Fall 2016 Workshops and Courses Comprehensive Production Training for Film, Video and Interactive Art

Transcription

1 Fall 2016 Workshops and Courses Comprehensive Production Training for Film, Video and Interactive Art

2 2 lift Workshop Registration and Policies Fall 2016 lift Workshops Address: 1137 Dupont Street Toronto, Ontario M6H 2A3 Canada Telephone: Hours: Monday Friday, 10am 6pm Website: Registration Registration is on a first come, first served basis starting at 10am, Tuesday September 20, Register in person at LIFT with cash, Interac, Visa, MasterCard or American Express or by telephone with a credit card ( ext 221). Cheques are not accepted. In person registration takes priority over phone registration during busy periods. LIFT Workshops have limited enrolment. Registration is confirmed only when payment has been received in full. All workshops take place at LIFT unless otherwise noted (Gladstone entrance after 6pm). Workshop Guidelines Workshops are subject to schedule, instructor content changes and may be cancelled at the discretion of LIFT. All registered participants will be notified of any cancellation or schedule changes. LIFT will refund full registration fees to those participants unable to make rescheduled dates or cancellations. A workshop will run once we have 50% enrolment in the class; please register early to avoid disappointment. LIFT workshops are best suited to individuals 18 years old and over. Only the person whose name appears on the enrolment is registered for the workshop. No other person can attend in their place. There are absolutely no make-ups or transfers allowed for any missed session. For full day workshops, we recommend that you bring lunch or snacks. Please note, all workshops that take place in our digital classroom are on the Mac platform. Video and/or audio recording of LIFT workshops is prohibited. Contact If you have any questions, please contact LIFT at ext. 221, Monday to Friday, 10am 6pm, or registration@ lift.on.ca. The workshop schedule is available on our website LIFT is wheelchair accessible an Ontario government agency un organisme du gouvernement de l Ontario Please note LIFT is a fragrance-free work place. To support access we ask all workshop participants refrain from using any perfumes or colognes prior to visiting LIFT. Participant Cancellation Policy All cancellations must be received and confirmed by telephone with a LIFT staff member during office hours. Cancellations received via , voic or otherwise will not be recognized. Participants must cancel up to five (5) full business days, excluding weekends and holidays, prior to the date of the workshop to receive a 80% refund per cancelled workshop. No compensation is available for cancellations less than five (5) full business days prior to your workshop start time or for non-attendance. Any refunds will be issued by cheque regardless of the original method of payment. The Liaison of Independent Filmmakers of Toronto is supported by its membership, the Canada Council for the Arts, the Ontario Arts Council, the Ontario Trillium Foundation, the Ontario Arts Foundation and the City of Toronto through the Toronto Arts Council. Additional support for the Fall 2016 Workshop series is provided by Niagara Custom Lab and ORWO North America. Last updated: August 18, 2016 Cover photo by Terra Long

3 Fall 2016 lift Workshops Table of Contents 3 LIFT's DaVinci Resolve Colour Grading Suite Free Programs 4 LIFT Fall 2016 Guided Tours 4 Panel Discussion: Media Arts and Community Engagement Outreach and Filmmaking Intensive 5 Community and Youth Projects 5 Super 8mm Filmmaking Intensive Introduction to Filmmaking 6 Introduction to Independent Filmmaking Writing and Directing 6 Story Development 7 Short Film Writing 7 Worldbuilding for Storytellers 8 Story Editing Essentials 8 Directing Dramatic Film 9 Documentary Research - Registration for this class starts Wednesday August 31 at 10am 9 Documentary Film Writing 10 Directing Documentary Film 10 The Art of the Interview 11 Directing Music Videos 11 Multi-Platform Storytelling Producing 12 The Business of Producing Screen Content 12 Business Model Canvas 13 Producing Documentary Film 13 Producing Dramatic Film 14 Grant Review for Arts Councils 14 Distribution Strategies for Short Films 15 Income Tax for Artists Production 15 Production Management 16 Script Coordinating 16 Lighting Fundamentals 17 Cinematography Fundamentals 17 Creative Lighting Sound 23 Introduction to Location Sound Recording 23 Introduction to Post-Production Sound for Filmmakers and Producers 24 Sound Design 24 Voice-Over Techniques Post-Production 25 Editing Aesthetics 25 Documentary Editing 26 Colour Theory 26 Digital Imaging (DIT) 27 Introduction to Digital Colour Grading with DaVinci Resolve 27 Intermediate Digital Colour Grading with DaVinci Resolve 28 Digital Workflows HD and RAW Creative Practises 28 Hand Processing Black and White Film 29 Hand Processing Colour Film 29 Colour Tinting and Toning Black and White Film 30 Pop Up Cinema 30 Video Projection Mapping 31 Time-Lapse Techniques Digital Tools and Animation 31 Introduction to Final Cut Pro X 32 Introduction to Premiere Pro 32 Intermediate Premiere Pro 33 Introduction to After Effects 33 Intermediate After Effects Electronics and Interactivity 34 Analogue Projector Hacking 34 Introduction to Interactive Film and Video LIFT Resources 35 Equipment and Facilities Rental, Custom Workshops and Store 18/19 Workshop Calendar Cameras 20 Camera Theory 20 Camera Assisting 21 Bolex 16mm Cameras 21 DSLR Cameras for Video 22 Blackmagic Cinema Camera 22 RED Epic Camera

