From Script to Screen
January 4 to 12, 2018
(Excludes Low Budget Filmmaking)
Most Daily Sessions
(except all Camera & Lighting Days )
$185 Full Per Day
$175 Concession Per Day
Writing for the Screen: How Stories Work
Introduction to screenwriting and how stories work: from developing ideas and storytelling concepts, premise, character, plot, conflict, theme, action and narrative, to pacing and the three act structure. Even experienced writers are constantly surprised by how difficult this task can be. Stories don’t fall fully formed from the heavens, they have to be built. This course will give you a practical series of tools and help you learn the nuts and bolts of how stories work. The skills you learn here will apply to writing short films, features, television and web series. Even if you don’t see yourself as a screenwriter, this course will give you an insight into the process that will enhance your viewing. It would also be an excellent introduction to the process for producers, directors, cinematographers and other crew members who want a greater understanding of story. Conducted by Chris Corbett (Scriptwriter Stingers, All Saints, The Secret Life Of Us, Miss Fisher's Murder Mysteries, The Doctor Blake Mysteries, Newton's Law. Chris has also written a number of short films including Fences and The Applicant - both Tropfest finalists. He also wrote the web series Tinytown).
Thursday 3 January.
Bringing the Script to Life: Acting and Directing
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, The Sounds of Aus).
Friday 5 January.
Directing the Film - Masterclass with Nadia Tass, Day 1
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. Conducted by Nadia Tass (Director Malcolm, The Big Steal, Stark, Mr Reliable, Amy, Matching Jack, Fatal Honeymoon).
Saturday 6 January.
Directing the Film - 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 demonstrate how she manages casting, rehearsal techniques, screen performances and how she works with actors from diverse backgrounds to elicit memorable performances. Director Malcolm, The Big Steal, Stark, Mr Reliable, Amy, Matching Jack, Fatal Honeymoon).
Sunday 7 January.
Day 1.Cinematography Essentials and Interpreting the Script
What does a Director of Photography do? We look at cinematography essentials such as designing a "look" and ‘feel” for your story, composition, framing, continuity, crossing the line, blocking scenes, scene coverage, production design and we explore creative choices of lighting, lenses and camera placement. We will examine specific scenes in scripts and films to work out what makes a good shot and why. We’ll learn how to interpret the script in visual terms with storyboarding and how to tell stories with stills and we'll learn how cinematography conveys meaning and enhances story. Conducted by
Monday 8 January.
Day 2. Visual Storytelling
Learn how to tell stories with images. Starting with the photographic stills (that we've taken as homework), then moving on to cameras (supplied at the course), participants, in groups, will be set exercises to experiment with ideas and stories to get their creative juices flowing. We'll learn basic three point lighting and then experiment with lighting for genres such as horror. Participants will make a short film which will be shown and discussed in class on the last day. This exercise aims to enhance participants understanding of how images can put all kinds of stories together, and get people making their own films and collaborating with others. Each group will write, produce, act in, direct, shoot and edit a short film over the next two days. Films will be viewed and analysed on the last day of the cinematography course. Conducted by DoP Jaems Grant ACS and Cinematographer Con Filippidis.
Tuesday 9 January.
Day 3. Cameras and Lighting
Learn practical lighting set-ups in a controlled environment and on location. We'll be using state-of-the-art High Definition digital cameras and utilising a professional lighting crew over the next two days (and the grips on the Thursday). Learn how to achieve the best possible "look" with minimum set-ups and lighting changes. On these two practical days, students will take crewing roles and responsibilities and take turns operating state-of-the-art equipment under the guidance of a professional crew. We'll learn how to block scenes, how to work with actors and how to work with gaffers. We'll also see how steadicam works to enhance storytelling and add production values through camera movement. The whole class will collaborate to make a short film in class over these 2 days. Conducted by DoP Jaems Grant ACS, Cinematographer Con Filippidis, David and Chris Parkinson (Lighting Director/Gaffer The Extraordinary Tale of William Buckley, Blue Murder, On the Beach, Infini, The Recorder) and Harry Panagiotidis (Steadicam Operator I, Frankensein, Offspring).
Wednesday 10 January.
Day 4. Perfecting the Shot
Continuing on from the previous day we'll experiment with camera movement using Fischer dollies on wheels and tracks. We'll learn how the DoP works with the grips to get the best shots. We'll work through more complexities on set with grips, gaffers, sound recordist, boom operator, camera operator, 1st assistant camera (focus puller), 2nd assistant camera (clapper loader) and actors to emulate a professional set. The whole day will be spent shooting scenes in a realistic film set environment. Conducted by DoP Jaems Grant ACS, Cinematographer Con Filippidis, Gaffers David and Chris Parkinson and Dean Garro and Tony Hall (Grips The Extra, Ghost Rider).
Thursday 11 January.
Day 5. New Technologies and Post Production
We'll explore the latest filmmaking practices including post production paths and colour grading. We'll look at the best ways to shoot digital to get the most from the format. We'll look at ways to manage data on set through verification programs such as Shotput Pro, and last but not least, we'll view and analyse the films students have shot during the course and one lucky student will win a Blackmagic camera for best overall effort during the course. Conducted by DoP Jaems Grant ACS, Cinematographer Con Filippidis and Colour Grader Marcus Smith.
Friday 12 January.
Friday 12 January.
The Cinematography days use state-of-the-art professional equipment and are taught by a full camera, lighting and grip crew.
*Note: Low Budget/No Budget Filmmaking 2 day course (Jan 13/14, 2018) is a separate course following on from Script to Screen.
9.30 am to 5.30 pm all days.
Filmmaking Summer School Certificate
Certificates will be awarded to 9 days Script to Screen course. Extra courses will be added if you attend more than the 9 days course.
The 2018 Filmmaking Summer School will be held at International House, The University of Melbourne, 241 Royal Parade, Parkville VIC 3052.
Accommodation is available at the course.
A maps & details of International House and how to get there will be supplied with enrolment/welcome details.