FALL 2015
Workshops and Courses Comprehensive Production Training for Film, Video and Interactive Art 2 lift Workshop Registration and Policies Fall 2015 lift Workshops
Address: Registration Contact 1137 Dupont Street Registration is on a first come, first served basis starting at If you have any questions, please contact Toronto, Ontario 10am, Tuesday September 22, 2015. Register in person at LIFT LIFT at 416.588.6444, Monday to Friday, M6H 2A3 Canada with cash, Interac, Visa, MasterCard or American Express or by 10am–6pm, or e-mail [email protected]. telephone with a credit card (416.588.6444 ext 221). Cheques The workshop schedule is available on our Telephone: are not accepted. In person registration takes priority over website www.lift.ca. 416.588.6444 phone registration during busy periods.
Hours: LIFT Workshops have limited enrolment. Registration is LIFT is wheelchair accessible Monday–Friday, 10am–6pm confirmed only when payment has been received in full.
E-mail: All workshops take place at LIFT unless otherwise noted. [email protected] Workshop Guidelines Website: Workshops are subject to schedule, instructor content changes an Ontario government agency www.lift.ca and may be cancelled at the discretion of LIFT. All registered un organisme du gouvernement de l’Ontario participants will be notified of any cancellation or schedule changes. LIFT will refund full registration fees to those www.facebook.com/LIFT.ca 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. www.twitter.com/LIFTfilm LIFT workshops are best suited to individuals 18 years old and over. Only the person whose name appears on the enrolment is registered for the workshop. No other person can attend in their place. There are absolutely no make-ups or transfers allowed for any missed session. For full day workshops, we recommend that you bring lunch or snacks. Please note, all workshops that take place in our digital classroom are on the Mac platform. Video and/or audio recording of LIFT workshops is prohibited.
Please note LIFT is a fragrance-free work place. To support access we ask all workshop participants refrain from using any perfumes or colognes prior to visiting LIFT. The Liaison of Independent Filmmakers of Participant Cancellation Policy Toronto is supported by its membership, the All cancellations must be received and confirmed by telephone Canada Council for the Arts, the Ontario Arts with a LIFT staff member during office hours. Cancellations Council, the Ontario Trillium Foundation, received via email, voicemail or otherwise will not be the Ontario Arts Foundation and the City of recognized. Toronto through the Toronto Arts Council. Additional support for the Fall 2015 Work- Participants must cancel up to five (5) full business days, shop series is provided by Niagara Custom excluding weekends and holidays, prior to the date of the Lab and ORWO North America. workshop to receive a 80% refund per cancelled workshop. No compensation is available for cancellations less than five (5) Last updated: August 11, 2015 full business days prior to your workshop start time or for non- attendance. Any refunds will be issued by cheque regardless of Cover photo by Michael Barker the original method of payment. www.michaelbarker.ca Fall 2015 lift Workshops Table of Contents 3
Free Programs 22 Essentials to Film Scoring 4 LIFT Fall Open House 23 Voice-Over Techniques 4 Panel Discussion: Music Video Production Cameras Outreach and Filmmaking Intensives 23 Camera Theory 5 Community and Youth Projects 24 Camera Assisting 5 Super 8MM Filmmaking Intensive 24 Bolex 16MM Cameras 25 Blackmagic Cinema Camera Oxberry 1700 Optical Printer Introduction to Filmmaking 25 DSLR Cameras for Video 6 Introduction to Independent Filmmaking 26 RED Epic Camera 6 Careers in the Film Industry Post-Production Writing and Directing 26 Editing Aesthetics 7 Short Film Writing 27 Introduction to Digital Colour Grading 7 Story Editing Essentials with DaVinci Resolve 8 Directing Dramatic Film 27 Intermediate Digital Colour Grading 8 Directing Actors for Film with DaVinci Resolve 9 Directing Music Videos 28 Documentary Editing 9 Documentary Research 28 Digital Workflows HD and RAW 10 Documentary Film Writing 29 Telecine: Film to Video Transfer 10 Directing Documentary Film 11 The Art of the Interview Creative Practises 11 Worldbuilding for Storytellers 29 Optical Printing with the Oxberry 1700 30 Hand Processing Black and White Film Producing 30 Hand Processing Colour Film 12 Starting a Production Company 12 The Business of Producing Screen Content Digital Tools, Animation and Interactivity 13 Introduction to Producing Documentary Film 31 Introduction to Final Cut Pro X 13 Producing Dramatic Film 31 Adobe Creative Suite 14 Grant Review for Arts Councils 32 Introduction to Premiere Pro 14 Multi-Platform Storytelling 32 Intermediate Premiere Pro 15 Distribution Strategies for Short Films 33 Introduction to After Effects 33 Intermediate After Effects Production 34 Websites for Artists 15 Production Management 34 Introduction to Interactive Film and Video 16 Script Supervision 16 Script Coordinating 35 LIFT Equipment, Facilities and Store 17 Cinematography Fundamentals 17 Data Management
18/19 Workshop Calendar
