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Summer School in Film making  

From Script to Screen

Documentary Film Making (2 Days)

Make a Film

Make a Mini Doco

Writing for Film & TV

Cinematography Intensive

Low Budget Filmmaking

Session Times

Filmmaking Summer School Certificates

Venues

Maps

Concessions



 From Script to Screen - Jan 5 to Feb 9, 2014


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, The Delinqents, Last Ride, Kiling Time, Fatal Honeymoon, The Delinquents). Sunday 5 Jan

Visualising (and Producing) 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, Fatal Honeymoon). Monday 6 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). Tuesday 7 Jan

Directing the Film- 1 Masterclass with Nadia Tass, Day 1: An intensive workshop and inroduction to filmmaking 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. 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, Fatal Honeymoon). Wednesday 8 Jan

Directing the Film- 2 Masterclass with Nadia Tass, Day 2: How a director interprets and breaks down 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, Samantha:The American Girl, Matching Jack, Death in Paradise).Thursday 9 Jan

Cinematography: Camera and Lighting Intensive - 5 Fabulous Days
on location at Trinity College at the University of Melbourne. Sunday 12 Jan to Thursday 16 Jan

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. What makes a good shot and why? Interpreting the script in visual terms and how cinematography can convey meaning. 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). Sunday 12 Jan

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.)
Monday 13 Jan

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. How to get through the shooting day and a few tricks to keep you (mostly) sane. 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).Tuesday 14 Jan

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 (Lighting Designers/Gaffers Muriel's Wedding, The Extraordinary Tale of William Buckley, Blue Murder, On the Beach, Survivor), Dean Garro (Grip The Extra, Ghost Rider) and Con Filippidis (Camera Operator The 25th Reich). Wednesday 15 Jan

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, ARRI, Sony 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. This day will also include a tour of Lemac and there is a tour of Docklands Studios scheduled for Friday 17 Jan. Conducted by DOP Ellery Ryan and Tim Schumann, Digital Cinema and Post Production Manager at Lemac. Thursday 16 Jan

The Art 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). Saturday 18 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). Sunday 19 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, The Sapphires). Sunday 19 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, The Time of our Lives and the forthcoming The Rover, Cut Snake, Gallipoli). Monday 20 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, Miss Fisher's Murder Mysteries, John Doe, Underbelly, Conspiracy365, Howzat, Mystery of a Hansom Cab. The Dr. Blake mysteries, Dangerous Remedy, Underbelly:Badness, The Great Mint Swindlet, Better Man).
Monday 20 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). We will also cover Producing and Production Management on day 2 of the Documentary course. Conducted by Sarah Barton, Writer/Director (Untold Desires, Secret Fear, Wing and A Prayer, More Than Horseplay) and Veronica Sive, Producer/Production Manager (The Tipping Points, Unleash the Best, Outback Opera, Make it Real). Tuesday 21 Jan & Wednesday 22 Jan

Screen Studies Seminar: A special lunchtime presentation by Screen Studies’ Associate Professor Angela Ndalianis on 'transmedia storytelling'. Tuesday 21 Jan

Writing Short Films 1: Writing Short Films 1: Short films, often referred to as the “apprenticeship” towards feature films, are in fact an art form in themselves - one which is becoming increasingly popular at film festivals and online. But they require strong, 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 Miss Fisher's Murder Mysteries, The Secret Life of Us, The Doctor Blake Mysteries, Stingers, All Saints. Chris has written a number of short films including Fences and The Applicant - both of which were Tropfest finalists. He also wrote the web series Tinytown). Saturday 1 Feb

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 Miss Fisher's Murder Mysteries, The Secret Life of Us, The Doctor Blake Mysteries, Stingers, All Saints. Chris has written a number of short films including Fences and The Applicant - both of which were Tropfest finalists. He also wrote the web series Tinytown). Sunday 2 Feb

Adaptation for the Screen: Adapting novels, plays and fact for the screen. Film is a visual medium which cannot replicate the written word, but many film-makers successfully adapt fiction, stage plays and "true stories" for the screen. Which stories work for film and television? How do you choose what to include and what to leave out? How do you combine the art of story-telling with the art of moving pictures? We will analyse examples from screenplays adapted from other works. We will also work together over the day on a number of practical exercises that will demonstrate the process of adaptation for the screen. Conducted by Chris Corbett (Scriptwriter The Secret Life of Us, The Doctor Blake Mysteries, Stingers, Miss Fisher's Murder Mysteries.) Saturday 8 Feb