4 4 Free Programs Fall 2016 lift Workshops LIFT FALL 2016 GUIDED TOURS Tuesday September 27, 6pm 7:30pm Free PANEL DISCUSSION: MEDIA ARTS AND COMMUNITY ENGAGEMENT Thursday September 29, 6pm 7:30pm Free Seating is limited Founded in 1981, The Liaison of Independent Filmmakers of Toronto (LIFT) is an artist-run cultural and educational media arts organization dedicated to celebrating excellence in the moving image. The LIFT facility offers resources for film training and independent production unparalleled anywhere else in the world. Thirty-five years on, LIFT has seen thousands of films and videos emerge from the centre. Come learn how to become a member, register for workshops and enquire about renting equipment. Information will be available about our upcoming Fall 2016 workshops, equipment and facility. There will be guided tours, approximately 45 minutes in length, led by a LIFT staff at the times listed below. The office is located at 1137 Dupont Street (east of Dufferin Street, at the corner of Gladstone Avenue). All are welcome to attend. Guided Tours: 6:00pm 6:45pm LIFT is presenting a panel centered on Media Arts and Community Engagement. The selected panelists are multidisciplinary artists, art educators, granting programmers, and community activists whose work responds to social, political, historical, LGBTQ and racial injustice. The speakers will delve into their work with successful community arts programs, the critical role it plays and how to secure funding for community oriented project development and implementation. Moderator: Nasreen Khan Scheduled Panelists: Ella Cooper Paul Nguyen Blacus Ninjah Jorge Lozano Please consult lift.ca/workshops for updates on speakers.

5 Fall 2016 lift Workshops Outreach / Filmmaking Intensive 5 COMMUNITY AND YOUTH PROJECTS SUPER 8mm FILMMAKING INTENSIVE LIFT accepts proposals throughout the year Saturday November 5, 12pm 4pm Saturday November 19, 12pm 4pm Members $150 Non-members $175 Enrolment is limited to 8 LIFT provides a space for communities to produce representations on their own terms. LIFT collaborates by extending their professional equipment, facilities and member resources to assist other non-profits in training their constituents to make media and produce the media content they need within limited budgets. LIFT accepts project and partnership inquiries from non-profit organizations and collectives on an ongoing basis. One-off projects are welcome as schedules and budgets permit, however LIFT is primarily interested in cultivating long-term partnerships with other organizations and collectives. These engagements can include capacity building consulting for emerging groups and project management along with LIFT equipment, facilities, instructors and mentors. LIFT welcomes requests from all organizations sharing its values of social justice and freedom of expression, however only a small portion of projects can be accepted in any year. Please allow 4 to 8 weeks for an evaluation of your proposal. For more information about collaborating with LIFT or to arrange private and group workshops, please contact our outreach department at outreach@lift.on.ca For a list of past collaborations, please visit Donate to LIFT Community and Youth Initiatives at: lift.ca/about/donate-support-contemporary-film Learn all aspects of operating a Super 8mm camera, with emphasis on getting the best exposure and taking advantage of the unique features of the Super 8mm format. Learn basic elements of camera theory and the fundamentals of shooting, directing and editing your own film project. Super 8mm Filmmaking Intensive includes: Super 8mm Camera Workshop Super 8mm Editing Workshop Camera: Super 8mm camera (one weekend rental or one weekday rental) Film: Tri-X (black and white) or Wittner Chrome (colour) Super 8mm film (one cartridge) Processing: Niagara Custom Lab (one cartridge) Editing: Four hours of editing time (see details below) Transfer of final edit to a digital file at LIFT (participants must provide storage media) LIFT s Camera Theory workshop is a prerequisite for the Super 8mm Filmmaking Intensive. All equipment and facility credits must be used by Friday December 16, Facility time must be used during LIFT office hours (Monday Friday, 10am 6pm). John Porter has been a filmmaker, performer, photographer and writer in Toronto since He has made three hundred films, mostly Super 8mm, and performed one hundred solo shows internationally. He studied Film Production at Ryerson University and has received five Creation Grants from the Canada Council for the Arts. He taught his first Super 8mm and 16mm Film Workshop credit courses in the Summer of 2005 and 2008, at Trent University, Peterborough, Ontario. His community activism includes photographing and writing about local underground film activity, and advocating for Super 8mm film and $50 film budgets.