Production Continued 20 Lighting Fundamentals 20 Creative Lighting 21 Timelapse Techniques
Audio 21 Introduction to Location Sound Recording 22 Introduction to Post-Production Sound for Filmmakers and Producers 4 Free Programs Fall 2015 lift Workshops
LIFT FALL OPEN HOUSE PANEL DISCUSSION: MUSIC VIDEO PRODUCTION
Schedule: Schedule: • Tuesday September 29, 6:30pm–8pm • Thursday October 1, 6:30pm–8:30pm
Cost: Cost: • Free • Free Seating is limited
Founded in 1981, The Liaison of Independent Filmmakers of Toronto Join us for a free panel discussion with various music video produc- (LIFT) is an artist-run cultural and educational media arts organiza- tion crew members—Producer, Director, Cinematographer and Editor. tion dedicated to celebrating excellence in the moving image. The LIFT Panelists will discuss the path from development to distribution for facility offers resources for film training and independent production both conventional and contemporary styles of music videos. They will unparalleled anywhere else in the world. Thirty years on, LIFT has share their challenges and achievements in their respective practice, seen thousands of films and videos emerge from the centre. and how that has propelled them to further express their creative vision in the filmmaking industry. Come learn how to become a member, about our workshops and how to rent equipment. Information will be available about the upcoming Moderator: Fall 2015 workshops and much of our new equipment, purchased with Louis Calabro is the Director of Awards and Special Events at the the support of the Ontario Trillium Foundation, will be on display. Academy of Canadian Cinema & Television (ACCT), where he is responsible for supervising and producing elements surrounding the Visitors are welcome to walk through the facility, but we will also Canadian Screen Awards (formerly known as the Genie and Gemini offer guided tours lead by LIFT staff at the times listed below. Tours Awards). Calabro is also Founder and Director of the Prism Prize, a will be approximately 30 minutes in length. national arts award presented to the best Canadian music video of the year. In 2005, Calabro co-founded Goin’ Steady Productions, acting as The office is located at 1137 Dupont Street (east of Dufferin Street, at DJ and producer for 200+ events in Toronto and Montréal, including the corner of Gladstone Avenue). the long-running Goin’ Steady and Chronologic dance parties. A graduate of the University of Toronto with a Major in Cinema Studies, All are welcome to attend. Louis lives and works in Toronto.
Guided Tours: Scheduled Panelists: • 6:45pm Mauricio Ruiz - Producer, Mad Ruk Entertainment • 7:30pm Ohji Inoue - Director and Editor Bobby Shore - Cinematographer Nadia Tan - Editor
Please consult lift.ca/workshops for updates on speakers. Fall 2015 lift Workshops Outreach / Filmmaking Intensive 5
COMMUNITY AND YOUTH PROJECTS SUPER 8MM FILMMAKING INTENSIVE
Schedule: Schedule: • LIFT accepts proposals throughout the year • Saturday November 7, 12pm–4pm • Saturday November 21, 12pm-4pm
Cost: • Members $145 • Non-members $165 • Enrolment is limited to 8
LIFT provides a space for communities to produce representations on Learn all aspects of operating a Super 8mm camera, with emphasis on their own terms. LIFT collaborates by extending their professional getting the best exposure and taking advantage of the unique features equipment, facilities and member resources to assist other non-profits of the Super 8mm format. Learn basic elements of camera theory and in training their constituents to make media and produce the media the fundamentals of shooting, directing and editing your own film content they need within limited budgets. project.
LIFT accepts project and partnership inquiries from non-profit Super 8mm Filmmaking Intensive includes: organizations and collectives on an ongoing basis. One-off projects are ·· Super 8mm Camera Workshop welcome as schedules and budgets permit, however LIFT is primarily ·· Super 8mm Editing Workshop interested in cultivating long-term partnerships with other organiza- ·· Camera: Super 8mm camera (one weekend rental or one tions and collectives. These engagements can include capacity building weekday rental) consulting for emerging groups and project management along with ·· Film: Tri-X (black and white) or Wittner Chrome (colour) LIFT equipment, facilities, instructors and mentors. Super 8mm film (one cartridge) ·· Processing: Niagara Custom Lab (one cartridge) LIFT welcomes requests from all organizations sharing its values of ·· Editing: Four hours of editing time (see details below) social justice and freedom of expression, however only a small portion ·· Transfer of final edit to a digital file at LIFT (participants must of projects can be accepted in any year. Please allow 4 to 8 weeks for provide storage media) an evaluation of your proposal. LIFT’s Camera Theory workshop is a prerequisite for the Super 8mm Film- For more information about collaborating with LIFT or to arrange making Intensive. All equipment and facilities credits must be used by Friday private and group workshops, please contact our outreach department December 18, 2015. Facilities time must be used during LIFT at [email protected] office hours (Monday-Friday, 10am-6pm).
