025 Location: Lisbon, Portugal Price: 599EUR (429EUR Until 24th of February) 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

Dörte Schneider Garcia has 20 years of experience as an assistant director in films and TV commercials. Dörte discovered that she could combine her passion for film with her environmental concerns, which led her to become a Green Consultant. In 2020, she obtained the Green Consultant certificate at the German “Hochschule der Medien” (HdM Stuttgart) and has since been committed to making film productions more sustainable. To achieve this goal, Dörte believes that educating and raising awareness of this issue is fundamental, which led to her engagement in several initiatives with that focus. Dörte is a member of the German green consultant association (BVGCD), and a founding member of the Portuguese one (Repensar), as well as an ambassador for Creative Industries Pact for Sustainable Action, and Green The Bid. In October 2021, she trained as a Climate Reality Leader. WORKSHOP DESCRIPTION

The workshop will look at the climate reality on planet Earth and how that should influence our every action. It will also give an understanding of sustainability as a concept. It will focus on the importance of applying more sustainable measures during all stages of film production. The workshop will provide tools to identify issues of environmental impact on film production, offer knowledge to better interact with the sustainability department, and deliver insights to address the environmental sustainability challenges of a film production, without neglecting social and economic aspects. The workshop will be informative and interactive, with room for exchange and dialogue. The topics covered in the workshop: - Understanding what the sustainability department does - Knowing what is happening internationally - Assessing the critical points of a project - Understanding what steps to take at each stage of the project PART 1 | Climate literacy. Introduction to the concept of sustainability. What is a Green Consultant, and how does the sustainability department work? What’s happening on (and to) Planet Earth? What is “sustainability”? Theoretical and legal bases. Applicability in the audiovisual industries. Introduction to existing initiatives and platforms. What does the sustainability department do? PART 2 | Departments I Departments and their impact: Production. Screenwriting. Directing. Catering. Scenography. Wardrobe. Make-up/Hair. What measures can we apply? PART 3 | Departments II Departments and their impact: Lighting. Sound. Post-production. Energy, Materials, Transport, Waste. How can we work in a more "green" and efficient way? PART 4 | The footprint of distribution and streaming. Introduction to carbon footprint calculations. Green storytelling. Recap. PROFILE OF PARTICIPANT Anybody working in the film industry is welcome. This workshop is addressing the industry as a whole and is committed to giving an understanding of the importance and scale of our impact and footprint. 16 hours Duration: 4 days Dates: 2nd to the 5th of June 2025 1PM - 5PM (London) 2AM - 6PM (Brussels) 4PM - 8PM (Dubai) 8AM - 12PM (New York) 8PM - 12AM (Beijing) 5:30PM - 9:30PM (New Delhi) 9AM - 1PM (Rio de Janeiro) 10PM - 2AM (Sydney) Location: Online Price: 599EUR (299EUR with 50% Discount Until 10th of February) 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. This workshop is made possible with the support of the Portuguese Film Institute – Instituto do Cinema e do Audiovisual (ICA). As part of this collaboration, a limited number of scholarships will be available for Portuguese filmmakers or those based in Portugal. Details on the application process will be announced soon. 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 Lisbon, Portugal Duration: 2 days 10:00 - 18:00 Dates: 7th - 8th of June 2025 Location: Lisbon, Portugal Price: 599EUR (429EUR Until 12th of February) 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