WORKSHOPS AND COURSES Winter: January April 2018 Comprehensive Production Training for Film, Digital and Interactive Art

Transcription

1 WORKSHOPS AND COURSES Winter: January April 2018 Comprehensive Production Training for Film, Digital and Interactive Art

2 2 lift Workshop Registration and Policies Winter 2018 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 January 23, Register in person at LIFT with cash, Interac, Visa, MasterCard or American Express or by telephone with a credit card ( ext 223). Cheques are not accepted. In person registration takes priority over phone registration during busy periods. LIFT is a not a designated Canadian learning institution, as outlined by the Government of Canada. Registration in LIFT Workshops cannot be used to support any immigration or Canadian Visa applications. 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 (Use Gladstone Avenue entrance after 6pm and weekends). Workshop Guidelines Workshops are subject to schedule, instructor or content amendments and may change or be cancelled at the discretion of LIFT. All registered participants will be notified of any cancellation, instructor 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. Digital and/or audio recording of LIFT workshops is prohibited. Please note LIFT is a scent-free work place. We ask all workshop participants to please don't use perfumes or colognes prior to visiting. LIFT strives to make our space and workshops as accessible as possible. Please contact us about special needs at least ten (10) business days before any workshop you are interested in and we will work towards accommodating them. Participant Cancellation Policy 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. 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. Any refunds will be issued by cheque regardless of the original method of payment. If you have any questions, please contact LIFT at ext. 223, Monday to Friday, 10am 6pm, or workshops@ 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 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 Winter 2018 Workshop series is provided by Niagara Custom Lab. Last updated: February 7, 2018 Cover photo by Philippe Maurice

3 Winter 2018 lift Workshops Table of Contents 3 Xtina Jewell Blackmagic URSA Mini Pro - NEW Community Outreach 4 LIFT Winter 2018 Guided Tours Introduction to Filmmaking 4 Introduction to Independent Filmmaking 5 Careers in Filmmaking Filmmaking Intensive 5 Super 8mm Filmmaking Intensive Writing and Directing 6 Short Film Writing 6 Advanced Script Studio 7 Directing Dramatic Film 7 Casting 8 Storyboarding 8 Documentary Film Writing 9 Directing Documentary Film 9 The Art of the Interview 10 Multi-Platform Storytelling Producing 10 Grant Writing for Arts Councils 11 Producing Documentary Film 11 Producing Dramatic Film 12 The Business of Film Distribution Production 12 Starting a Production Company 13 Script Coordinating 13 Production Management 14 Script Supervision 14 Lighting Fundamentals 15 Creative Lighting 15 Cinematography Fundamentals 16 Grip Fundamentals 16 Drone Filmmaking Cameras 17 Camera Theory 17 Camera Assisting 18/19 Workshop Calendar Sound 22 Introduction to Location Sound Recording 22 Introduction to Post-Production Sound for Filmmakers and Producers 23 Introduction to Sound Editing with Audition 23 Sound Design with Pro Tools 24 Voice-Over Techniques Post-Production 24 Editing Aesthetics 25 Assistant Editing with Premiere Pro 25 Documentary Film Editing 26 Dramatic Film Editing 26 Digital Workflows HD and RAW 27 Colour Theory 27 Digital Imaging (DIT) 28 Introduction to Digital Colour Grading with DaVinci Resolve 28 Intermediate Digital Colour Grading with DaVinci Resolve Creative Practises 29 Hand Processing Black and White Film 29 Hand Processing Colour Film 30 Video Projection Mapping 30 Video Projection Mapping with TouchDesigner 31 Filmstrip as Canvas 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 34 Introduction to Photoshop Electronics and Interactivity 34 Introduction to Interactive Film and Video LIFT Resources 35 Equipment and Facilities Rental, Custom Workshops and Store 20 Bolex 16mm Cameras 20 DSLR Cameras for Video 21 Blackmagic Cinema Camera and URSA Mini Pro 21 RED Epic Camera

4 4 Community Outreach Introduction to Filmmaking Winter 2018 lift Workshops LIFT WINTER 2018 GUIDED TOURS Tours Tuesday January 30, 6pm 7:30pm Tour Free INTRODUCTION TO INDEPENDENT FILMMAKING Class A: Saturday February 3, 11am 5pm Class B: Sunday February 11, 11am 5pm Members $75 Non-members $100 Enrolment is limited to 12 Come learn how to become a member, register for workshops and enquire about renting equipment. Information will be available about our upcoming Winter 2018 workshops, equipment and facility. There will be guided tours, approximately 45 minutes in length, led by a LIFT staff member 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 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.