For a list of past collaborations, please visit www.lift.ca/community Instructor: John Porter has been a filmmaker, performer, photographer and Donate to LIFT Community and Youth Initiatives at: writer in Toronto since 1968. He has made three hundred films, mostly lift.ca/about/donate-support-contemporary-film Super 8mm, and performed one hundred solo shows internationally. He studied Film Production at Ryerson University and has received five Creation Grants from the Canada Council for the Arts. He taught his first Super 8mm and 16mm Film Workshop credit courses in the Summer of 2005 and 2008, at Trent University, Peterborough, Ontario. His community activism includes photographing and writing about local underground film activity, and advocating for Super 8mm film and $50 film budgets. www.super8porter.ca 6 Introduction to Filmmaking Fall 2015 lift Workshops
INTRODUCTION TO CAREERS IN THE FILM INDUSTRY INDEPENDENT FILMMAKING
Schedule: Schedule: • Saturday October 3, 11am–5pm • Monday November 2, 6pm–10pm
Cost: Cost: • Members $65 • Members $55 • Non-members $85 • Non-members $75 • Enrolment is limited to 12 • Enrolment is limited to 12
This lecture-based course gives participants an overview of all the This workshop provides an overview of all the different on set roles in stages involved in independent filmmaking and is a must for beginning the film and television industry in Toronto. Training programs often directors and producers. Learn about the writing process, planning prepare students to be writers and directors, but this course is not your workflow, prepping for your shoot, crewing up, the fundamentals geared towards those vocations. The film industry is full of other inter- of production, the importance of cinematography and quality sound esting job opportunities, and one of the best ways to get more involved recording, getting all your shots, how to approach editing and the in the industry is by working on set, learning different roles and many options for finishing and exhibiting your film. This workshop is making connections. Explore the career possibilities available in this a general overview for new filmmakers and a great starting point for informative course with Jane Walker. Topics covered include crew cate- your filmmaking education. gories, volunteering, set etiquette, job search and union membership.
Instructor: The Introduction to Independent Filmmaking workshop is recommended as a Born in Sarajevo, Bosnia and Herzegovina, Igor Drljača moved to prerequisite. Canada in 1993 due to the wars in former Yugoslavia. He completed his Master’s in Film Production at York University’s graduate program in Instructor: 2011. He runs the production company TimeLapse pictures with York Filmmaker Jane Walker as worked in film for 23 years in various Alumn Albert Shin. He is the recipient of the K.M. Hunter artist award on-set positions, becoming a professional script/continuity supervisor for media arts. His award winning shorts include Woman in Purple in 1996. Recently she was the continuity supervisor on the feature (2010), and The Fuse: Or How I Burned Simon Bolivar (2011), which have film Dr. Cabbie and the television series The Listener, and is presently screened at hundreds of festivals. His critically acclaimed feature film enjoying her fifth year working on the CBC seriesThe Murdoch Mysteries. Krivina (2012) premiered at TIFF and screened at dozens of inter- Jane holds a BA in Cinema Studies from the University of Toronto, national festivals. In 2014 he co-produced Albert Shin’s TIFF 2014 and an MFA in Film from York. She has also produced and directed favorite In Her Place, which received seven Canadian Screen Award several films which have screened in Canada and internationally. Jane nominations. He is in post-production on his sophomore feature The started teaching workshops at LIFT in 1997, and has also taught at the Waiting Room, which will be released this year. His third feature film, University of Toronto’s Hart House Film Board and Sheridan College. Tabija, which is in development, received Rotterdam’s Cinemart Eurim- ages Prize and was also selected for the prestigious Cannes L’Atalier program. www.igordrljaca.com Fall 2015 lift Workshops Writing and Directing 7
SHORT FILM WRITING STORY EDITING ESSENTIALS
Schedule: Schedule: • Wednesday October 7, 6pm–10pm • Thursday December 3, 6pm–9:30pm • Wednesday October 14, 6pm–10pm Cost: Cost: • Members $55 • Members $95 • Non-members $75 • Non-members $115 • Enrolment is limited to 6 • Enrolment is limited to 10
Whether intended as a stand alone piece of art or a calling card to This workshop will cover the key elements you need to consider when showcase new storytelling talent, the short film is a fascinatingly flex- editing a screenplay, whether it’s been written by you or someone else. ible format. Through screenings, lectures and group discussions, this In this brief introduction, we will consider the theme of your story, the workshop will identify the key characteristics of a successful narra- character arcs and the three-act structure. The synopsis you submit tive short film. Participants will learn screenwriting techniques that will be a jumping-off point to discuss your screen story in the context chart a path from initial concept to production-ready screenplay and of these essentials. You should be prepared to address issues in your will have the opportunity to workshop their ideas and writing in-class. script that you wish to improve so that we can conduct a mini-editing Topics covered—such as screenplay format and story structure—are session. equally relevant to writers interested in long-form narratives such as feature films and television. The Short Film Writing workshop is strongly recommended as a prerequisite. Participants must provide a (maximum) one-page project synopsis by Friday Participants must submit a brief description (two paragraph maximum) November 27, 2015. Please submit to [email protected] with “LIFT Fall of their short story by Friday October 2, 2015. Please submit to registra- 2015: Story Editing Essentials” in the subject line. [email protected] with “LIFT Fall 2015: Short Film Writing” in the subject line. Instructor: Instructor: Jamie Gaetz has attained