WORKSHOPS AND COURSES Fall: September December 2017 Comprehensive Production Training for Film, Digital and Interactive Art

WORKSHOPS AND COURSES Fall: September December 2017 Comprehensive Production Training for Film, Digital and Interactive Art

2 lift Workshop Registration and Policies Fall 2017 lift Workshops Address: 1137 Dupont Street Toronto, Ontario M6H 2A3 Canada Telephone: 416.588.6444 Hours: Monday Friday, 10am 6pm E-mail: workshops@lift.on.ca Website: www.lift.ca www.facebook.com/lift.ca www.twitter.com/liftfilm @_liftfilm Registration Registration is on a first come, first served basis starting at 10am, Tuesday September 19, 2017. Register in person at LIFT with cash, Interac, Visa, MasterCard or American Express or by telephone with a credit card (416.588.6444 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 email, voicemail 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 416.588.6444 ext. 223, Monday to Friday, 10am 6pm, or e-mail workshops@ lift.on.ca. The workshop schedule is available on our website www.lift.ca. 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 Fall 2017 Workshop series is provided by Niagara Custom Lab. Last updated: September 12, 2017 Cover photo by Shenaz Baksh

Fall 2017 lift Workshops Table of Contents 3 Sony F3 Camera Theory Workshop with Karl Reinsalu Community Outreach 4 LIFT Fall 2017 Guided Tours 4 Student Memberships and Community Outreach 5 Understanding Online Audiences for Community and Arts Organizations Introduction to Filmmaking 5 Introduction to Independent Filmmaking Filmmaking Intensives 6 Super 8mm Filmmaking Intensive Writing and Directing 6 Short Film Writing 7 Advanced Script Studio 7 Directing Dramatic Film 8 Directing Hybrid Fiction 8 Storyboarding 9 Documentary Film Writing 9 Directing Documentary Film 10 The Art of the Interview Producing 10 Income Tax for Artists 11 Grant Writing for Arts Councils 11 Producing Documentary Film 12 Producing Dramatic Film 12 Starting a Production Company 13 Distribution Strategies for Short Films Production 13 Production Management 14 Lighting Fundamentals 14 Creative Lighting 15 Cinematography Fundamentals Cameras 15 Camera Theory 16 Camera Assisting 16 Bolex 16mm Cameras 17 DSLR Cameras for Video 17 Blackmagic Cinema Camera 18/19 Workshop Calendar Cameras Contuinued 20 RED Epic Camera Sound 20 Introduction to Location Sound Recording 21 Introduction to Post-Production Sound for Filmmakers and Producers 21 Voice-Over Techniques 22 Introduction to Sound Editing with Audition 22 Sound Design with Pro Tools Post-Production 23 Editing Aesthetics 23 Documentary Film Editing 24 Dramatic Film Editing 24 Colour Theory 25 Introduction to Digital Colour Grading with DaVinci Resolve 25 Intermediate Digital Colour Grading with DaVinci Resolve 26 Digital Imaging (DIT) 26 Introduction to Digital Cinema Package (DCP) Creative Practises 27 16mm Film Projection 27 Digital to Film Rephotography 28 Hand Processing Black and White Film 28 Hand Processing Colour Film 29 Expressive Animation Studio 29 Filmstrip as Canvas 30 Video Projection Mapping 30 Video Projection Mapping with TouchDesigner 31 The Self and the Camera 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 Websites and Social Media for Artists and Filmmakers Electronics and Interactivity 34 Introduction to Electronics for Artists LIFT Resources 35 Equipment and Facilities Rental, Custom Workshops and Store

4 Community Outreach New Student Memberships Fall 2017 lift Workshops LIFT FALL 2017 GUIDED TOURS Tours Tuesday September 26, 6pm 7:30pm Tour Free STUDENT MEMBERSHIPS AND COMMUNITY OUTREACH LIFT accepts community outreach proposals throughout the year Student Membership $60 per year Come learn how to become a member, register for workshops and enquire about renting equipment. Information will be available about our upcoming Fall 2017 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 Student Membership LIFT s Student Memberships are available for students enrolled in any Canadian post-secondary learning institution (public or private). Students enrolled in non-film/media programs are also eligible for this membership. Student verification is required with your application. Benefits: Production Member benefits at a reduced membership fee. Visit www.lift.ca/about/lift-membership for application form. Community Outreach 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 www.lift.ca/community Donate to LIFT Community and Youth Initiatives at: lift.ca/about/donate-support-contemporary-film