5 Winter 2018 lift Workshops Introduction to Filmmaking Filmmaking Intensive 5 CAREERS IN FILMMAKING SUPER 8mm FILMMAKING INTENSIVE Tuesday March 27, 6pm 10pm Members $60 Non-members $85 Enrolment is limited to 12 Saturday March 10, 12pm 4pm Saturday March 24, 12pm 4pm Members $150 Non-members $175 Enrolment is limited to 8 This workshop provides an overview of all the different on set roles in the film and television industry in Toronto. Training programs often prepare students to be writers and directors, but this course is not geared towards those vocations. The film industry is full of other interesting job opportunities, and one of the best ways to get more involved in the industry is by working on set, learning different roles and making connections. Explore the career possibilities available in this informative course with Shannon Foerter. Topics covered include crew categories, volunteering, set etiquette, job search and a discussion on the merits of union membership. The Introduction to Independent Filmmaking workshop is recommended as a prerequisite. Shannon Foerter began her career producing commercials, working for a division of the Partner s Film Company and then freelanced from In 2007, Shannon made the move to television on the acclaimed series Mayday at Cineflix Productions where she worked as a Production Manager for 10 seasons in 7.5 years. Following Mayday, Shannon production managed Season 5 of Food Factory and Season 1 of Style Factory. Shannon's current works at Alibi Entertainment as an in house Line Producer. Her current projects include a new series for the Food Network as well as 2 international co-production documentaries, including a CBC Nature of Things with David Suzuki. In her spare time, Shannon produced and sold a feature film called Scars, which received a number of awards on the independent film circuit and was picked up for worldwide DVD/VOD release by Wild Eye Releasing in the US. Shannon aims to shoot her second feature in the summer of Learn all aspects of operating Super 8mm film cameras, projectors, splicers and viewers, taking advantage of the unique features of the allanalog format. Shoot, edit, scratch, paint, and view some film during the workshop, then receive your own roll of film to shoot and edit later. Beginners and experienced filmmakers alike will find this workshop informative and inspiring. Super 8mm Filmmaking Intensive includes: Super 8mm Camera Workshop Super 8mm Editing Workshop Super 8mm camera rental (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 Monday April 30, Facility time must be used during LIFT office hours (Monday Friday, 10am 6pm). Alexi Manis has been a loyal LIFT member for over a decade and has made several short films, most of which were shot, edited and finished on 16mm at LIFT. Her short experimental works have screened at festivals worldwide including Rotterdam, London, New York, Seoul, Chicago and Toronto. She is eternally mesmerized by celluloid and champions traditional modes of production. She is also a teacher, musician, cyclist and big Nick Cave fan.