significant knowledge of developing and Originally from the UK, Stephen Davis is a graduate of the MFA telling a good story on film through her extensive experience as a Screenwriting program at the American Film Institute (AFI) in Los development executive, script reader and story editor. In her most Angeles. He has worked as a script reader for companies in Los Angeles, recent position with Telefilm Canada, Jamie worked with clients Toronto and the UK. In 2014, he was selected for Script Room 4, a across Atlantic Canada and in Quebec. While there, she was a member BBC program for developing new talent. His most recent feature film of the team that nurtured talent behind many award-winning films, screenplay has received development funding from the British Film including two films shortlisted for Cannes, one selected for Sundance, Institute (BFI) and Film Wales. Passionate about screenwriting educa- a winner of the Claude Jutra Award, several selected for TIFF and a tion, Stephen also spent a year in the School of Theatre, Film and Tele- top download on iTunes. In addition to providing coverage for various vision at the University of California, Los Angeles (UCLA) and tutored agencies and companies, she is also a story editor, IP scout and work- a number of film courses and workshops at York University in Toronto shop leader for the DGC, the CFC, WIFT-T as well as LIFT. while earning a second Master’s degree in Screenwriting. 8 Writing and Directing Fall 2015 lift Workshops
DIRECTING DRAMATIC FILM DIRECTING ACTORS FOR FILM
Schedule: Schedule: • Monday October 26, 6pm–10pm • Tuesday November 3, 6pm–10pm • Wednesday October 28, 6pm–10pm • Thursday November 5, 6pm–10pm
Cost: Cost: • Members $95 • Members $95 • Non-members $115 • Non-members $115 • Enrolment is limited to 12 • Enrolment is limited to 12
This two-part intensive workshop will introduce you to the process of This practical workshop is designed to help new and experienced direc- directing a project on any scale. The workshop covers practical aspects tors improve their communication with actors and understand the of directing such as casting, locations, storyboards, rehearsals, telling acting process. Participants will learn about main acting techniques, a story with pictures, the psychology of composition, moving the discover various types of vocabulary used by actors, and why actors ask camera, screen direction, eye-lines and the axis, shooting schedule, for their “motivation.” This course will lead you through the casting on set protocol, and other production concerns. Participants will process, how to use rehearsal, see how an actor approaches a scene, the break down a scene from a film script and compare it with how the role of improvisation and how to help guide your actors to their best film’s director actually shot it. Various film clips will also be shown to performance. illustrate the key points of directing. The Directing Dramatic Film workshop is strongly recommended as a The Introduction to Independent Filmmaking and Camera Theory workshops prerequisite. are recommended as prerequisites. Instructor: Instructor: TBA Shane Belcourt is an award-winning Métis filmmaker, writer, and musician based in Toronto. His debut feature film, Tkaronto, has played many international film festivals, winning the Best Director prize at the 2008 Dreamspeakers Film Festival and 2008 Talking Stick Film Festival, along with being nationally distributed in theatres across Canada. Shane has made a variety of short films that have been shown on national television and various film festivals. Alongside the dramatic work, Shane continues to make documentary films as a director and cinematographer. www.shanebelcourt.com Fall 2015 lift Workshops Writing and Directing 9
DIRECTING MUSIC VIDEOS DOCUMENTARY RESEARCH
Schedule: Schedule: • Monday November 9, 6pm–10pm • Monday October 19, 6pm–10pm • Wednesday November 11, 6pm–10pm Cost: Cost: • Members $55 • Members $95 • Non-members $75 • Non-members $115 • Enrolment is limited to 12 • Enrolment is limited to 12
This lecture-based workshop covers the entire process of directing In a time of ever-expanding technology we’re all becoming researchers, music videos from conceptualizing and writing for music videos, to but are you doing it well? Are you comfortable clearing rights and casting, preproduction, production and post-production. Participants permissions for your documentary, film or new media project? Can will learn how to brainstorm ideas, find the right fit for the song and you swim quickly through information overload online or are you explore techniques for visualization/execution. Special focus will be wading in the mire? Find out how to research and license stock given on how to shoot music videos ‘guerilla style’ with only a limited footage, images and music from both vendors and free expression or shoestring budget. Shooting on a real budget, dealing with a large sources. Get a better understanding of rights, licensing terms and crew, the artist and the management will also be covered to gain an the art of negotiation to reduce costs. Discover how social media is understanding of high production value. Filmmakers are encouraged to changing the face of research and learn how to properly document discuss their current projects and works-in-progress in this forum, or your research work to mitigate legal risk. bring songs they plan to or would like to create music videos for. This workshop will be a mix of discussion and exercise so bring a laptop The Introduction to Independent Filmmaking workshop is strongly recom- computer or tablet device that can connect to the internet. mended as a prerequisite. Instructor: Instructor: Laura Lucas is a Visual Researcher and Rights Clearance Officer with TBA 20 years of experience in the media market. She’s worked exten- sively with TVO’s The Agenda with Steve Paikin, with freelance video producers, alongside libraries and archives, and in radio news. Having launched her own company Big Picture Research, she’s driven by the thrill of the hunt to find the perfect image that can help bring a story to life and clearing the underlying permissions for its use. Her archival research work in turn has led her to explore the emerging field of digital estate planning and helping people organize and protect their digital assets. She’s recently been involved with a WWII documentary series that is set to air on the Smithsonian Channel. www.bigpictureresearch.com 10 Writing and Directing Fall 2015 lift Workshops