Fall 2017 lift Workshops Community Outreach Introduction to Filmmaking 5 UNDERSTANDING ONLINE AUDIENCES FOR COMMUNITY AND ARTS ORGANIZATIONS Wednesday October 11, 6pm 10pm Members $45 Non-members $70 Enrolment is limited to 12 INTRODUCTION TO INDEPENDENT FILMMAKING Saturday September 30, 11am 5pm Members $75 Non-members $100 Enrolment is limited to 12 This workshop is for staff at community organizations and arts organizations who wish to effectively communicate and connect with their online audiences. Your audience does not see your organization as you do. When you structure your messaging in a way that reflects the perspective of those inside your organization, you miscommunicate your relevance to those on the outside. Members of your audience are driven by intrinsic motivations and are drawn to your programs to the extent that they address these internally-driven needs. This workshop will help participants identify and speak to the motivations of their online audiences. What are intrinsic motivations and how do I determine which apply to my visitors? Which organizations share my visitors motivations, and what can I learn from them? How can I shape the words and images I use to promote my programs, so that they speak to my visitors motivations? The techniques and ideas discussed will help participants to make informed decisions regarding the structure of their organizations' websites, the content of their social media posts, and emphasis of their communications. Marty Spellerberg is the principal at Spellerberg Associates LLC, a Texas-based consulting practice that offers interactive design, development and communications assistance to artists and museums. He is also the director of Spellerberg Projects, a contemporary art gallery in Lockhart, Texas. Marty has 19 years experience in interactive design, including 9 years working specifically with museums. He has designed several museums websites including the Andy Warhol Museum, Pittsburgh; the Clyfford Still Museum, Denver; the Museum of Contemporary Art Chicago; the Santa Cruz Museum of Art & History; the Art Gallery of Ontario, Toronto. He has presented at numerous conferences including Museums and the Web, Museum Computer Network, Word- Camp, and SXSW Interactive. Marty is a graduate of OCAD University, Toronto. www.martyspellerberg.com 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. www.cliffcaines.com

6 Filmmaking Intensives Writing and Directing Fall 2017 lift Workshops SUPER 8mm FILMMAKING INTENSIVE SHORT FILM WRITING Saturday November 11, 12pm 4pm Saturday November 25, 12pm 4pm Members $150 Non-members $175 Enrolment is limited to 8 Tuesday October 3, 6:30pm 9:30pm Thursday October 5, 6;30pm 9:30pm Tuesday October 10, 6:30pm 9:30pm Thursday October 12, 6:30pm 9:30pm Members $130 Non-members $155 Enrolment is limited to 10 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 Wednesday January 31, 2017. 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 1968. He has made three hundred films, mostly super 8, 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 8 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 8 film and $50 film budgets. www.super8porter.ca 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 September 26, 2017 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 Fall 2017: Short Film Writing in the subject line. 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.

Fall 2017 lift Workshops Writing and Directing 7 ADVANCED SCRIPT STUDIO DIRECTING DRAMATIC FILM Wednesday October 25, 6:30pm 9:30pm Wendesday November 1, 6:30pm 9:30pm Wednesday November 8, 6:30pm 9:30pm Wednesday November 22, 6:30pm 9:30pm Members $130 Non-Members $155 Enrolment is limited to 6 Sunday October 29, 10am 6pm Non-members $125 Enrolment is limited to 12 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. The 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. 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 2008. 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. www.mdff.ca Stephen Davis (see left)

8 Writing and Directing Fall 2017 lift Workshops DIRECTING HYBRID FICTION STORYBOARDING Monday December 11, 6pm 10pm Wednesday December 13, 6pm 10pm Non-members $125 Enrolment is limited to 8 Tuesday November 7, 6pm 10pm Thursday November 9, 6pm 10pm Non-Members $125 Enrolment is limited to 12 This two-session Directing Hybrid Fiction workshop aims to provide participants with practical skills and experiences, and a working critical knowledge of diverse hybrid fiction techniques and their impact on cinematic storytelling, as practiced by contemporary film and video artists. Participants will take part in hands-on exercises that focus on non-actor performance techniques including the creation of spontaneous viral videos and the exquisite corpse. The Introduction to Independent Filmmaking and Camera Theory workshops are recommended as prerequisites. This course is recommended as a companion to the Directing Dramatic Film and Directing Documentary Film workshops. Chelsea McMullan s films and projects have premiered at Sundance, the Toronto International Film Festival, and the New York Photography Festival. Her award-winning shorts have been featured on Nowness, Dazed Digital, Vice and in Vogue Italia magazine. Chelsea is a member of the artist co-operative What Matters Most and was an artist in residence at Fabrica, where she made the Genie-nominated short film Derailments, a tribute to the legacy of Federico Fellini. My Prairie Home, her musical documentary portrait of gender-neutral singer/songwriter Rae Spoon, won the 2013 'Vancouver Film Critics Prize for Best Canadian Documentary and garnered a Canadian Screen Award nomination. It is currently in distribution with the National Film Board of Canada. Michael Shannon Michael Shannon John is her second feature film. www.chelseamcmullan.com 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. www.ronhobbsstoryboard.com