6 6 Writing and Directing Winter 2018 lift Workshops SHORT FILM WRITING ADVANCED SCRIPT STUDIO Tuesday February 13, 6:30pm 9:30pm Thursday February 15, 6;30pm 9:30pm Tuesday February 20, 6:30pm 9:30pm Thursday February 22, 6:30pm 9:30pm Members $130 Non-members $155 Enrolment is limited to 10 Class A: Wednesday March 7, 6:30pm 9:30pm Wendesday March 14, 6:30pm 9:30pm Thursday March 22, 6:30pm 9:30pm Wednesday March 28, 6:30pm 9:30pm Class B: Wednesday April 4, 6:30pm 9:30pm Wendesday April 11, 6:30pm 9:30pm Wednesday April 18, 6:30pm 9:30pm Wednesday April 25, 6:30pm 9:30pm Members $130 Non-Members $155 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 four-part workshop will illuminate the key characteristics of a successful narrative short film. Participants who arrive with a basic story idea will have the opportunity to workshop their concept in-class with the goal of developing a beat sheet by the end of the fourth session. Topics covered such as screenplay format, story structure, and scene construction 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 story idea by Tuesday February 6, 2018 and should be committed to spending some time developing their concept between classes. Please submit your story summary to workshops@lift.on.ca with LIFT Winter 2018: Short Film Writing in the subject line. The Introduction to Independent Filmmaking workshop is recommended as a prerequisite. 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 and was selected for the Black List Mini-Lab at the 2015 Toronto International Film Festival. In 2016, he was the runner-up for the Red Planet Prize for new television writing. 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. This class has been designed for writers who want to develop a single screenplay project in a supportive workshop setting over the course of four sessions. The class will provide an encouraging environment in which to test your ideas, targeted feedback to improve your screenwriting skills, and helpful deadlines to increase your writing output. Writers should arrive at the first class with a clear idea of the project they want to develop and its intended format (e.g. short film, feature film or television). This class may be used to begin a new project or develop a piece of existing material. Participants will present their work each session, either by pitching their idea or offering a piece of written work (e.g. beat sheet, outline, scene) to be read or performed together in class. After presenting their work, every participant will receive constructive in-class feedback from the group and the instructor. To get the most out of the class, each writer should plan to invest significant time outside of the class to work on their project so that they will have new material to discuss each week. Participants are expected to attend all the scheduled classes; the workshop method requires writers to both give and receive constructive feedback. For this reason, it is not acceptable to leave once your project has been discussed. The instructor will use each individual project to illuminate screenwriting concepts and storytelling techniques that will be of use to every writer. This is not an introductory class. Participants must have taken Short Film Writing, Story Development or have experience writing screenplays. This class encourages imagination, creativity and originality. This workshop is based on conventional narrative (fiction) filmmaking and storytelling practices and is therefore not suited to projects that aspire to be non-narrative or avant-garde. Stephen Davis (see left)

7 Winter 2018 lift Workshops Writing and Directing 7 DIRECTING DRAMATIC FILM CASTING Monday February 26, 6pm-10pm Wednesday February 28, 6pm 10pm Non-members $125 Enrolment is limited to 12 Monday March 12, 6pm 10pm Members $60 Non-members $85 Enrolment is limited to 12 This 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. Born in 1985 in Toronto, Kazik Radwanski studied film at Ryerson University and co-founded the production company MDFF in His short films screened at the Berlinale Shorts Competition for three consecutive years. In 2012, Radwanski directed his first feature film Tower which had its world premiere at the 65th Locarno International Film Festival. The film went on to screen at many festivals including The Toronto International Film Festival, The Viennale, and New Directors/New Films presented by MoMA. Most recently, his second feature How Heavy This Hammer had its international premiere at The 66th Berlin International Film Festival and was nominated for the $100,000 prize for Best Canadian film of the Year by the Toronto Film Critics Association. The workshop will cover the core responsibilities of the casting director during the pre-production stages with the director, producer and writer. Participants will learn how to address specific script needs, contact actors and/or agents, hold auditions and work with talent, make recommendations for casts, as well as to negotiate fees and deals, maintain casting budget and manage contracts. Both union and non-union productions will be covered. The Introduction to Independent Filmmaking workshop is recommended as a prerequisite. This course is recommended as a companion to the Directing Dramatic Film workshop. Millie Tom is a Toronto-based Casting Director with wide-ranging experience in casting film & television, series & multi-media. She won the 2017 Canadian Screen Award Winner for Best Achievement in Casting which she shares with Deirdre Bowen, for her work on CBC series, Kim s Convenience in its debut season. Tom has worked with many of Canada s finest Directors, from John L Ecuyer on St. Jude, to Kate Melville s critically acclaimed Picture Day. With RDC Casting she worked on 16 Blocks; Scott Pilgrim vs. the World; The Lookout; The Incredible Hulk and SyFy series Warehouse 13. Tom also assisted Deirdre Bowen to cast David Cronenberg s A History of Violence and Terry Gilliam s Tideland. Her most recent credits include Ubisoft s video game, Far Cry 5 & Far Cry Primal; and the current 18th season of the docu-drama series, Mayday for Discovery Canada.