DOCUMENTARY FILM WRITING DIRECTING DOCUMENTARY FILM
Schedule: Schedule: • Tuesday October 13, 6pm–10pm • Sunday November 1, 10am–6pm • Thursday October 15, 6pm–10pm Cost: Cost: • Members $95 • Members $95 • Non-Members $115 • Non-members $115 • Enrolment is limited to 12 • Enrolment is limited to 10
Writing for documentary can be a very different discipline than fiction, This lecture-based course provides a basic overview from the documen- it has its own particular rules and conventions. In this workshop learn tary director’s point of view, guiding participants through the entire to conceive, research and write your own documentary project. Find process of documentary filmmaking from development to delivery. out how to articulate and focus the central themes of your work, how Participants are given time to discuss proposals, scripts and basic to identify characters and how to illuminate your subject. Gain confi- elements of documentary expression, such as interviewing, mise-en- dence in determining when to use narration to spell things out and scène, shooting on the fly, and planning for anticipated locations. The when not to, what should be written before you start shooting, and course will conclude with a brief overview of the various sources of what comes after. Participants will come away with an enhanced tool funding for low-budget documentary in Canada. kit for turning an idea into an accessible, compelling and stylish docu- mentary film. Participants in this workshop are asked to watch a film before the start of the class. A link is sent out approximately one week before the class. Participants must bring a short description of their documentary concept This course is recommended as a companion to the Documentary Research, to class on the first day. This course is recommended as a companion to the Documentary Film Writing and The Art of the Interview workshops. Documentary Research, The Art of the Interview and Directing Documen- tary Film workshops. Instructor: Juan Baquero is a Toronto-based director, story consultant and Instructor: producer. His work has been shown in film festivals all over the world Steve Lucas has been writing and producing popular, award-winning and broadcast by major channels including Discovery Channel and films and TV shows for more than 30 years. His documentary film TVO. His documentary film career spans fifteen years and three writing and story editing credits include the Genie Award-winning continents, beginning in his native Colombia, where he created and The Champagne Safari, the Gemini Award-winning Last Call at The produced original programming for television and worked as a jour- Gladstone Hotel, and the Academy Award-nominated After the Axe, nalist, interviewing figures such as Fidel Castro. Upon his arrival which he also co-produced. His award-winning drama writing credits in Canada, Juan quickly joined the ranks of Canadian documentary include CBC’s The Border, Global’s Blue Murder, which he co-created filmmakers. His debut Canadian documentary, Listen to This, a feature and show ran, the CBC’s Major Crime and the independent feature film length film which he directed, shot and edited, premiered at Hot Docs Diplomatic Immunity, both of which he wrote and co-produced. Steve and was nominated for a Gemini Award for Best Arts Documentary. recently wrote JFK: The Smoking Gun, a well-received documentary In addition to his work as a filmmaker, Juan is on the board of direc- feature for Montreal’s Muse Entertainment. A University of Toronto tors of POV Magazine and is the co-founder of The Story Studio, a graduate, he is the program coordinator and screenwriting instructor centre for the advancement and diffusion of narrative non-fiction film. for Centennial College’s new post-graduate Advanced Television and Juan holds an undergraduate degree in telecommunications from the Film Script to Screen program. He is currently at work on a number of University of Florida and a Master of Laws degree from Harvard Law new film and TV projects. School. He also studied film production in Sydney, Australia. Fall 2015 lift Workshops Writing and Directing 11
THE ART OF THE INTERVIEW WORLD-BUILDING FOR STORYTELLERS
Schedule: Schedule: • Wednesday November 4, 6pm–10pm • Wednesday December 2, 6pm–10pm • Wednesday December 9, 6pm–10pm Cost: • Members $55 Cost: • Non-Members $75 • Members $95 • Enrolment is limited to 12 • Non-Members $115 • Enrolment is limited to 12
Whether for news, documentary or oral history, an interview is a Although creating a world for our characters to live in has always been directed conversation for the purpose of documenting someone’s the craft of the writer, film franchises, web and TV series, as well as perspective and/or experience. Done right, it’s also an exchange of transmedia and interactive narratives are changing the game in terms respect and trust where something is revealed and both parties feel of storytelling and scriptwriting. It is becoming less about creating a they’ve benefited from the experience. So, how to do it right? This central storyline and more about world-building. Umberto Eco asserts four-hour workshop will look at prominent examples and use in-class that cult artifacts like Casablanca are so because they provide the practical exercises to explore the ethical, technical and stylistic consumers resources to dig, connect, and construct their own fantasies. considerations of drawing out and recording someone’s personal story. That is the art of a worldbuilder, to produce compelling environments Participants will explore approach, research, crafting questions and in which multiple interrelated stories and alternatives can live. In this practice face-to-face interview skills. Discussion and feedback encour- crash course learn the basic theory of world-building, see examples and aged throughout. put it in practice through brief exercises. Whether you are working in traditional film and novels, transmedia