6 6 Introduction to Filmmaking / Writing and Directing Fall 2016 lift Workshops INTRODUCTION TO INDEPENDENT FILMMAKING Saturday October 1, 11am 5pm Members $75 Non-members $100 STORY DEVELOPMENT Wednesday November 23, 6pm 10pm Wednesday November 30, 6pm 10pm Members $100 Non-members $125 This lecture-based course gives participants an overview of all the stages involved in independent filmmaking and is a must for beginning directors and producers. Learn about the writing process, planning your workflow, prepping for your shoot, crewing up, the fundamentals of production, the importance of cinematography and quality sound recording, getting all your shots, how to approach editing and the many options for finishing and exhibiting your film. This workshop is a general overview for new filmmakers and a great starting point for your filmmaking education. This is a foundational course and is necessary as a prerequisite for many of our workshops. Cliff Caines is a Canadian filmmaker and artist. Raised in Northern Ontario, he is currently based in Toronto. A blend of documentary and experimental, his work explores ideas of human agency, technology, labour, and rurality. His films have screened internationally at festivals including the Toronto International Film Festival, CPH:DOX, the Kerry Film Festival, the Aesthetica Short Film Festival, and the American Documentary Film Festival. He is a graduate of OCAD University s Integrated Media program, Concordia University s MFA Studio Arts: Film Production program, and is an alumnus of the TIFF 2012 Talent Lab and RIDM s 2015 DCM Talent Lab. Caines recently completed his first feature-length documentary A Rock and a Hard Place, which received a Honourable Mention for the Colin Low Award for Canadian Documentary at the 2015 DOXA Documentary Film Festival. Caines currently teaches at OCAD University and Humber College. Do you have a screen story but don t know whether to write it as a short, a web series or a feature film? Do you know which format you re writing for but wonder if you have too much (or too little) story? This class will focus on four key formats for emerging screenwriters and filmmakers: short films; web series, television and feature films. The class will identify storytelling principles common to all formats while also exploring the crucial ways in which they diverge. While the short film is often about the large impact of small moments, the successful series relies on a powerful story engine that can continually generate new objectives and obstacles, episode after episode. Feature films, in contrast, specialize in character transformation and story resolution. Through in-class screenings, lectures and discussion, participants will develop their understanding of these four fields and will learn how to tailor their stories to the formats in which they are planning to work. This course is recommended as a companion to the Short Film Writing and Worldbuilding for Storytellers workshops. Originally from the UK, Stephen Davis is a graduate of the MFA Screenwriting program at the American Film Institute (AFI) in Los Angeles. He has worked as a script reader for companies in Los Angeles, Toronto and the UK. In 2014, he was selected for Script Room 4, a BBC program for developing new talent. His most recent feature film screenplay has received development funding from the British Film Institute (BFI) and Film Wales. Passionate about screenwriting education, Stephen also spent a year in the School of Theatre, Film and Television at the University of California, Los Angeles (UCLA) and tutored a number of film courses and workshops at York University in Toronto while earning a second Master s degree in Screenwriting.

7 Fall 2016 lift Workshops Writing and Directing 7 SHORT FILM WRITING WORLDBUILDING FOR STORYTELLERS Wednesday October 5, 6pm 10pm Wednesday October 12, 6pm 10pm Members $100 Non-members $125 Sunday November 27, 12pm 4pm Sunday December 4, 12pm 4pm Members $100 Non-Members $125 Whether intended as a stand alone piece of art or a calling card to showcase new storytelling talent, the short film is a fascinatingly flexible format. Through screenings, lectures and group discussions, this workshop will identify the key characteristics of a successful narrative short film. Participants will learn screenwriting techniques that chart a path from initial concept to production-ready screenplay and will have the opportunity to workshop their ideas and writing in-class. Topics covered such as screenplay format and story structure are equally relevant to writers interested in long-form narratives such as feature films and television. Participants must submit a brief description (two paragraphs maximum) of their short story by Wednesday September 28, Please submit to workshops@lift.on.ca with LIFT Fall 2016: Short Film Writing in the subject line. This course is recommended as a companion to the Story Development and Worldbuilding for Storytellers workshops. Originally from the UK, Stephen Davis is a graduate of the MFA Screenwriting program at the American Film Institute (AFI) in Los Angeles. He has worked as a script reader for companies in Los Angeles, Toronto and the UK. In 2014, he was selected for Script Room 4, a BBC program for developing new talent. His most recent feature film screenplay has received development funding from the British Film Institute (BFI) and Film Wales. Passionate about screenwriting education, Stephen also spent a year in the School of Theatre, Film and Television at the University of California, Los Angeles (UCLA) and tutored a number of film courses and workshops at York University in Toronto while earning a second Master s degree in Screenwriting. Although creating a world for our characters to live in has always been the craft of the writer, film franchises, web and TV series, as well as transmedia and interactive narratives are changing the game in terms of storytelling and scriptwriting. It is becoming less about creating a central storyline and more about worldbuilding. Umberto Eco asserts that cult artifacts like Casablanca are so because they provide the consumers resources to dig, connect, and construct their own fantasies. That is the art of a worldbuilder, to produce compelling environments in which multiple interrelated stories and alternatives can live. In this crash course learn the basic theory of worldbuilding, see examples and put it in practice through brief exercises. Whether you are working in traditional film and novels, transmedia or interactive stories this is a must-know skill for all storytellers. This course is recommended as a companion to the Short Film Writing and Story Development workshops. Mitzi Martinez is an Experience and Narrative Designer based in Toronto. She has an extensive background as a journalist, writer and creative for TV, Radio, Magazines and Interactive Media. She recently graduated as a Master of Design in Digital Futures from OCAD University. For the past year she has been teaching Narrative Design for traditional and interactive narratives to both graduates and undergraduates at OCADU.