8 8 Writing and Directing Winter 2018 lift Workshops STORYBOARDING DOCUMENTARY FILM WRITING Tuesday March 20, 6pm 10pm Thursday March 22, 6pm 10pm Non-Members $125 Enrolment is limited to 12 Tuesday February 6, 6pm 10pm Thursday February 8, 6pm 10pm Non-members $125 Enrolment is limited to 10 This workshop covers the basic storyboarding components that make up the visualization of a screenplay. Learn the principles of concept and design illustration to layout your scenes; continuity sketches, the line of axis and showing camera techniques, shot flow, mood and character. The participants will have the opportunity to practice basic drawing skills and view sample storyboards alongside their actual filmed sequences. Drawing skills are not required. Participants must bring the following materials to the workshop: blank paper, pencil and eraser. This course is recommended as a companion to the Directing Dramatic Film workshop. Ron Hobbs is currently a storyboard artist for major motion pictures, television and commercials. As well as drawing out scenes, Ron has contributed story ideas that were incorporated into scripts; in essence, the script rewrites would be taken from his storyboards at the director s request. He worked on the Academy Award-winning Chicago, X-Men, Cold Creek Manor, Undercover Brother, The Recruit and many others. He has also worked as a pop culture/film critic and editor/ publisher of the alternative magazine Video Pages. Is the main idea of the film compelling/fresh? Will the audience relate to the protagonist? What is the main conflict? Will the audience care? Variations of these and other questions can be found in the coverage templates script readers are asked to follow as they evaluate independent documentary film proposals. Increasingly, filmmakers are expected to deliver docs that have the same crowd-pleasing traits dramas possess with one key difference: where drama writers can dream up scenarios, documentarians must stick to facts. How can a doc filmmaker meet these expectations when they want to tell a story that may be unfolding? That is the subject of this two-night workshop. Night One deals with development. How can you pitch your idea? How do you write a clear, concise and convincing one-pager? What is a sizzle reel? Night Two is devoted to production. How do you craft a shooting script/treatment? How do you know if your film needs narration and how do you determine what kind? What is the ancillary written material programmers, broadcasters and media representatives like to see with a film? If you have a great idea but have been unable to express it, if you've been asked for an outline and are stuck on paragraph one or if you've been in the cutting room with your footage for too long, this class can help you with the various obstacles and take the next step. 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, Directing Documentary Film, Multi-Platform Storytelling and the Documentary Film Editing workshops. Steve Lucas has been writing, producing, show-running and storyediting popular films and TV shows for 35 years. His documentary film writing and story editing credits include the Genie Award-winning The Champagne Safari and Last Call at The Gladstone Hotel, and the Academy Award-nominated After the Axe, which he also co-produced. He recently co-wrote Once An Immigrant, a CBC documentary telecast as part of Firsthand, the network s new point-of-view documentary series. Steve s award-winning drama writing credits include Global s Blue Murder, which he co-created and show ran, CBC s Major Crime and the independent feature film Diplomatic Immunity, both of which he wrote and co-produced. A U of T graduate, he helped develop and now coordinates the Advanced Television and Film Script to Screen Program at Centennial College.

9 Winter 2018 lift Workshops Writing and Directing 9 DIRECTING DOCUMENTARY FILM THE ART OF THE INTERVIEW Sunday March 18, 10am 6pm Non-Members $125 Enrolment is limited to 12 Thursday March 29, 6pm 10pm Members $60 Non-Members $85 Enrolment is limited to 12 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, miseen-scène, 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. This course is recommended as a companion to the Documentary Film Writing, Producing Documentary Film, Multi-Platform Storytelling and Documentary Film Editing workshops. Aeyliya Husain is an award winning documentary filmmaker, who has fifteen years of writing, directing and producing experience in film and television. She has directed with the National Film Board of Canada and produced work for broadcasters, such as, CBC, BBC, National Geographic, Discovery, and History Television. Her most recent film, Shooting War will have its world premiere this spring at the Tribeca Film Festival. She is currently in post-production on an hourlong film, Urban Inuk. Through this character driven film, young Inuit explore their identity and place in the Canadian urban landscape. 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. 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 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, awardwinning 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.