or interactive stories this is a This course is recommended as a companion to the Documentary Research, must-know skill for all storytellers. Documentary Film Writing and Directing Documentary Film workshops. This course is recommended as a companion to the Short Film Writing work- Instructor: shop. Shayla Howell is a Toronto based freelance researcher and story producer with over 15 years’ experience in documentary and factual Instructor: series television. Her interview subjects have spanned the spectrum Mitzi Martinez is an Experience and Narrative Designer based from the spectacular to the commonplace; the marginalized to the in Toronto. She has an extensive background as a journalist, writer entitled; victims and perpetrators. She believes everyone has a story and creative for TV, Radio, Magazines and Interactive Media. She and most are looking for a way to share it—whether working in recently graduated as a Master of Design in Digital Futures from long-form documentary, factual series, or oral history it’s the job of the OCAD University. For the past year she has been teaching Narrative interviewer to provide and guide that opportunity. She has undergrad- Design for traditional and interactive narratives to both graduates and uate degrees from both Brock University and Ryerson (RTA) and has undergraduates at OCAD. continued to study new and innovative ways of working with interview www.mitzimartinez.squarespace.com material at the Toronto New School of Writing, Documentary Organi- zation 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 Moth- erload (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. 12 Producing Fall 2015 lift Workshops
STARTING A PRODUCTION COMPANY THE BUSINESS OF PRODUCING SCREEN CONTENT
Schedule: Schedule: • Tuesday November 17, 6pm–10pm • Tuesday December 8, 6pm–10pm • Thursday November 19, 6pm–10pm • Thursday December 10, 6pm–10pm
Cost: Cost: • Members $95 • Members $95 • Non-members $115 • Non-members $115 • Enrolment is limited to 12 • Enrolment is limited to 12
This intensive two-evening workshop is designed as a broad intro- Successful productions are often dependent on what stage the business duction for those interested in: starting their own production plan is initiated, and how well the primary tasks of negotiating and company, cultivating and building their media producer intelli- financing are executed. The producer has to be able to bring all of the gence, planning a shoot and/or selling their skills as a freelancer pertinent facts together; keep an eye on the big picture; and juggle the and indie-producer providing production services to the media various elements to ensure that the production comes together. This industry. The workshop will provide clarity on corporations, part- intense workshop with case studies will focus on business strategies nerships, the importance of detailed record-keeping and book- for producing screen content including: the importance of legal advice keeping and why it’s important to perform due diligence on your in negotiating intellectual property rights, the execution of above-the- personal credit history, company brand and in all matters related line contracts, and insight as to why contingent deals should be based to the government such as business registration/incorporation, on the producer’s share of revenues; how to bring ‘production surety’ HST, and income tax filings, etc. Other topics include what produc- to a project; why the production company and its executives’ financial tion companies look for in order to confidently hire the services reputations will have bearing on a successful due diligence test; and of a freelancer and why delivering as promised is important to the the impact that lack of ‘due diligence’ will have on the ability to finance success of your business. Emphasis will be placed on understanding and insure productions. In addition, the workshop will address the the business language of the industry, getting organized, building critical task of maintaining legal and financial control so as not to awareness of the various professions, the role of consultants, agen- hinder production starts, cash inflow, the ability to complete final cies and organizations with the capacity to support your business closings and the collection of financing holdbacks and tax credits. and production aspirations. This course is recommended as a companion to the Starting a Production Instructor: Company and Introduction to Producing Documentary Film workshops. Marva Ollivierre is a Gemini nominated Executive Producer, a management accountant, maskmaker and Floyd Chalmers awarded Instructor: writer with over 25 of arts-culture industry experience—the last 16 Marva Ollivierre is a Gemini nominated Executive Producer, a in screen media. She is also the creator of the cross Canada lecture management accountant, maskmaker and Floyd Chalmers awarded series Making Your Art Your Business and was Executive Producer writer with over 25 of arts-culture industry experience—the last 16 in and Head of Business Affairs at Inner City Films. During her screen media. She is also the creator of the cross Canada lecture series five-year tenure with Inner City Films, several productions received Making Your Art Your Business and was Executive Producer and Head broad acclaim and continue in present day to deliver significant of Business Affairs at Inner City Films. During her five-year tenure international sales earnings including US Broadcast revenues. They with Inner City Films, several productions received broad acclaim include: Skin Deep a Gemini Winning Best Lifestyle/Doc, one of the and continue in present day to deliver significant international sales first internationally produced docu-lifestyle series; andJozi-H , the earnings including US Broadcast revenues. They include: Skin Deep a Canada/South Africa co-production medical drama series, a multiple Gemini Winning Best Lifestyle/Doc, one of the first internationally Gemini Nominee including Best Drama. In 2006, Marva started her produced docu-lifestyle series; and Jozi-H, the Canada/South Africa own independent production house where the commissioned feature co-production medical drama series, a multiple Gemini Nominee documentary Made In Canada was released 2013; the documentary including Best Drama. In 2006, Marva started her own independent I am not a Bully is in post production, and the feature Bannock & production house where the commissioned feature documentary Made Bratwurst, penned by 2013 Canada Screen Award winning writer In Canada was released 2013; the documentary I am not a Bully is in Shannon Masters, is prepping for production. post production, and the feature Bannock & Bratwurst, penned by 2013 www.doeeyeproductions.com Canada Screen Award winning writer Shannon Masters, is prepping for production. www.doeeyeproductions.com Fall 2015 lift Workshops Producing 13
