Principles of Script writing: Introduction to feature film writing: from developing ideas and storytelling concepts, premise, character, plot, conflict, theme, action and narrative, to pacing and the three act structure. Funding, contracts & the writer's relationship to the producer, director & script editor. Conducted by Mac Gudgeon (Award-winning Screenwriter/Script Editor Waterfront, Ground Zero, Halifax f.p., Good Guys, Bad Guys, Dogwoman:A Grrrl's Best Friend, Last Ride, Kiling Time). Wednesday 4th Jan
Visualising the Script: Participants will learn how to tell a story through the visual elements of shot construction, mise-en-scene (composition of shots including elements such as production design, moving camera, depth of field, lens choice, coverage, camera height & choreography). Conducted by David Parker (Cinematographer, Writer and Producer Malcolm, The Big Steal, Stark, Mr Reliable, Amy, The Miracle Worker, Child Star: The Shirley Temple Story, Samantha:The American Girl, Matching Jack). Thursday 5th Jan
Directing Actors: The director/actor relationship, casting, rehearsing, acting styles, blocking and performance. Exploring specific tools and techniques used by actors and directors and designed to gain experiential insight into the actor's and director's craft. Participants will act & direct short scenes and have a great time discovering how to bring a script to life. Conducted by David Swann (Actor, Director, Round the Twist, Crackers, Skithouse, The Sounds of Aus). Friday 6th Jan
Directing the Film- A Masterclass with Nadia Tass: An intensive workshop where Nadia Tass will explain the creative role of the director in all aspects of the production, including working with department heads, how the director has a vision, and maintains that vision, for the whole project. How a director interprets a script, how characters are developed, and how and why creative directing choices are made. Nadia will also demonstate how she manages casting, rehearsal techniques, screen performances and how she works with actors from diverse backgrounds to elicit memorable performances. Conducted by Nadia Tass (Director Malcolm, The Big Steal, Stark, Mr Reliable, Amy, The Miracle Worker, Child Star: The Shirley Temple Story, Samantha:The American Girl, Matching Jack. Saturday 7th Jan
Cinematography: Camera and Lighting Intensive - 5 Fabulous Days on location at Trinity College at the University of Melbourne.
Day 1. Theory: What does a Director of Photography do? We look at cinematography essentials such as designing a "look" for your films, coverage, composition, framing, continuity, crossing the line, choreography, scene coverage and explore creative choices of lighting, stocks, lenses and camera placement.
Day 2. Practical: Learn practical lighting set-ups on location. Learn how to load a film camera; how to shoot blue/green screen (using state-of-the-art Lemac 35mm film,16mm film and High Definition digital cameras) and learn how to achieve the best possible "look" for the least amount of money. Conducted by Ellery Ryan (DOP Angel Baby, Death in Brunswick, That Eye the Sky, Spotswood, The Brush Off, Van Dieman's Land, I Love You Too),David Parkinson (Gaffer The Extraordinary Tale of William Buckley, Blue Murder, On the Beach) and Con Filippidis (Camera Operator The 25th Reich)
Day 3. Realising the Script: Crewing roles and responsibilities, covering and blocking scenes and working with actors and the electrics team. Camera operation and movement; when and how to use Steadicam. Conducted by Ellery Ryan (DOP Angel Baby, Death in Brunswick, That Eye the Sky, Spotswood, The Brush Off, Van Dieman's Land, I Love You Too), David Parkinson (Gaffer The Extraordinary Tale of William Buckley, Blue Murder, On the Beach), Con Filippidis (Camera Operator The 25th Reich) and Louis Puli (Steadicam Operator Bed of Roses, On the Beach, The Interview, Irresistible).