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). Sunday 9 Feb

COURSE FEES:
19 days: $2725 Full / $2615 Concession (5 Jan to 9 Feb, 2014) includes All Script to Screen days, Cinematography Intensive, Nadia Tass's Director's Masterclasses, and all Writing Days and Documentary Filmmaking .
13 days: $1940 Full / $1885 Concession (5 Jan to 20 Jan, 2014) includes All Script to Screen days,including Nadia Tass's Director's Masterclasess and Cinematography Intensive but not Writing Days or Documentary)

Most Daily Sessions: $135 Full / $125 Concession, except all Camera & Lighting Days (All $165) and Nadia Tass Masterclass Days $165 Full / $155 Concession

*You can choose the days you wish to enrol in (just add up the days separately). Back


 Documentary Film Making (2 Days) Jan 21 & 22, 2014


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). We will also cover Producing and Production Management on day 2 of the Documentary course. Conducted by Sarah Barton, Writer/Director (Untold Desires, Secret Fear, Wing and A Prayer, More Than Horseplay) and Veronica Sive, Producer/Production Manager (The Tipping Points, Unleash the Best, Outback Opera, Make it Real).Tuesday 21 Jan & Wednesday 22 Jan



COURSE FEES:
2 days $285 Full / $265 Concession
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 Make a Film - Not Available in 2014


Make A Film on mini DV: Over 4 consecutive weekends and 6 evenings- participants, in small groups, will write, direct, shoot and edit a short film using mini DV. Productions can be shot on or off campus. Experienced tutors will oversee scripting, shooting and editing in this totally "hands-on" course. Includes tuition in mini DV cameras, location sound recording and Final Cut Pro editing. (Participants will make a copy of their work on DVD).

Sat / Sun 9 & 10 Jan: - Saturday:Welcome get together and introduction to the art of the short film. Brainstorm story ideas and group exercises in story-telling using the latest mini DV cameras.
Sunday: Script workshop with Jutta Goetze script consultant/editor.

Sat / Sun 16 & 17 Jan: Pre-Production: Sat: Finalise scripts and script edit. Location reccies, casting & rehearsing actors. Sunday: Story-boarding, scheduling and shot listing with tutors. Sort out equipment extras for the shoot. Camera and Lighting kits will be provided but groups can order and pay for extra equipment or vary the types of lights they need according to their scripts, within the production budget.

Friday 22 Jan: 6 to 9pm - Equipment collection and demonstation at Lemac - how to use the latest mini DV cameras for optimal outcome. How to record sound on location, safety issues, and lighting techniques.

Sat / Sun /Mon 23, 24, 25 & 26 Jan: - Production. Shoot your film over 3 days. Camera, sound & lighting kits will be available for "pick-ups" for the rest of the week.
Wednesday 27 Jan: 6 to 9pm- Final Cut Pro tutorial 1. Each group will have their own editing system.
Thhursday 28 Jan: 6 to 9pm - Final Cut Pro tutorial 2. Digitising, managing bins, rendering.
Friday 29 Jan: 6 to 9pm - Final Cut Pro tutorial 3.
Colour grading, fine cut, titling, how to edit sound..

Sat / Sun 30 & 31 Jan: - Post Production. Picture and sound edit with Final Cut Pro.

Monday / Tuesday 1 & 2 Feb: 6 to 9pm: Transfer and burn to DVD.

Conducted by John Brawley (Award winning Cinematographer/Editor), Con Filippidis (Freelance Cinematographer), Kathy Mueller (Scriptwriter/Screenwriting teacher) and Rob Murphy (Editor).

Public screening of films and wrap party TBA.

*Prerequisites: The Introductory 10 day course from Script to Screen or equivalent experience.
**Classes are scheduled at weekends and nights except to accommodate people who can't take time off work or study.