8 8 Writing and Directing Fall 2016 lift Workshops STORY EDITING ESSENTIALS DIRECTING DRAMATIC FILM Wednesday December 14, 6pm 9:30pm Members $60 Non-members $85 Enrolment is limited to 6 Tuesday October 25, 6pm 9pm Thursday October 27, 6pm 9pm Tuesday November 1, 6pm 9pm Thursday November 3, 6pm 9pm Members $135 Non-members $160 This workshop will cover the key elements you need to consider when editing a screenplay, whether it s been written by you or someone else. In this brief introduction, we will consider the theme of your story, the character arcs and the three-act structure. The synopsis you submit will be a jumping-off point to discuss your screen story in the context of these essentials. You should be prepared to address issues in your script that you wish to improve so that we can conduct a mini-editing session. The Short Film Writing workshop is strongly recommended as a prerequisite. Participants must provide a one-page (maximum) project synopsis by Wednesday December 7, Please submit to workshops@lift.on.ca with LIFT Fall 2016: Story Editing Essentials in the subject line. Jamie Gaetz has attained significant knowledge of developing and telling a good story on film through her extensive experience as a development executive, script reader and story editor. In her most recent position with Telefilm Canada, Jamie worked with clients across Atlantic Canada and in Quebec. While there, she was a member of the team that nurtured talent behind many award-winning films, including two films shortlisted for Cannes, one selected for Sundance, a winner of the Claude Jutra Award, several selected for TIFF and a top download on itunes. In addition to providing coverage for various agencies and companies, she is also a story editor, and has led workshops for the DGC, the CFC, WIFT-T as well as LIFT. This four-part intensive workshop will introduce you to the process of directing a project on any scale. The workshop covers practical aspects of directing such as casting, locations, storyboards, rehearsals, telling a story with pictures, the psychology of composition, moving the camera, screen direction, eye-lines and the axis, shooting schedule, on set protocol, and other production concerns. Participants will break down a scene from a film script and compare it with how the film s director actually shot it. Various film clips will also be shown to illustrate the key points of directing. The Introduction to Independent Filmmaking and Camera Theory workshops are recommended as prerequisites. Shane Belcourt is an award-winning Métis filmmaker, writer, and musician based in Toronto. His debut feature film, Tkaronto, has played many international film festivals, winning the Best Director prize at the 2008 Dreamspeakers Film Festival and 2008 Talking Stick Film Festival, along with being nationally distributed in theatres across Canada. Shane has made a variety of short films that have been shown on national television and various film festivals. Alongside the dramatic work, Shane continues to make documentary films as a director and cinematographer.

9 Fall 2016 lift Workshops Writing and Directing 9 DOCUMENTARY RESEARCH DOCUMENTARY FILM WRITING Monday September 26, 6pm 10pm Members $60 Non-members $85 Registration for this class starts Wednesday August 31 at 10am Tuesday October 4, 6pm 10pm Thursday October 6, 6pm 10pm Members $100 Non-members $125 Enrolment is limited to 10 Navigate the world of documentary research and clearances. Learn the latest on how to obtain, reduce costs and limit risks using stock footage, stills, and licensed music. This workshop is invaluable for all documentary producers, directors, writers, editors and researchers. Areas of discussion include the current rights marketplace, new frontiers in new media, how to find the best sources of visual material (photographs, archival film, graphics, and maps), negotiating terms and rates, inexpensive alternatives to expensive archival footage and how to document due diligence or best effort. This course is recommended as a companion to the Documentary Film Writing, Producing Documentary Film, The Art of the Interview and Directing Documentary Film workshops. Elizabeth Klinck has worked as producer, researcher and clearance specialist on international documentary films and digital media projects that have garnered Emmy, Peabody and Oscar awards. Elizabeth has personally been nominated and won many international researcher awards. She has lead workshops and seminars in both North America and in Europe. Elizabeth serves as a board member of the FOCAL International Executive. Formerly she was on the board of WIFT Toronto, Impact Media and The AV Trust. She is a founding chairperson of the Visual Researchers Society of Canada and is a member of Documentary Organization of Canada and Women In Film and Television - Toronto. Writing for documentary can be a very different discipline from fiction, with its own particular rules and conventions. In this workshop learn to conceive, research and write your own documentary project. Find out how to articulate and focus the central themes of your work, how to identify characters and how to illuminate your subject. Gain the confidence needed to determine when to use narration to spell things out and when not to, what should be written before you start shooting and what comes after. Participants will come away with an enhanced tool kit for turning an idea into an accessible, compelling and stylish documentary film. Participants must bring a short description of their documentary concept to the first day of class. This course is recommended as a companion to the Producing Documentary Film, Documentary Research, The Art of the Interview and Directing Documentary Film workshops. Steve Lucas has been writing and producing popular award-winning films and TV shows for more than 30 years. His documentary film writing and story editing credits include the Genie Award-winning The Champagne Safari, the Gemini Award-winning Last Call at The Gladstone Hotel, and the Academy Award-nominated After the Axe, which he also co-produced. His award-winning drama writing credits include CBC s The Border, Global s Blue Murder, which he co-created and show ran, the CBC s Major Crime and the independent feature film Diplomatic Immunity, both of which he wrote and co-produced. Steve recently wrote JFK: The Smoking Gun, a well-received documentary feature for Montreal s Muse Entertainment. A University of Toronto graduate, he is the program coordinator and screenwriting instructor for Centennial College s post-graduate Advanced Television and Film Script to Screen program. Steve is currently at work on a number of new film and TV projects.