Day 4. Perfecting the Shot: Camera operation and movement using tracks and dollies and working with a GRIP to get the best shot. We'll work through more complexities on set with a full camera, gripping and lighting crew, boom operator, clapper loader, director and actors. Conducted by Ellery Ryan (DOP Angel Baby, Death in Brunswick, That Eye the Sky, Spotswood, The Brush Off, Van Dieman's Land, I Love You Too), David and Chris Parkinson (Gaffers The Extraordinary Tale of William Buckley, Blue Murder, On the Beach), Dean Garro (Grip The Extra, Ghost Rider) and Con Filippidis (Camera Operator The 25th Reich)
Day 5. Digital Cinematography - The New Frontier: Wondering which HD platform you should be using for your next film? How is lighting different for HD? What's the best way to shoot for post and VFX? With so many different HD formats and post production pathways we'll guide you through the differences between most of the commonly available HD cameras and formats, both high and low end. We'll explore current and future filmmaking practice and look at the best ways to shoot HD to get the most from the format with discussion about recent work, screenings of excerpts and live demonstrations. Participants will leave with an understanding of current HD cameras and technology including the latest in RED and 3D digital cameras. Aimed at producers, directors, cinematographers and filmmakers who want to get up to date with the latest digital imaging techniques and approaches. Many of the latest HD cameras will be on display, including models suitable for independent and documentary filmmakers, subject to availability. Conducted by DOP Ellery Ryan and Tim Schumann, Digital Cinema and Post Production Manager at Lemac. Monday 9th Jan, Tuesday 10th Jan, Wednesday 11th Jan, Thursday 12th & Friday 13th Jan
Principles of Editing: Ways of telling the story, principles of montage, shot and narrative flow and tricks of the trade. Editing styles & techniques, juxtaposition of images, cutting to music, editing shorts, features and documentaries; working with directors and post production paths. Conducted by Rob Murphy (Editor Secret Fear, Bowling for Gold, The Real Thing) Monday 16th Jan
Production Design: Morning, 1st session: The art of visual design, illusion & creating special worlds. Set design & construction, locations, props, enhancing dramatic mood, achieving a cohesive look for your production. Art department roles on & off set. Conducted by Jo Ford (Production Designer My Brother Jack, Road From Coorain (AFI award), After the Deluge, Kidnapped, Stranded, The Glenmoor Job, The Society Murders, Tripping Over, Last Ride, Animal Kingdom). Tuesday 17th Jan
Visual Effects and Digital Augmentation:
Morning, second session and Afternoon sessions: How to use computer generated visual effects to enhance production design and the story; adding the improbable and the spectacular, evoking believable visual worlds with computer generated animation. How to approach VFX from preproduction to postproduction:what is required to 'sell' the shot. Principles of 2D and 3D animation. Compositing images together. Software and hardware tools. Recent technological advances and case studies. Scott Zero's Chroma is a Melbourne-based effects house that specialises in advanced augmentation, compositing and CG integration of live action footage, with over 15 years experience producing digital visual effects for the Australian film and television industry. Scott will discuss the changing role of VFX in everyday production, focusing on the use of digital augmentation to transform production design, storytelling and production value while reducing cost and complexity.
Whether you are looking at writing, producing, directing or production design, these powerful new tools will change the way your approach your next production. Conducted by Scott Zero (Visual Effects Designer, Supervisor, Rush, Cloudstreet, Offspring, Tangle, Phryne Fisher, John Doe, Underbelly, Conspiracy365). Tuesday 17th Jan
Sound Design: Morning: Explore the vital role sound plays in creating believable worlds on the screen through music, sound effects, foley, backgrounds and the production track; collaboration between the sound editor and the director, picture editor and mixer. Conducted by Craig Carter (Sound Designer, Editor, Mixer The Russia House, Romeo & Juliet, Head On, Rabbit Proof Fence (AFI award), Kenny, Rogue, Home Song Stories, Lake Mungo, Matching Jack). Wednesday 18th Jan
Music for Film (and Television):
Afternoon: Learn how music functions in film; the relation of sound to images. Composing film scores, setting the scene & finding the right mood. Underscoring & highlighting emotion to serve the story. Working with the director and sound designer. Conducted by Cezary Skubiszewski (Composer Lillian's Story, The Sound of One Hand Clapping,Strange Fits Of Passion,Two Hands -winner, APRA award, La Spagnola, Bootmen-winner AFI awards, Black & White, The Rage of Placid Lake, After the Deluge, The Book of Revelation, Death Defying Acts, Night, Blessed, Bran Nue Dae, Red Dog).Wednesday 18th Jan
Production Management: Not as boring as it sounds! Learn the skills to run a professional shoot, how to manage an entire crew, cast, locations and set. Find out who does what on a film shoot, learn how to work with your ally on set, the 1st AD, how to draw up contracts, organise and manage the whole shoot and how to facilitate creative teamwork. You'll also learn how to break down a script, devise a shooting schedule and budget a film in this hands-on, interesting day. Conducted by Caroline Waters (Freelance Director, Producer & Production Manager Indigo Scout Films) Thursday 19th Jan
Screen Producing, Film Business, Marketing & Distribution and New Media:
Morning: The role of the producer in feature films and documentaries. How to guide a good premise into a working screenplay. How to pitch your film. Getting a film up and running - budgeting, financing, crewing, casting. Creative vs financial considerations and business sustainability. Conducted by Sue Maslin (Independent Producer/Executive Producer Road To Nhill, Japanese Story, Irresistible, Hunt Angels, Celebrity:Dominick Dunne, Michael Kirby: Don't Forget the Justice Bit).