Fall 2017 lift Workshops Writing and Directing 9 DOCUMENTARY FILM WRITING DIRECTING DOCUMENTARY FILM Monday October 16, 6pm 10pm Monday October 23, 6pm 10pm Non-members $125 Enrolment is limited to 10 Sunday November 5, 10am 6pm Non-Members $125 Enrolment is limited to 12 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 he/she wants 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 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. 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. This course is recommended as a companion to the Documentary Film Writing, Producing Documentary Film and Documentary Film 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. www.docstorystudio.com

10 Writing and Directing Producing Fall 2017 lift Workshops THE ART OF THE INTERVIEW INCOME TAX FOR ARTISTS Monday November 20, 6pm 10pm Members $60 Non-Members $85 Enrolment is limited to 12 Wednesday November 29, 6pm 10pm Please Note: This workshop will not be offered in Winter 2018 Members $60 Non-Members $85 Enrolment is limited to 12 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, 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. 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 10th 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.

Fall 2017 lift Workshops Producing 11 GRANT WRITING FOR ARTS COUNCILS PRODUCING DOCUMENTARY FILM Monday October 30, 6pm 10pm Monday November 6, 6pm 10pm Non-Members $125 Enrolment is limited to 12 Tuesday October 31, 6pm 10pm Thursday November 2, 6pm 10pm Non-members $125 Enrolment is limited to 12 Sustaining a career as an artist necessitates learning how to write a clear, concise and persuasive arts grant application. Get an early start with this workshop, which will outline the process of planning, writing and submitting media arts grant proposals that accurately and interestingly represent your individual project. The class will focus on what juries look for in the presentation, budget preparation and support material. We will also review and critique participants grant proposals to give individual feedback on how to fund your works in progress. For upcoming media arts grant deadlines see: Canada Council for the Arts: www.canadacouncil.ca Ontario Arts Council: www.arts.on.ca Toronto Arts Council: www.torontoartscouncil.org Participants must submit a one-page (maximum) project synopsis by Wednesday October 25; 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 2017: Grant Writing for Arts Councils in the subject line. Chris Gehman is an award-winning filmmaker, arts administrator, educator, and curator and critic, based in Toronto. His films have been screened at venues around the world, including EXiS (Seoul, Korea), Experimenta (Bangalore, India), and Anthology Film Archives (New York City). His 2016 film Dark Adaptation premiered at the Toronto International Film Festival and screened at the 2017 Berlinale. 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, and co-edited The Sharpest Point Animation at the End of Cinema 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 national level, and has received numerous grants to support his work. 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 multiplatform 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, 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. www.doeeyeproductions.com

12 Producing Fall 2017 lift Workshops PRODUCING DRAMATIC FILM STARTING A PRODUCTION COMPANY Tuesday October 24, 6pm 10pm Thursday October 26, 6pm 10pm Non-members $125 Enrolment is limited to 12 Tuesday December 12, 6pm 10pm Thursday December 14, 6pm 10pm Non-members $125 Enrolment is limited to 12 Hone your producing skills in this one day 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 narrativebased 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, and Directing Hybrid Fiction Workshops. Coral Aiken is a creative producer based in Toronto. Her company, Aiken Heart Films Aiken 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 Cinefondation, Rotterdam, BAFICI and TIFF. www.aikenheartfilms.com 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 indie-producer 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. www.doeeyeproductions.com

Fall 2017 lift Workshops Producing Production 13 DISTRIBUTION STRATEGIES FOR SHORT FILMS Monday December 4, 6pm 9pm Members $55 Non-members $80 Enrolment is limited to 12 PRODUCTION MANAGEMENT Tuesday November 28, 6pm-10pm Thursday November 30, 6pm-10pm Non-members $125 Enrolment is limited to 12 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. 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. 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. 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. www.imdb.com/name/nm0053946