10 10 Writing and Directing Fall 2016 lift Workshops DIRECTING DOCUMENTARY FILM THE ART OF THE INTERVIEW Sunday November 6, 10am 6pm Members $100 Non-Members $125 Monday November 21, 6pm 10pm Members $60 Non-Members $85 This lecture-based course provides a basic overview from the documentary director s point of view, guiding participants through the entire process of documentary filmmaking from development to delivery. Participants are given time to discuss proposals, scripts and basic elements of documentary expression, such as interviewing, mise-enscène, shooting on the fly, and planning for anticipated locations. The course will conclude with a brief overview of the various sources of funding for low-budget documentary in Canada. Participants in this workshop are asked to watch a film before the start of the class. A link is sent out approximately one week before the class. This course is recommended as a companion to the Documentary Film Writing, Documentary Research, Producing Documentary Film, The Art of the Interview and Documentary Editing workshops. Juan Baquero is a Toronto-based director, story consultant and producer. His work has been shown in film festivals all over the world and broadcast by major channels including Discovery Channel and TVO. His documentary film career spans fifteen years and three continents, beginning in his native Colombia, where he created and produced original programming for television and worked as a journalist, interviewing figures such as Fidel Castro. Upon his arrival in Canada, Juan quickly joined the ranks of Canadian documentary filmmakers. His debut Canadian documentary, Listen to This, a feature length film which he directed, shot and edited, premiered at Hot Docs and was nominated for a Gemini Award for Best Arts Documentary. In addition to his work as a filmmaker, Juan is on the board of directors of POV Magazine and is the co-founder of The Story Studio, a centre for the advancement and diffusion of narrative non-fiction film. Juan holds an undergraduate degree in telecommunications from the University of Florida and a Master of Laws degree from Harvard Law School. He also studied film production in Sydney, Australia. Whether for news, documentary or oral history, an interview is a directed conversation for the purpose of documenting someone s perspective and/or experience. Done right, it s also an exchange of respect and trust where something is revealed and both parties feel they ve benefited from the experience. So, how to do it right? This four-hour workshop will look at prominent examples and use in-class practical exercises to explore the ethical, technical and stylistic considerations of drawing out and recording someone s personal story. Participants will explore approach, research, crafting questions and practice face-to-face interview skills. Discussion and feedback encouraged throughout. This course is recommended as a companion to the Documentary Research, Documentary Film Writing, Producing Documentary Film and Directing Documentary Film workshops. Shayla Howell is a Toronto based freelance researcher and story producer with over 15 years experience in documentary and factual series television. Her interview subjects have spanned the spectrum from the spectacular to the commonplace; the marginalized to the entitled; victims and perpetrators. She believes everyone has a story and most are looking for a way to share it whether working in long-form documentary, factual series, or oral history it s the job of the interviewer to provide and guide that opportunity. She has undergraduate degrees from both Brock University and Ryerson (RTA) and has continued to study new and innovative ways of working with interview material at the Toronto New School of Writing, Documentary Organization of Canada s Master Classes and Concordia University s Centre for Oral History and Digital Storytelling. Highlighted projects include eight years interviewing Hollywood s A-list for The Independent Film Channel, and more recently, award-winning documentaries The Motherload (CBC DocZone), War Story (History) and the oral history archive The Memory Project, for which she interviewed over 400 veterans of the Second World War.

11 Fall 2016 lift Workshops Writing and Directing 11 DIRECTING MUSIC VIDEOS MULTI-PLATFORM STORYTELLING Monday November 7, 6pm 10pm Wednesday November 9, 6pm 10pm Members $100 Non-members $125 Monday December 5, 6pm 10pm Members $60 Non-members $85 This lecture based workshop covers the entire process of directing music videos from conceptualizing and writing for music videos, to casting, preproduction, production, and post-production. Participants will learn how to brainstorm ideas, find the right fit for the song and explore techniques for visualization/execution. Special focus will be given on how to shoot music videos guerilla style with only a limited or shoestring budget. Shooting on a real budget, dealing with a large crew, the artist and the management will also be covered to gain an understanding of high production value. Filmmakers are encouraged to discuss their current projects and works-in-progress in this forum, or bring songs they plan to or would like to create music videos for. The Introduction to Independent Filmmaking and Directing Dramatic Film workshops are strongly recommended as prerequisites. TBA What is Transmedia? Branded Entertainment? Webisodes? Gamification or Augmented Reality? Multi-Platform Storytelling is a rudimentary crash course for filmmakers wanting to gain an understanding of these buzzwords and learn about the tools available to create multiplatform projects. Using case studies from successful Transmedia properties, we will discuss the production process, funding sources, current trends and also technologies available for the indie filmmaker. This course is recommended as a companion to the Story Development, Short Film Writing and Worldbuilding for Storytellers workshops. Laurinda Shaver watched a lot of television as a child. Or so her mother told her. Fifteen years later as an interactive producer, digital and social strategist, she confidently claims it was simply research. In her journey, she discovered her deep love of storytelling; starting in television (yes, there was no internet during her university years) and extended to digital media as soon as it was, well, invented. This puts her at advantage to have the skillset to tell stories both in a linear fashion and in that other fashion too. As an interactive producer, Laurinda manages digital campaigns including Travel and Escape s Operation Unplugged and CBC s Canada s Smartest Person. She also consults on digital and social strategies for media properties. As CCO for The Next Element, she works alongside Jessica Zwaiman in creating original transmedia and cross platform properties. Laurinda s television experience includes manager of original productions at YTV, where she was a production executive on over 550 hours of original Canadian children s programming. At Rogers TV she ran four community television stations, creatively produced multiplatform Chatelaine Tips and MoneySense Tips and oversaw 32 of the station s websites. She also dedicated time to help build a startup, videobio, as director of production and new media. You can find Laurinda on her blog and on Twitter. At the end of the day, Laurinda s biggest life accomplishment are her two little partners in crime, Jack and Kathleen, who tell her daily that their video gaming is simply research.