INTRODUCTION TO PRODUCING PRODUCING DRAMATIC FILM DOCUMENTARY FILM
Schedule: Schedule: • Tuesday October 27, 6pm–10pm • Tuesday November 10, 6pm–10pm • Thursday October 29, 6pm–10pm • Thursday November 12, 6pm–10pm
Cost: Cost: • Members $95 • Members $95 • Non-members $115 • Non-members $115 • Enrolment is limited to 12 • Enrolment is limited to 12
This two-evening workshop and case study takes participants through Hone your producing skills in this two-evening crash course in the various stages of making a documentary, from concept to develop- producing independent film. In this workshop, participants learn the ment and financing through production, post-production, delivery process of taking a dramatic film project from development to delivery and distributing your project. Participants will discuss the proposal, from a producer’s perspective. Topics include story editing, pitching, funding opportunities, the documentary script, ownership and rights, casting, crewing, securing locations, financing, budgets, scheduling, production and post-production budget, clearances, transmedia, contracts, clearing music, deliverables, marketing and distribution. digital distribution and the crucial relationship between producer Focusing specifically on the particularities of the dramatic film, you and director. This lecture based workshop also provides an overview will acquire the foundational knowledge to help guide you through a of how to finance factual programming, big or low budget, in today’s narrative-based production. multi-platform environment. The Introduction to Independent Filmmaking workshop is strongly recom- The Introduction to Independent Filmmaking workshop is strongly recom- mended as a prerequisite. This course is recommended as a companion to mended as a prerequisite. This course is recommended as a companion to the Directing Dramatic Film, Directing Actors for Film and Production the Documentary Research, Documentary Film Writing and The Art of the Management workshops. Interview and Directing Documentary Film workshops. Instructor: Instructor: Daniel Bekerman is a producer based in Canada with broad experi- Marva Ollivierre is a Gemini nominated Executive Producer, a ence in creative producing, financing and service production. Recent management accountant, maskmaker and Floyd Chalmers awarded productions, The Witch, a US/Canada co-production, recently won the writer with over 25 of arts-culture industry experience—the last 16 in Best Director Award at the 2015 Sundance Film Festival and made screen media. She is also the creator of the cross Canada lecture series major sales to Universal and A24; and Bang Bang Baby, a musical Making Your Art Your Business and was Executive Producer and Head directed by Cannes Residency alumnus Jeffrey St. Jules, starring of Business Affairs at Inner City Films. During her five-year tenure Jane Levy, Justin Chatwin and Peter Stormare, won the Best First with Inner City Films, several productions received broad acclaim Feature Film Award at TIFF and the Best Picture at the Santa Barbara and continue in present day to deliver significant international sales International Film Festival. It also won the Best First Feature Award earnings including US Broadcast revenues. They include: Skin Deep a at the Canadian Screen Awards. Pay the Ghost, directed by Uli Edel and Gemini Winning Best Lifestyle/Doc, one of the first internationally starring Nicolas Cage, The People Garden, written and directed by Nadia produced docu-lifestyle series; and Jozi-H, the Canada/South Africa Litz and starring Dree Hemingway and Pamela Anderson, Army of One co-production medical drama series, a multiple Gemini Nominee directed by Larry Charles (Borat), and Two Lovers and a Bear directed including Best Drama. In 2006, Marva started her own independent by Oscar nominee Kim Nguyen which stars Tatiana Maslany and production house where the commissioned feature documentary Made Dane DeHaan are currently in post-production. Daniel is currently in In Canada was released 2013; the documentary I am not a Bully is in production on Tomato Red, an Irish-Canadian co-production. post production, and the feature Bannock & Bratwurst, penned by 2013 www.scythiafilms.com Canada Screen Award winning writer Shannon Masters, is prepping for production. www.doeeyeproductions.com 14 Producing Fall 2015 lift Workshops
GRANT REVIEW FOR ARTS COUNCILS MULTI-PLATFORM STORYTELLING
Schedule: Schedule: • Monday October 5, 6pm–10pm • Thursday December 17, 6pm–10pm
Cost: Cost: • Members $55 • Members $55 • Non-members $75 • Non-members $75 • Enrolment is limited to 12 • Enrolment is limited to 12
Sustaining a career as an artist necessitates learning how to write a What is Transmedia? Branded Entertainment? Webisodes? Gamifica- clear, concise and persuasive arts grant application. This workshop is tion or Augmented Reality? Multi-Platform Storytelling is a rudimen- focused on the review and critique process of participants’ in-progress tary crash course for filmmakers wanting to gain an understanding or completed media arts grant proposals. Each participant will receive of these buzzwords and learn about the tools available to create individual feedback on what juries look for in their presentation and multiplatform projects. Using case studies from successful Transmedia support material. Before your grant submission, gain an insight on how properties, we will discuss the production process, funding sources, to secure funds for your works in progress. current trends and also technologies available for the indie filmmaker.
