From Script to Screen
January 3 to 10, 2020
(Excludes Low Budget Filmmaking)
Most Daily Sessions
(except all Camera & Lighting Days )
$200 - $225 Full Per Day
$195 - $225 Concession Per Day
Devising and Bringing a Script to Life - Writing, Directing and Acting
Participants, in pairs or groups, will learn
how to devise, then act in and direct, a short story - and have a great time
discovering how to bring their script to life. We’ll also look at the
director/actor relationship, casting, rehearsing, acting styles, blocking and
performance. We’ll explore specific tools and techniques used by actors and
directors and gain experiential insight into the actor's and director's craft. Conducted by David Swann (Writer, Actor, Film & TV Director Round the Twist, Crackers, The Sounds of Aus, You're Skitting Me).
Friday 3 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. Her 1986 debut feature Malcolm was a worldwide smash, winning 21 international awards and 8 AFI Awards. Conducted by Nadia Tass (Director Malcolm, The Big Steal, Stark, Mr Reliable, Amy, Matching Jack, Fatal Honeymoon).
Saturday 4 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 5 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 6 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 7 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), Harry has over 40 Australian and US feature films credits as Steadicam operator and camera operator. Recent films include The Cup, Burning Man, Don’t Be Afraid of the Dark, The Knowing, Ghost Rider, Irresistible, Holy Smoke, The Lion Witch and the Wardrobe, and The Book of Revelations. In addition to feature films, Harry works on many of Australia’s most popular TV drama series and on a wide range of television commercials.
Wednesday 8 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, True Stories, Please Like Me).
Thursday 9 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, The Secret River, Barracuda, Nowhere Boys, The Wrong Girl).
Friday 10 January.
Friday 10 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 11/12, 2020) is a separate course following straight on from Script to Screen.
9.30 am to 5.30 pm all days.
Filmmaking Summer School Certificate
Certificates will be awarded to 8 days Script to Screen course. Extra courses will be added if you attend more than the 8 days course.
The 2020 Filmmaking Summer School will be held at International House, The University of Melbourne, 241 Royal Parade, Parkville VIC 3052241 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.