12 12 Producing Fall 2016 lift Workshops THE BUSINESS OF PRODUCING SCREEN CONTENT Tuesday December 6, 6pm 10pm Thursday December 8, 6pm 10pm Members $100 Non-members $125 BUSINESS MODEL CANVAS Tuesday December 13, 6pm 10pm Members $60 Non-members $85 Enrolment is limited to 8 Successful productions are often dependent on what stage the business plan is initiated, and how well the primary tasks of negotiating and financing are executed. Building an effective production company requires you to cultivate and grow your company s media intelligence toolkit. Projects big or small, producers have to harness the facts, keep an eye on the big picture and juggle various elements of production. This intense workshop focuses on business strategies for producing screen content through case studies. Topics include: the importance of legal advice in negotiating intellectual property rights; execution of above-the-line contracts; why contingent deals should be based on the producer s share of revenues; bringing production surety and executives financial reputations bearing on due diligence. This workshop will also address company structure, incorporation for companies versus single-purpose incorporations, stream-lining production record-keeping, proper legal and financial control so as not to hinder production starts, cash inflow, final closings and collection of financing holdbacks and tax credits. Marva Ollivierre is a Gemini nominated executive producer, a management accountant, maskmaker and Floyd Chalmers awarded writer with over 25 of arts-culture industry experience the last 16 in screen media. She is also the creator of the cross Canada lecture series Making Your Art Your Business and was executive producer and head of business affairs at Inner City Films. During her five-year tenure with Inner City Films, several productions received broad acclaim and continue in present day to deliver significant international sales earnings including US Broadcast revenues. They include: Skin Deep a Gemini Winning Best Lifestyle/Doc, one of the first internationally produced docu-lifestyle series; and Jozi-H, the Canada/South Africa co-production medical drama series, a multiple Gemini Nominee including Best Drama. In 2006, Marva started her own independent production house where the commissioned feature documentary Made In Canada was released 2013; the documentary I am not a Bully is in post production, and the feature Bannock & Bratwurst, penned by 2013 Canada Screen Award winning writer Shannon Masters, is prepping for production. This four-hour workshop is designed as an introduction to business modeling tools, techniques and terminology to assist content producers and content businesses build sustainable practices. The workshop takes a participatory, multi-method approach to create a stimulating interactive working environment. Using the business model canvas tool and a series of hands-on development exercises, producers will map and test their business concept, discover hidden value, address gaps in of their theories and explore new opportunities for potential audiences and revenue streams. The BMC is an easy-touse, visual framework and strategic management tool that allows participants to develop their business story and strategy alongside their creative vision. At the end of the workshop, participants will have the start of a business model specific to their project, invaluable take-aways for future projects and their on-going business development needs. Participants must submit a brief description (one paragraph maximum) of their project and a bio by Friday December 9, Please submit to workshops@lift.on.ca with LIFT Fall 2016: Business Model Canvas in the subject line. The Business of Producing Screen Content is strongly recommended as a prerequisite. This course is recommended as a companion to Independent Filmmaking and Producing Documentary Film. Orla Garriques is a multi-faceted professional working at the intersection of television, film, digital media and the arts. She has worked for leading media institutions to deliver a range of special initiatives that foster professional development such as CFC Media Lab s ASTOUND Initiative; RRFF Completion Fund; MIC Internship program and most recently the South Africa Business Model Program. She has also worked for award-winning production companies, in the areas of development, business affairs, marketing and audience engagement. Some are, WestWind Pictures, Little Mosque on the Prairie, Designer Guys and Goldmind; Hungry Eyes Production, Guns; Inner City Films, Skin Deep and Jozi-H and Doe Eye Media, Made In Canada and Bannock and Bratwurst. Her personal work includes a mix of documentary, digital and interactive installation productions, DruMeBa, Street Health, inity and ArtN fact.