COURSE FEES:
$N/AFull/ $N/A Concession



 Make a Mini Doco - Not Available in 2014


Make A Mini Doc:  Make a short, professional documentary using the mini DV format: An intensive hands-on course for people eager to pursue documentary filmmaking. Includes help with researching, writing, pitching, directing, shooting, editing and marketing, plus tuition in the operation of mini DV cameras, location lighting and sound recording and Final Cut Pro editing software. Groups of 3 students will shoot their own "mini" doc. Aimed at students wanting to thoroughly understand by "doing" all the practical aspects of documentary filmmaking at a high professional level. Each student will receive a copy of their documentary on DVD to enter into festivals or as a calling card to a further career in documentary filmmaking. Conducted by Producer/Director Caroline Waters, Editor Matthew Rooke, Cinematographer John Brawley & Camera Assistant Con Filipidis.

Sat / Sun 12 & 13 Jan: Saturday: Introduction to the art of telling short stories. Brainstorm story ideas and group exercises in story-telling using a mini DV camera with "Make a Film" participants. Sunday: Documentary students will separate for documentary script workshop and storytelling techniques specific to documentary. During the next week you will organise your subjects, locations and work on your ideas and script.

Sat / Sun 19 & 20 Jan : Saturday: Script development and revision. Sunday: Scheduling and shot listing. Interview techniques.

Friday 25 Jan: 6 to 9pm - Equipment collection and demonstration at Lemac- how to use the latest mini DV cameras for optimal outcome. How to record sound on location, safety issues and lighting techniques.

Sat / Sun/ Mon  Jan 26, 27 & 28 Jan:   Production. Shoot your doco over 3 days. Camera, sound & lighting kits will be available for "pick-ups" for the rest of the week.

Tuesday 29 Jan: 6 to 9pm - Final Cut Pro tutorial 1. Each group will have their own editing system.

Wednesday 30 Jan: 6 to 9pm - Final Cut Pro tutorial 2. Digitising, managing bins, rendering.

Thursday 31 Jan: 6 to 9pm - Final Cut Pro tutorial 3. Colour grading, fine cut.

Friday 1st Feb - Final Cut Pro tutorial 4. Fine cut, titling, how to edit sound.

Sat / Sun 2 & 3 Feb: - Post Production. Picture and sound edit with Final Cut Pro.

Monday /Tues 4 & 5 Feb: 6 to 9pm: Transfer and burn to DVD.

Public screening of films and wrap party TBA.

*Prerequisites: Participants will need to be familiar with using a Mac (take a basics class before you commence the course if necessary) and it is recommended that you do Theory and Practice of Cinematography days, at Script to Screen, and Principles of Editing. Sound Design would also be extremely useful.

**Classes are scheduled at weekends and nights to accommodate people who can't take time off work or study.

Course Fees: $N/A

Make A Film and Mini Doco is proudly sponsored by Lemac and Fuji Film.
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 Writing for Film & Television -Sat and Sunday 1/2 and 8/9 Feb 2014


Writing Short Films 1: Writing Short Films 1: Short films, often referred to as the “apprenticeship” towards feature films, are in fact an art form in themselves - one which is becoming increasingly popular at film festivals and online. But they require strong, 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 Miss Fisher's Murder Mysteries, The Secret Life of Us, The Doctor Blake Mysteries, Stingers, All Saints. Chris has written a number of short films including Fences and The Applicant - both of which were Tropfest finalists. He also wrote the web series Tinytown). Saturday 1 Feb

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 Miss Fisher's Murder Mysteries, The Secret Life of Us, The Doctor Blake Mysteries, Stingers, All Saints. Chris has written a number of short films including Fences and The Applicant - both of which were Tropfest finalists. He also wrote the web series Tinytown). Sunday 2 Feb

Adaptation for the Screen: Adapting novels, plays and fact for the screen. Film is a visual medium which cannot replicate the written word, but many film-makers successfully adapt fiction, stage plays and "true stories" for the screen. Which stories work for film and television? How do you choose what to include and what to leave out? How do you combine the art of story-telling with the art of moving pictures? We will analyse examples from screenplays adapted from other works. We will also work together over the day on a number of practical exercises that will demonstrate the process of adaptation for the screen. Conducted by Chris Corbett (Scriptwriter The Secret Life of Us, The Doctor Blake Mysteries, Stingers, Miss Fisher's Murder Mysteries). Saturday 8 Feb

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). Sunday 9 Feb


COURSE FEES:
Writer's Block Discount for 4 days: $475 Full / $455 Concession. per day : $135 Full / $125 Concession

