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,The workshop designed for, Sound Mixers, Sound Editors, Music Editors, Book operators, ADR Editors, Directors, Film Students, or anyone interested in entering the Film Business on the area of Sound.

LOCATION OF THE WORKSHOP
The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. We will be hosting the workshops online in the near future, however we will maintain the standard of quality expected with the best experts available, and 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.



Duration: 4 days
Dates: 6th - 9th of June 2023
1PM - 5PM (London)
2PM - 6PM (Brussels)
8AM - 12PM (New York)
5:30PM - 9:30PM (New Delhi)
4PM - 8PM (Dubai)
8PM - 12AM (Beijing)
9PM - 1PM (Rio de Janeiro)
Location: Online
Price: 499EUR (299EUR Until 29th of May)
Maximum number of participants: 25
By registering to the workshop you agree with FFL terms and Conditions

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