13 Fall 2016 lift Workshops Producing 13 PRODUCING DOCUMENTARY FILM PRODUCING DRAMATIC FILM Tuesday October 18, 6pm 10pm Thursday October 20, 6pm 10pm Members $100 Non-members $125 Sunday October 30, 10am 6pm Members $100 Non-members $125 This two-evening workshop and case study takes participants through the various stages of making a documentary, from concept to development and financing through production, post-production, delivery and distributing your project. Participants will discuss the proposal, funding opportunities, the documentary script, ownership and rights, production and post-production budget, clearances, transmedia, digital distribution and the crucial relationship between producer and director. This lecture based workshop also provides an overview of how to finance factual programming, big or low budget, in today s multi-platform environment. The Introduction to Independent Filmmaking workshop is strongly recommended as a prerequisite. This course is recommended as a companion to the Documentary Research, Documentary Film Writing, The Art of the Interview and Directing Documentary Film workshops. Marva Ollivierre is a Gemini nominated executive producer, a management accountant, maskmaker and Floyd Chalmers awarded writer with over 25 of arts-culture industry experience the last 16 in screen media. She is also the creator of the cross Canada lecture series Making Your Art Your Business and was executive producer and head of business affairs at Inner City Films. During her five-year tenure with Inner City Films, several productions received broad acclaim and continue in present day to deliver significant international sales earnings including US Broadcast revenues. They include: Skin Deep a Gemini Winning Best Lifestyle/Doc, one of the first internationally produced docu-lifestyle series; and Jozi-H, the Canada/South Africa co-production medical drama series, a multiple Gemini Nominee including Best Drama. In 2006, Marva started her own independent production house where the commissioned feature documentary Made In Canada was released 2013; the documentary I am not a Bully is in post production, and the feature Bannock & Bratwurst, penned by 2013 Canada Screen Award winning writer Shannon Masters, is prepping for production. Hone your producing skills in this two-evening crash course in producing independent film. In this workshop, participants learn the process of taking a dramatic film project from development to delivery from a producer s perspective. Topics include story editing, pitching, casting, crewing, securing locations, financing, budgets, scheduling, contracts, clearing music, deliverables, marketing and distribution. Focusing specifically on the particularities of the dramatic film, you will acquire the foundational knowledge to help guide you through a narrative-based production. The Introduction to Independent Filmmaking workshop is strongly recommended as a prerequisite. This course is recommended as a companion to the Directing Dramatic Film and Production Management workshops. Coral Aiken is a film and web producer based in Toronto. Through her company Aiken Heart Films, Aiken collaborates with a new generation of filmmakers to create exciting and relevant cinema. Aiken has screened work internationally, notably with films in competition at Cannes Cinefondation, Rotterdam, and TIFF. Aiken is an alumna of York University Film MFA, Berlinale Talents, Trans Atlantic Partners and was one of eight producers selected in 2014 for TIFF Studio. Aiken produced the feature film Big Muddy, a contemporary western set in the Saskatchewan badlands, which premiered at the TIFF Recently she produced Notes on the Gaze, a commission for Nowness.com by director Chelsea McMullan. Aiken s upcoming feature The People Garden, a stylish mystery set in Japan, co-produced with Daniel Bekerman and Jonathan Bronfman, stars Dree Hemingway and Pamela Anderson and will be released in

14 14 Producing Fall 2016 lift Workshops GRANT REVIEW FOR ARTS COUNCILS Monday October 3, 6pm 10pm Members $60 Non-members $85 Enrolment is limited to 8 DISTRIBUTION STRATEGIES FOR SHORT FILMS Monday December 12, 6pm 10pm Members $60 Non-members $85 Sustaining a career as an artist necessitates learning how to write a clear, concise and persuasive arts grant application. This workshop is focused on the review and critique process of participants in-progress or completed media arts grant proposals. Each participant will receive individual feedback on what juries look for in their presentation and support material. Before your grant submission, gain an insight on how to secure funds for your works in progress. Upcoming media arts grant deadlines: Canada Council for the Arts: October 1, 2016 Ontario Arts Council: November 1, 2016 (Emerging Artists) and October 4, 2016 (Mid-Career and Established Artists) Toronto Arts Council: October 17, 2016 Participants must submit a one-page (maximum) project synposis by Monday September 26, 2016; you will receive feedback on your project synopsis from the instructor and other participants in the workshop. Please submit to workshops@lift.on.ca with LIFT Fall 2016: Grant Review for Arts Councils in the subject line. Instructor : Chris Gehman is a filmmaker, arts administrator, educator, and occasional curator and critic, based in Toronto. His films have been screened at venues around the world, including EXiS (Seoul, Korea), Experimenta (Bangalore, India), Anthology Film Archives (New York City), et al. His 2008 film Refraction Series premiered at the Toronto International Film Festival and won an award at the 2009 Ann Arbor Film Festival. Chris was Artistic Director of the Images Festival from 2000 to 2004, and has also worked as a programmer for Cinematheque Ontario, TIFF and Pleasure Dome. He edited Explosion in the Movie Machine: Essays and Documents on Toronto Artists Film and Video (Images Festival and LIFT, 2013), and co-edited The Sharpest Point: Animation at the End of Cinema (YYZBOOKS, 2005) with Steve Reinke; his writings on experimental media have also appeared in publications such as Millennium Film Journal, FUSE and Cinema Scope. Currently, Chris is the Finance Manager at Vtape in addition to his artistic and freelance work. He is familiar with many granting programs at the provincial and and national level, and has received numerous grants to support his work. Finishing a film and don t know what to do with it? Don t let it gather dust on your shelf. This workshop focuses on the distribution options for short films. It will cover different distribution models (self-distribution, not-for-profit, commercial, online) as well as strategies for distribution in the festival, educational and broadcast markets. Find out how to work with a distributor and learn the steps to put your work into distribution. Participants are encouraged to bring a short description of their most recent film to the workshop. Brad Horvath is a producer and content rights strategist. He previously managed international film acquisitions and North American sales for Toronto-based film distributor Ouat Media and was the North American Sales and Acquisitions Executive for London-based Cineflix Rights. Currently, he is part of the sales team at BBC Worldwide, the commercial arm of the British Broadcasting Corporation. Before working in distribution, Brad directed and produced short and contemporary dance films, music videos, and documentaries that have been licensed to television broadcasters and invited to screen at film festivals around the world. He has also produced theatre, a television series, and associate produced two feature films. Brad has contributed to Indiewire s blog network and is a frequent speaker and jury member at international film festivals. He has a Bachelor of Science (Psychology) degree from Dalhousie University, with concentrated studies in Film.

