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). Wednesday 5th 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 6th Jan
Directing and Acting Masterclass with Nadia Tass: An intensive workshop explaining the creative role of the director in all aspects of the production including text interpretation, casting, rehearsing, acting styles and performance. We'll look at specific tools and techniques used by directors, creative choices, rehearsal techniques and working 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). Friday 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 John Brawley (DOP Lake Mungo, Winner Best Cinematography Tropfest, AFI Nomination Best Cinematography, The Perfect Host, Lowdown, Offspring), Daryl Pearson (Gaffer Blonde, Irresistable, Noise), Jennifer Pearson (Best Boy and Boom Operator The Proposition, The Dish, Round The Twist) 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 John Brawley (DOP Lake Mungo, Winner Best Cinematography Tropfest, AFI Nomination Best Cinematography, The Perfect Host, Offspring), Daryl Pearson (Gaffer Blonde, Irresistable, Noise), Jennifer Pearson (Boom Operator The Proposition, The Dish, Round The Twist), Con Filippidis (Camera Operator The 25th Reich) and a Steadicam Operator.
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 John Brawley (DOP Lake Mungo, Winner Best Cinematography Tropfest, AFI Nomination Best Cinematography, The Perfect Host, Offspring), Daryl Pearson (Gaffer Blonde, Irresistable, Noise), Dean Garro (Grip The Extra, Ghost Rider), Jennifer Pearson (Boom Operator The Proposition, The Dish, Round The Twist) and Con Filippidis (Camera Operator The 25th Reich)
Day 4. 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 Course lecturers will include DOP's John Brawley and John Bowring. Monday 10th Jan, Tuesday 11th Jan, Wednesday 12th Jan, Thursday 13th & Friday 14th 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 17th Jan
Production Design: morning 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 18th Jan
Sound Design: afternoon session: 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). Tuesday 18th Jan
Digital/Visual Effects:
Morning: 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. Conducted by Scott Zero (Visual Effects Designer, Rush, Bed or Roses, Underbelly, Librarians, Offspring, Cloudstreet). Wednesday 19th Jan
Genre: 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 film people will want to see. Many screenwriters and directors manipulate genre "rules" to make something fresh and new, but what, exactly, defines a genre? Associate Professor Angela Ndalianis from Screen Studies at the University of Melbourne, will present an overview of genre elements for filmmakers in this special lunchtime lecture. Angela is Associate Professor in Screen Studies and Associate Dean of Information Technology and Multimedia in the Faculty of Arts. She specialises in Hollywood cinema, digital media and the convergence of popular forms such as films, computer games, comic books and theme park spaces. She both teaches and publishes in these areas. Her research also explores transdisciplinary and transhistorical approaches to entertainment forms and their history.Time and date to be announced.
Music for Film (and Television):
Afternoon: How music functions in film; relation of sound to images. Composing film scores, setting the scene & finding the right mood. Underscoring & highlighting emotion to serve the story. 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. 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).Wednesday 19th Jan
Production Management : Pulling together crew, cast, locations and sets. Crew roles, budgeting, scheduling, contracts, insurance, funding. Breaking down a script, devising a shooting schedule, working with the 1st AD, managing the whole shoot with creative teamwork. Conducted by Caroline Waters (Freelance Director, Producer & Production Manager indigo Scout Films) Thursday 20th Jan
Producing, Film Business, Marketing & Distribution:
Morning: The role of the producer in feature films & documentaries. How to guide a good premise into a working screenplay. Getting a film up and running - organising finances, budgeting, applying for funding. Creative vs financial considerations. How to pitch your film. Conducted by Sue Maslin (Independent Producer/Executive Producer The Road To Nhill, The High Court, A Mirror to the People: The Governor General, Japanese Story, Irrestistible, Hunt Angels,Celebrity:Dominick Dunne).
Afternoon: Setting up a film company; legal & financial structures & responsibilities; the new "Rebate". 10B, copyright and financing your films. Conducted by Bryce Menzies (Film Lawyer, Muriel's Wedding, Ned Kelly, Clubland, occasional Executive Producer Malcolm, Ten Canoes, Noise). Distribution, marketing, publicity, exhibition and overseas competition. What sells? Conducted by Alan Finney Vice President Buena Vista International). Friday 21st Jan
Film Criticism:The Critics and your Film:Dr Wendy Haslem from the Cinema Studies Department at Melbourne University will interview film buff/critic/festival director Paul Harris about the critic's role in the Australian film industry. Can a good or bad critique make or break a film at the box office? Do you take their views into account before you go to see a film? How do the critics influence the industry? Paul will give his opinions then Wendy will open the discussion to the audience. Friday 21st Jan
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? Includes researching stories, buying the rights; contracts and obligations to the authors and publishers. Conducted by Michael Brindley (Scriptwriter/Script Editor/Producer Shame, Police Rescue, One Way Ticket, Blue Heelers, Grassroots 1 & 2, MDA). Saturday 22 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 writing is flourishing and at its most inovative. Writing for television is very different to writing for film and this course will teach you how to write great characters, tell compelling stories using suspense and conflict, whie recognising and adhering to the demands of a specific show format, such as running characters, through- line continuity and interweaving A, B and C story lines. Conducted by Jutta Goetze (Scriptwriter/Editor Janus, Phoenix II, Flying Doctors, Halifax f.p., Simone de Beauvoir's Babies, Always Greener, Bed of Roses). Sunday 23 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).Monday 24th Jan & Tuesday 25th Jan
COURSE FEES:
17 days: $2335 Full / $2170 Concession (5 Jan to 25 Jan, 2011) includes All Script to Screen days, Cinematography Intensive, Documentary Filmmaking and Writing Days.
15 days: $2075 Full / $1930 Concession (5 Jan to 23 Jan, 2011) includes All Script to Screen days, Cinematography Intensive, Adaptation and Writing for Television.
11 days: $1585 Full / $1480 Concession (5 Jan to 19 Jan, 2011) Includes Script to Screen days fron 5 to 19 Jan which includes the 5 day Cinematography Intensive.
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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