Afternoon: Cross Platform Screen Producing and New Methods of Distribution
Access to digital cameras, phones with video, computer editing and the internet mean that more and more people are making their own films and putting them online. But only a few are successful. Learn the role of the producer in digital media and cross platform projects, strategic marketing and distributing on-line. Learn how to self-distribute your work. Conducted by Sue Maslin, (Producer of interactive websites including Re-enchantment, Rekindling Venus, William Bligh) Friday 20th Jan
Afternoon, last session: Screen Studies Seminar: Using the case study of Sean Tan's Academy Award winning short film 'The Lost Thing', this seminar will trace the progress of this animation through local and international film industries. We will focus on the influence of classical narrative form, the evolution and transformation of storytelling in new media forms, and we will track the success of The Lost Thing through contemporary modes of distribution and exhibition beyond traditional screens, ending with a consideration of cross media merchandising. Conducted by Dr Wendy Haslem, Screen Studies, The University of Melbourne. Friday 20th Jan
Genre: Afternoon: Films are classified as romantic comedy, horror, sci-fi, film noir, fantasy, action and so on because of certain forms, styles or subject matter. Genre is one of the most important factors in determing which sort of films people will want to see. Many screenwriters and directors manipulate genre "rules" to make something fresh and new, but what, exactly, defines a genre? Staff from Screen Studies at the University of Melbourne will present an overview of genre elements for filmmakers. NA 2012
Writing Short Films 1: Short films, often referred to as the “apprenticeship” towards feature films, are in fact an art form in themselves and are becoming increasingly popuar for festivals and online. But they require clever, strong stories with well-structured scripts to capture an audience and tell a story in a limited amount of time. This course is designed to study the basic screenwriting skills applicable to writing a short film. Students will watch, analyse and discuss a selection of fabulous short films. Conducted by Chris Corbett (Scriptwriter The Secret Life of Us, Stingers, All Saints, Best Screenplay "Fences" Tropfest 2009). Monday 23rd Jan
Writing Short Films 2: Participants will take what was learnt in Writing Short Films 1 and take it further by participating in practical screenwriting exercises. Learn how to create memorable characters, identify what is driving those characters, find the heart of the story and maximise the dramatic elements to make the story compelling. Conducted by Chris Corbett (Scriptwriter The Secret Life of Us, Stingers, All Saints, Best Screenplay "Fences" Tropfest 2009). Tuesday 24th Jan
Writing for Television: Television is the medium with the broadest and most immediate reach into the hearts and minds of the nation and nowadays the small screen is where great screenwriting is flourishing and at its most innovative. This course will give you an insight into how television writing works from a writer and story editor’s point of view. You'll learn how a series is created and approved by a Network, how the series Bible is conceived, and subsequent episodes plotted, written and rewritten. Special attention will be given to story structure, character development and interweaving story strands; identifying genres, adding suspense, conflict and how to adhere to format, production, casting and budget demands. Conducted by Jutta Goetze Scriptwriter/Editor Janus, Phoenix II, Flying Doctors, Halifax f.p., Simone de Beauvoir's Babies, Always Greener, Good Guys, Bad Guys, Series Creator/Writer Bed of Roses. Wednesday 25th Jan
Making a Good Script Great: Using children's television (one of the most creative, well-funded and 'fun' genres) as a medium we will learn how to develop ideas, create great characters, devise interesting plots, create conflict and plot storylines. In the afternoon session you'll learn how to enliven a script to entertain audiences as well as grab the attention of TV networks and funding bodies. Learn how to write captivating synopses, outlines and treatments and how to pitch your ideas for a new show, film or an episode of your favourite show on TV. Conducted by AWGIE award winning writer, script editor, script producer Robert Greenberg (Kangaroo Creek Gang, Legacy Of The Silver Shadow, Li'l Elvis, Li'l Horrors, Pig's Breakfast, Round The Twist, Skytrackers, Lift Off, Worst Best Friends, Crash Zone, Dogstar, Rock It, G2G). Friday 27th Jan
Documentary Film making - Researching, Writing, Producing & Directing: Documentaries tell stories about the world around us but do they capture the truth or alter it according to who is telling the story? Learn how to research and develop ideas, storytelling techniques, how to structure your ideas and how to interview and work with non-actors. What impact does digital technology have on how documentaries are made and seen. Learn how to script, pitch and fund your documentary and get your work onto the screen and into festivals. Learn which networks buy what and find out the new trends in documentary filmmaking. (Documentary editing is covered in Principles of Editing in Script to Screen course but will be revised). Conducted by Sarah Barton, Writer/Director (Untold Desires, Secret Fear, Wing and A Prayer, More Than Horseplay) and Veronica Sive, Producer/Production Manager (Outback Opera, The Mirka Paradox, Make it Real). Saturday 28th Jan & Sunday 29th Jan
COURSE FEES:
20 days: $2695 Full / $2515 Concession (4 Jan to 29 Jan, 2012) includes All Script to Screen days, Cinematography Intensive, Nadia Tass's Director's Masterclass, and all Writing Days and Documentary Filmmaking .
14 days: $1940 Full / $1820 Concession (4 Jan to 20 Jan, 2012) includes All Script to Screen days,including Cinematography Intensive but not Writing Days or Documentary)
12 days: $1720 Full / $1610 Concession (4 Jan to 18 Jan, 2012) includes Script to Screen days from 4 to 18 Jan including the 5 day Cinematography Intensive and Directing Masterclass.
Most Daily Sessions: $125 Full / $115 Concession, except all Camera & Lighting Days and Nadia Tass Directing and Acting Masterclass $165 Full / $155 Concession
*You can choose the days you wish to enrol in (just add up the days separately).
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