10 10 Writing and Directing Producing Winter 2018 lift Workshops MULTI-PLATFORM STORYTELLING GRANT WRITING FOR ARTS COUNCILS Thursday April 19, 6pm 10pm Members $60 Non-members $85 Enrolment is limited to 12 Monday February 12, 6pm 10pm Wednesday February 14, 6pm 10pm Non-Members $125 Enrolment is limited to 10 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 Short Film Writing, Advanced Script Studio, Producing Dramatic Film, Directing Dramatic Film and all of the Documentary Filmmaking 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. Federal, provincial and municipal arts councils fund a wide range of media arts projects, including experimental films/videos, media installations, new media works, documentaries, and narrative films. Sustaining a career as an artist necessitates learning how to write a clear, concise, persuasive grant application. Get an early start with this workshop, which will outline the process of planning, writing and submitting media arts grant proposals that effectively represent your individual project. The class will focus on what arts council juries look for in the description of a project, and on budget preparation and support material. We will also review participants grant proposals to give individual feedback on your works in progress. Participants must submit a one-page (maximum) project synopsis by Monday February 5; you will receive feedback on it from the instructor and other participants in the workshop. Please submit to workshops@lift.on.ca with LIFT Winter 2018: Grant Writing for Arts Councils in the subject line. For upcoming grant deadlines see: Canada Council for the Arts: Ontario Arts Council: Toronto Arts Council: This workshop does not cover grant writing for commercial industry funders such as Telefilm Canada, Canadian Media Fund (CFM), or Ontario Media Development Corporation (OMDC). Chris Gehman is an award-winning filmmaker, arts administrator, educator and critic. His films have screened at venues around the world, including EXiS (Seoul), Experimenta (Bangalore), and Anthology Film Archives (NYC). His 2016 film Dark Adaptation premiered at TIFF and screened at the 2017 Berlinale. Chris was Artistic Director of the Images Festival ( ), and has also programmed for Cinematheque Ontario and TIFF. He edited Explosion in the Movie Machine: Essays and Documents on Toronto Artists Film and Video, and co-edited The Sharpest Point: Animation at the End of Cinema (with Steve Reinke); his critical writing has also appeared in periodicals such as Cinema Scope and Millennium Film Journal. Currently, Chris is Finance Manager at Vtape, a non-profit video distributor, in addition to his artistic and freelance work. He is familiar with many granting programs, and has received numerous grants to support his work.

11 Winter 2018 lift Workshops Producing 11 PRODUCING DOCUMENTARY FILM PRODUCING DRAMATIC FILM Tuesday March 13, 6pm 10pm Thursday March 15, 6pm 10pm Non-members $125 Enrolment is limited to 12 Tuesday February 27, 6pm 10pm Thursday March 1, 6pm 10pm Non-members $125 Enrolment is limited to 12 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 Film Writing, Directing Documentary Film Multi- Platform Storytelling and Documentary Film Editing 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. The course tracks the trajectory of making a dramatic feature film in the Canadian financing landscape, highlighting topics relevant to anyone interested in producing a short or feature narrative film. Topics include pitching, development, production, financing, casting, crewing, budgeting, scheduling, negotiations, marketing, distribution, and professional development. Participants 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 Short Film Writing, Directing Dramatic Film, Multi-Platform Storytelling and Dramatic Film Editing Workshops. Coral Aiken is a creative producer based in Toronto. Her company, Aiken Heart Films, specializes in developing new talent in film, television and digital cinema, and collaborates with a new generation of filmmakers to create relevant, thought-provoking films that resonate with audiences. Aiken is an alumna of York University s Film MFA, Berlinale Talents, Trans Atlantic Partners and TIFF studio. She has screened work internationally with films in competition at Cannes Cinéfondation, Rotterdam, BAFICI and TIFF.