14 Production Fall 2017 lift Workshops LIGHTING FUNDAMENTALS CREATIVE LIGHTING Saturday October 21, 10am 6pm Members $105 Non-members $130 Enrolment is limited to 8 Saturday November 4, 10am 6pm Members $105 Non-members $130 Enrolment is limited to 8 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. 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. He also continues to work as a freelance cinematographer and cinematography instructor. www.artsandrec.ca 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. He also continues to work as a freelance cinematographer and cinematography instructor. www.artsandrec.ca

Fall 2017 lift Workshops Production Cameras 15 CINEMATOGRAPHY FUNDAMENTALS CAMERA THEORY Saturday October 14, 10am 6pm Members $105 Non-members $130 Enrolment is limited to 8 Class A: Tuesday October 17, 6pm 10pm Thursday October 19, 6pm 10pm Class B: Tuesday November 14, 6pm 10pm Thursday November 16, 6pm 10pm Members $85 Non-members $110 Enrolment is limited to 12 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 lecture-based 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. www.andreacudacine.com Camera Theory provides a foundation for working with all types of cameras. Whether you are interested in shooting film, video or digital cinema, learn the basics of camera operation that will allow you to approach any camera with confidence. Topics include: camera components, lenses, exposure, f-stops, aperture, light metering, depth of field, aspect ratio and more. Please Note: Class A and Class B are the same classes offered on different dates. Camera Theory is a foundational course and is necessary as a prerequisite for many of our camera based and cinematography-focused workshops. This course is recommended as a companion to Directing Dramatic Film, Cinematography Fundamentals, Lighting Fundamentals, Creative Lighting and all our camera workshops. Based in Toronto, Canada, Karl Reinsalu is a do-it-yourselfer with expertise in analog film techniques and a graduate of Humber College s Film and Television Program. Since 2006, Karl has had the opportunity to experiment and hone his craft by helping his fellow artists in his role as technical coordinator for the Liaison of Independent Filmmakers of Toronto.

16 Cameras Fall 2017 lift Workshops CAMERA ASSISTING BOLEX 16mm CAMERAS Thursday November 23, 6pm 10pm Members $65 Non-members $90 Enrolment is limited to 8 Saturday December 2, 10am 6pm Members $105 Non-members $130 Enrolment is limited to 8 An important role in itself, camera assisting offers an opportunity to work with professional cinematographers. Learn the theory and practice of camera assisting in this one evening intensive workshop. Using LIFT s digital Sony F3 camera, participants will learn lens testing, camera setup, labeling, slating, focus pulling, as well as on set protocols for digital cameras. With this hands-on introductory workshop, participants will have time to build, operate and break down a camera setup, to practice some of the duties of a camera assistant and put aspects of cinematography theory into practice. The Camera Theory workshop or equivalent experience is required as a prerequisite to this workshop. This course is recommended as a companion to Blackmagic Cinema Camera and RED Epic Camera workshops. Tyler Shoemaker started shooting basic photography on polaroid around the age of 10, before advancing to 35mm still SLR. At age 18, he shot and directed his own film which won best film at the Toronto International Film Festival (Sprockets). Tyler is a graduate from the University of Windsor with a BA in Communications, Media and Film, as well as Sheridan College s Advanced Television and Film program. During this time he was awarded a recognition by Parliament for a short documentary, on people living with HIV and AIDS and the social stigma surrounding it. Tyler now works as a freelance 1st and 2nd camera assistant on feature films, commercials/corporate and music videos. He is also an IATSE 873 grip and electric permit. The Bolex is LIFT s smallest, lightest and most affordable 16mm/S16mm camera. The Bolex provides a great introduction to shooting on film, offering simplicity for beginner filmmakers and more advanced features for the experienced camera user. With the spring wind there are no batteries involved for basic operation, but optional motors, intervalometer, and matte boxes make everything possible. The iconic camera for experimental and independent film, the Bolex is an imaging powerhouse. During this class you will also shoot a short test to view after it returns from the lab. Gain a solid foundation in the operation of this versatile camera in this hands-on workshop. The Camera Theory workshop or equivalent experience is required as a prerequisite to this workshop. Marcos Arriaga was born in Lima, Peru. He graduated from San Martin de Porres University in Lima with a Bachelor s Degree in Communications in 1985. Marcos worked as a journalist and photographer for the daily newspaper Marka, and the weekly magazine Amauta. He immigrated to Canada in 1987 and graduated from the Sheridan College Media Arts Film Program in 1995. He earned a Master of Fine Arts in Film Production at York University in 2003. Marcos has completed eight short films and a medium long documentary, which have been shown widely in Canada and internationally. He also recently completed his first feature length documentary Looking for Carmen. www.marcosarriaga.com