You might also like to come to Principles of Scriptwriting on Jan 5 and Visualising the Script on Jan 6 for a great, broad introduction to writing and visualising for the screen. You can stay on campus at Trinity College if you want to have relaxing, inspirational writing week. Back




 Cinematography Intensive: Sunday 12 to Thursday 16 Jan 2014

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. What makes a good shot and why? Interpreting the script in visual terms and how cinematography can convey meaning. 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). Sunday 12 Jan

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.)
Monday 13 Jan

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. How to get through the shooting day and a few tricks to keep you (mostly) sane. 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).Tuesday 14 Jan

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 (Lighting Designers/Gaffers Muriel's Wedding, The Extraordinary Tale of William Buckley, Blue Murder, On the Beach, Survivor), Dean Garro (Grip The Extra, Ghost Rider) and Con Filippidis (Camera Operator The 25th Reich). Wednesday 15 Jan

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, ARRI, Sony 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. This day will also include a tour of Lemac and there is a tour of Docklands Studios scheduled for Friday 17 Jan. Conducted by DOP Ellery Ryan and Tim Schumann, Digital Cinema and Post Production Manager at Lemac. Thursday 16 Jan



COURSE FEES:
$165 day, $825 for all five days

The Cinematography days use state-of-the-art professional equipment and are taught by a full camera, lighting, grip and steadicam crew on location at Trinity College, the University of Melbourne.
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 Low Budget - High Production Value Filmmaking Workshop- Saturday 8 February & Sunday 9 Feb 2014 (15/16 Feb course fully booked)


Saturday Feb 8 to Sunday Feb 9: You’ve written your great film script, you have an idea for a doco and want to get started on it, your friends need a music clip, you want to make an award-winning short for a film festival such as Tropfest, or someone needs a corporate video for their business website? This weekend is for low budget filmmakers, media teachers and students wanting to improve production values in their films and is aimed at “one man band” or small crews with little or no budget. You’ll learn how to move your camera using a wally dolly, steadicams such as the Merlin and the new Boombandit (which will be available to buy at the course for $295). Learn how to light expertly using a basic LED kit, improve sound by using an external audio recorder like the Zoom H4n. Using iPhones, GoPro’s and DSLR’s this hands-on, practical course will also introduce you to inexpensive, professional Final Cut Pro X editing.

There will be a Canon 5D Mark III available to shoot with at the course, but participants are encouraged to bring and use their own iPhones, Android (phone) cameras or DSLR’s (and tripod if you have one) to experiment with the equipment demonstrated at the course. Participants can then take footage shot to edit in their own time.

You will also get the latest information on high quality, low budget cameras, LED lights and small Steadicams. Most of the (budget) equipment we use will be available for hire or sale through Lemac if people want to “kit up” or improve their existing filmmaking tools. By the end of the weekend participants should be able to go out and shoot their own stories and make much better films with higher production values. Conducted by Con Filippidis Cinematographer (25th Reich, Hostage to Fate, Desire) and Marcus McLeod (GRIP and Boombandit Inventor).

Participants are advised to book early to secure a place in this new and innovative course and accommodation is available on campus.



*This is a new course designed for low budget/no budget filmmakers wanting to make professional looking films.

COURSE FEE:
$345 Full, $325 Concession.
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 Session Times


Script to Screen & 2 day Documentary: 9.30am to 5.30pm unless stated otherwise.

Writing for Film & Television: 9.30am to 5.30pm

Cinematography Intensive: 9.30am to 5.30pm

Low Budget Filmmaking: 9.30am to 5.30pm.
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 Filmmaking Summer School Certificates

Certificates will be awarded to 10 or more days of Script to Screen course. Back



 Venues

The 2014 Filmmaking Summer School will be held at Trinity College, The University of Melbourne, Royal Parade, Parkville, Victoria
Detailed venues at Trinity College will be supplied with enrolment.
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 Maps

Maps & details of the venue will be supplied with enrolment.

Click here to download detailed maps and location of Trinity College ( PDF )
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 Concessions

*Concessions are only available to Australian residents.
*Overseas participants, please add $35 (Aust) to total for international transfer of monies. All prices quoted are in Australian Dollars and include GST.
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The Filmmaking Summer School is held at Trinity College, The University of Melbourne,
and is part of the Public Engagement Program, Screen Studies, The University of Melbourne, Australia

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