12 12 Producing Production Winter 2018 lift Workshops THE BUSINESS OF FILM DISTRIBUTION STARTING A PRODUCTION COMPANY Tuesday April 24, 6pm 10pm Thursday April 26, 6pm 10pm Non-members $125 Enrolment is limited to 12 Tuesday April 10, 6pm 10pm Thursday April 12, 6pm 10pm Non-members $125 Enrolment is limited to 12 This two-evening workshop is a thorough instructional overview of the modern independent film industry, touching on the last 10 years of how the business has evolved for context as well as what the future of film distribution (could) look like given current trends. Students will leave this workshop understanding the basics of how a successful film is released into theaters, on DVD/Blu-Ray, in digital storefronts like itunes and on subscription services like Netflix as well as how the companies in between all interact with each other and the filmmakers. Get a solid foundation for understanding how various film distributors, sales agents and successful filmmakers all prepare for and engage in the nebulous act of film sales. This workshop covers practical skills such as how to research reputable distributors and sales agents, accepted pitching practices, etc. Finally, the course covers what to expect from distribution and the basics of contracts and rights management as well as D.I.Y. options for filmmakers who are in the position of self-releasing or supplementing their distributors release work. Danny Costa works as a Licensing Editor for SAGE Publishing and runs Direct Current Laboratories as its principal. At SAGE, Danny is responsible for licensing all third-party film and video content for SAGE s video products. At Direct Current Laboratories, Danny offers consulting and sales services to filmmakers, producers and distributors. During his career, he has bought, sold or consulted on the release of over 100 individual feature films. Previously, Danny was Director of Distribution at Alexander Street Press and ran Alexander Street s boutique, full-service educational and non-theatrical distributor, Filmakers Library where he acquired and managed the non-theatrical and educational/library releases of nearly 50 documentaries from top festivals like Cannes, the Tribeca Film Festival, Sundance, Sheffield Doc/Fest and SXSW. Before joining Alexander Street Press, Danny worked as an independent consultant; his early clients included independent filmmakers like academy-award winning filmmaker Damien Chazelle, international and domestic film distribution companies and content aggregators like The Orchard, Inc. Danny holds a B.S. Television & Film from Boston University and an MBA from NYU s Stern School of Business. This intensive two-evening workshop is designed as a broad introduction for those interested in: starting their own production company, cultivating and building their media producer intelligence, planning a shoot and/or selling their skills as a freelancer and indieproducer providing production services to the media industry. The workshop will provide clarity on corporations, partnerships, the importance of detailed record-keeping and bookkeeping and why it s important to perform due diligence on your personal credit history, company brand and in all matters related to the government such as business registration/incorporation, HST, and income tax filings, etc. Other topics include what production companies look for in order to confidently hire the services of a freelancer and why delivering as promised is important to the success of your business. Emphasis will be placed on understanding the business language of the industry, getting organized, building awareness of the various professions, the role of consultants, agencies and organizations with the capacity to support your business and production aspirations. 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.

13 Winter 2018 lift Workshops Production 13 SCRIPT COORDINATING PRODUCTION MANAGEMENT Monday March 19, 6pm 10pm Members $60 Non-members $85 Enrolment is limited to 12 Monday March 26, 6pm-10pm Wednesday March 28, 6pm-10pm Non-members $125 Enrolment is limited to 12 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 Advanced Script Stuio, Producing Dramatic Film, Directing Dramatic Film 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 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.

14 14 Production Winter 2018 lift Workshops SCRIPT SUPERVISION LIGHTING FUNDAMENTALS Saturday March 17, 10am 6pm Non-members $125 Enrolment is limited to 12 Saturday February 24, 10am 6pm Members $105 Non-members $130 Enrolment is limited to 8 The script supervisor is responsible for continuity, making sure the dialogue is correct, representing the editor on set, documenting all the shots among other things! This eight hour course is ideal for directors who want to get the most out of their shots, editors who want to know what happens on set, and anyone who wants to work as a script supervisor. There will be samples of script supervisor notes, production reports, and practical exercises. The Introduction to Independent Filmmaking is recommended as a prerequisite. This course is recommended as a companion to the Directing Dramatic Film and Production Management workshops. Brad Wetherly has worked in the film and television industry for over ten years. He began working as an Assistant Director but after a few years switched departments into Script Supervision. Brad has also worked as a screenwriter, writing two feature films and nearly 20 episodes of television. Most recently he worked as a Script Supervisor on Georgetown, Christoph Waltz' directorial debut. 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. This course is required as a prerequisite to the Creative Lighting workshop. The Camera Theory and Cinematography Fundamentals workshops are strongly recommended as a prerequisite to this class. Participants are asked to bring work gloves to the workshop. Dale Sood is an award-winning director and cinematographer. His films have been screened globally, including the Hot Docs Canadian International Documentary Festival here in Toronto. He currently produces all the digital video content for Vistek, Canada s largest photo and video retailer. Dale is an Associate Member of the Canadian Society of Cinematographers and continues to work as a freelance cinematographer and cinematography instructor.