15 Fall 2016 lift Workshops Producing / Production 15 INCOME TAX FOR ARTISTS PRODUCTION MANAGEMENT Thursday December 1, 6pm 10pm Members $60 Non-members $85 Please Note: This workshop will not be offered in Winter 2017 Tuesday November 15, 6pm 10pm Thursday November 17, 6pm 10pm Members $100 Non-members $125 Whether you ve been a practicing media artist for years or are just starting out, this overview of tax issues for self-employed individuals will be of benefit to you. Learn how to organize your business as an unincorporated individual or partnership; filing and bookkeeping systems pros and cons; GST registration and responsibility; income declaration including invoicing; expense declaration including home office and car write-offs; RRSP s as a way of saving today and for the future; filing tax returns including deadlines and penalties; and tax installments. Questions are encouraged. In Tova Epp s 20+ years in film and theatre she has worked as a prop builder, set and costume designer, stage manager, producer, playwright, actress...pretty much everything but directing, which she really doesn t want to do. To keep a roof over her head, Tova prepares tax returns for artists and other self employed types at Artbooks. This will be Tova s 9th year with the company, where her client base is over 200 indiviuals and counting. At Artbooks Tova specializes in the tax returns of film and theatre creators, as she has a specific and personal understanding of their businesses. Her greatest pleasure is in helping other creatives understand and run their businesses better. When not auditioning or preparing tax returns, Tova can usually be found running along the lake, volunteering with Annex Cat Rescue, or napping on her new couch. This two part workshop provides a practical overview of important production management skills, application budgeting, tools of planning and organization in addition to teaching how to work with the assistant director to avoid surprises and prevent disasters on set. Participants become virtual production managers as they break down a script, research service providers, build a shooting schedule, determine a budget and prepare initial call-sheets. This workshop is highly recommended for those interested in working in the film industry or for filmmakers who wish to improve their expertise on set. Participants are encouraged to bring a project they are working on as production manager or producer to troubleshoot. The Introduction to Independent Filmmaking workshop is strongly recommended as a prerequisite. This course is recommended as a companion to the Producing Dramatic Film and Directing Dramatic Film workshops. Melinda Ramsay has worked in the film and television industry long enough to remember when schedules were produced on strip boards. She has worked primarily as a Production Manager, Unit Production Manager, 2nd Assistant Director, and has also moonlit as a Special Effects technician. She has been working on the television series Mayday as a Unit Production Manager for six seasons now. In whatever spare time she has, she raises alpacas and sheep.

16 16 Production Fall 2016 lift Workshops SCRIPT COORDINATING LIGHTING FUNDAMENTALS Monday November 14, 6pm 10pm Members $60 Non-members $85 Saturday October 15, 10am 6pm Members $105 Non-members $130 Enrolment is limited to 8 What happens after a writer types The End but before the first day of principal photography? The workshop will explore this gulf between the writer s room and production otherwise known as the Script Coordinator. Proper script formatting, legal and clearances, revisions and other production issues that may arise between a writer s draft and the shooting script will be discussed. A tutorial covering the industry standards, Final Draft and Movie Magic, will also finally answer: what does that Locking function do? You have your story written but it won t come to life if production can t make their day. This course is recommended as a companion to the Story Editing Essentials and Production Management workshops. Ryan Spencer is a graduate of Tisch School of the Arts at New York University. He has worked for Paradigm Talent Agency and in Feature Development at Dreamworks. Ryan was Script Coordinator for over three seasons of Law and Order: SVU. Recently, he graduated from the Canadian Film Centre s Bell Prime Time TV Writing Program and was a Bell Fellow at Banff Media Festival. His other credits include Lucky 7 for ABC/Disney, Hemlock Grove for Netflix/Gaumont and the just wrapped season of The Next Step as a writer. Originally from Los Angeles, Ryan moved to Toronto over two years ago to marry his partner. This introductory class is an essential first step for those who want to learn the basic techniques of lighting for film and video. In this theory and hands-on class, participants will learn about different types of lights, their sources and applications; power basics for lights; the principles of light including colour temperature; establishing the style and logic of your lighting approach; and the essentials of light metering, gels and diffusion. This workshop is an essential foundation for anyone interested in the art of lighting. Camera Theory is strongly recommended as a prerequisite to this class. This course is recommended as a companion to the Cinematography Fundamentals and Creative Lighting workshops. Participants are asked to bring work gloves to the workshop. Jeff Winch is an independent artist who produces films, videos, photography and installations. He has exhibited internationally at festivals and galleries, and his films and videos have been televised in Europe and North America. His latest documentary explores how a massive rail expansion will affect his community in the west end of Toronto. In addition to his art practice Jeff spent several years in the film and television industry working primarily in the camera and picture editing departments. This freelance work included production and post-production of features, documentaries, shorts and television biographies. Jeff has been the recipient of several grants from the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, National Film Board of Canada, LIFT (Liaison of Independent Filmmakers of Toronto) and DFAIT (the Department of Foreign Affairs). He currently teaches Cinematography at Humber College in Toronto.