15 Winter 2018 lift Workshops Production 15 CREATIVE LIGHTING CINEMATOGRAPHY FUNDAMENTALS Sunday March 11, 10am 6pm Members $105 Non-members $130 Enrolment is limited to 8 Saturday February 10, 10am 6pm Members $105 Non-members $130 Enrolment is limited to 8 This workshop will cover advanced lighting for filmmakers, cinematographers and gaffers and will take you deeper into the practical and artistic expression of lighting. Scenes and scenarios will be deconstructed and recreated through hands-on exercises, to achieve a specific visual aesthetic for creative storytelling. Participants will explore dramatic lighting techniques for interior and exterior, High Key and Low Key, static and moving subjects, actors and locations. Daylight and fixtures, soft and hard light concepts, as well as all the peripheral lighting tools will be used to shape and control the look and feel of your picture. This is an opportunity to understand the many tools in your palette combined with valuable hands-on experience. The Camera Theory and Lighting Fundamentals workshops are required as prerequisites to this class. This course is recommended as a companion to the Cinematography Fundamentals workshop. Participants are asked to bring work gloves to the workshop. Dale Sood is an award-winning director and cinematographer. His films have been screened globally, including the Hot Docs Canadian International Documentary Festival here in Toronto. He currently produces all the digital video content for Vistek, Canada s largest photo and video retailer. Dale is an Associate Member of the Canadian Society of Cinematographers and continues to work as a freelance cinematographer and cinematography instructor. The cinematographer is responsible for all the visual elements of a film. They make every creative choice related to composition, lighting, and camera motion anything that audiences can see in a given shot. Whether you are interested in directing or shooting, this lecturebased class will give you a solid understanding of the elements of cinematography. Topics include: film and digital formats, focus and depth of field, filters, natural and practical lighting, and shooting for editing. The Camera Theory workshop is required as a prerequisite to this class. This course is recommended as a companion to the Lighting Fundamentals and Creative Lighting workshops. Andrea Cuda is a cinematographer who studied at York University s competitive Film program. Over the course of his four year degree, Andrea s work has contributed to countless short films in both the narrative and documentary fields, several of which have seen success at festivals in Canada and internationally. Andrea himself was recognized with the 2012 Best Cinematography award at Toronto s Cinesiege Festival, for one such film. Since his time at York, he has gained extensive experience with all components of set and lighting design, and has shot both fictional and factual entertainment for the big and small screens. More recently, he has worked on television shows for TVO and HGTV, along with a number of award nominated short films.

16 16 Production Winter 2018 lift Workshops GRIP FUNDAMENTALS DRONE FILMMAKING Tuesday April 17, 6pm 10pm Members $65 Non-members $90 Enrolment is limited to 8 Monday March 5, 6pm 10pm Members $65 Non-members $90 Enrolment is limited to 12 Learn what it takes to be an effective and professional grip. Gain an understanding of what a grip does and their important role in a professional film crew. Get to know the types of grip (key, best boy, dolly), and the on-set etiquette of working with the camera and electrical departments. Topics include basic rigging, cutting light and setting flags, tenting out, managing on-set safety and more. Explore the other major aspect of the grip s job creative problem solving. Find out what kind of on-set surprises can arise and learn effective strategies to deal with them. Camera Theory, Cinematography Fundamentals, Lighting Fundamentals and Creative Lighting are strongly recommended as prerequisite workshops. Dale Sood is an award-winning director and cinematographer. His films have been screened globally, including the Hot Docs Canadian International Documentary Festival here in Toronto. He currently produces all the digital video content for Vistek, Canada s largest photo and video retailer. Dale is an Associate Member of the Canadian Society of Cinematographers and continues to work as a freelance cinematographer and cinematography instructor. Get vital information in this one-evening theory based lecture workshop on drone usage and regulations from industry professional UAV Pilot Brad Nesbitt. With increased accessibility and lower costs, drone cinematography has become an option in visual storytelling for independent filmmakers. Learn the technical workflows of how to prep and capture stunning visuals without compromising the budget and or story. Though examples and discussions, Brad will share his experiences on the different types of drones, their visual representation and respective uses. Students are welcome to come with questions for a specific project they are working on. Camera Theory and Cinematography Fundamentals are strongly recommended as prerequisite workshops. This workshop is recommended as a companion to the Directing Dramatic Film, Directing Documentary Film and all our camera workshops. This workshop does not include any drone flying demonstrations. Passionate about anything aviation, Brad Nesbitt has been building and flying radio-controlled fixed wing airplanes, collective pitch helicopters and now multi rotor aircraft for over 15 years. Brad is a licensed Radio Operator and has attended Humber College UAV Ground School and Private Pilot Training at Island Air Ground School which enables him to fly UAVs in controlled air space for Special Flight Operations Certified aerial work in Canada and the United States. Combining his experienced flying skills with cutting edge drone technology, Brad is sculpting the future in film, going where the camera has never gone before.