Upcoming media arts grant deadlines: This course is recommended as a companion to the Short Film Writing and • Canada Council for the Arts: October 1, 2015 and March 1, 2016 Worldbuilding for Storytellers workshops. • Ontario Arts Council: November 3, 2015 (Emerging Artists) and October 1, 2015 and April 1, 2016 (Mid-career and Established Instructor: Artists), TBA • Toronto Arts Council: November 3, 2015
Participants must submit a draft project by Monday September 28, 2015. Please submit to [email protected] with “LIFT Fall 2015: Grant Review for Arts Councils” in the subject line. This course is recommended as a companion to the Short Film Writing and Producing Dramatic Film workshops.
Instructor : b.h. Yael has been writing grants for nearly twenty years now. She supports the idea of a peer jury system, one in which practitioners are judging the applications for funding grants. Yael is a local video and installation artist, and teaches at the Ontario College of Art & Design, in Integrated Media. Her most recent work, Trading the Future premiered at the Mumbai International Film Festival and in Toronto at Images Festival. This video recently received the Audience Award at the Ecofilms Festival in Rhodes, Greece and was funded by all three levels of arts councils, for which she is truly grateful. Fall 2015 lift Workshops Producing / Production 15
DISTRIBUTION STRATEGIES FOR PRODUCTION MANAGEMENT SHORT FILMS
Schedule: Schedule: • Monday December 7, 6pm–10pm • Tuesday November 24, 6pm–10pm • Thursday November 26, 6pm–10pm Cost: • Members $55 Cost: • Non-members $75 • Members $95 • Enrolment is limited to 12 • Non-members $115 • Enrolment is limited to 12
Finishing a film and don’t know what to do with it? Don’t let it gather This two part workshop provides a practical overview of important dust on your shelf. This workshop focuses on the distribution options production management skills, application budgeting, tools of for short films. It will cover different distribution models (self-distri- planning and organization in addition to teaching how to work with bution, not-for-profit, commercial, online) as well as strategies for the Assistant Director to avoid surprises and prevent disasters on set. distribution in the festival, educational and broadcast markets. Find Participants become virtual production managers as they break down out how to work with a distributor and learn the steps to put your work a script, research service providers, build a shooting schedule, deter- into distribution. mine a budget and prepare initial call-sheets. This workshop is highly recommended for those interested in working in the film industry or Participants are encouraged to bring a short description of their most recent for filmmakers who wish to improve their expertise on set. Participants film to the workshop. are encouraged to bring a project they are working on as Production Manager or Producer to troubleshoot. Instructor: Brad Horvath is a producer and content rights strategist. He previ- The Introduction to Independent Filmmaking workshop is strongly recom- ously managed international film acquisitions and North American mended as a prerequisite. This course is recommended as a companion to the sales for Toronto-based film distributor Ouat Media and was the North Producing Dramatic Film and Directing Dramatic Film workshops. American Sales and Acquisitions Executive for London-based Cineflix Rights. Currently, he is part of the sales team at BBC Worldwide, the Instructor: commercial arm of the British Broadcasting Corporation. Before Melinda Ramsay has worked in the film and television industry long working in distribution, Brad directed and produced short and contem- enough to remember when schedules were produced on strip boards. porary dance films, music videos, and documentaries that have been She has worked primarily as a Production Manager, Unit Production licensed to television broadcasters and invited to screen at film festi- Manager, 2nd Assistant Director, and has also moonlit as a Special vals around the world. He has also produced theatre, a television series, Effects technician. She has been working on the television series and associate produced two feature films. Brad has contributed to Mayday as a Unit Production Manager for six seasons now. In whatever Indiewire’s blog network and is a frequent speaker and jury member at spare time she has, she raises alpacas and sheep. international film festivals. He has a Bachelor of Science (Psychology) http://www.imdb.com/name/nm0053946 degree from Dalhousie University, with concentrated studies in Film. 16 Production Fall 2015 lift Workshops
SCRIPT SUPERVISION SCRIPT COORDINATING
Schedule: Schedule: • Sunday November 15, 10am–6pm • Tuesday December 1, 6pm-10pm
Cost: Cost: • Members $95 • Members $55 • Non-members $115 • Non-members $75 • Enrolment is limited to 12 • Enrolment is limited to 12
The Script Supervisor is responsible for continuity, making sure the What happens after a writer types “The End” but before the first day of dialogue is correct, representing the editor on set, documenting all the principal photography? The workshop will explore this gulf between shots…among other things! This eight hour course is ideal for direc- the writer’s room and production—otherwise known as the Script tors who want to get the most out of their shots, editors who want to Coordinator. Proper script formatting, legal and clearances, revisions know what happens on set, and anyone who wants to work as a Script and other production issues that may arise between a writer’s draft and Supervisor. There will be samples of Script Supervisor notes, produc- the shooting script will be discussed. A tutorial covering the industry tion reports, and practical exercises. standards, Final Draft and Movie Magic, will also finally answer: what does that “Locking” function do? You have your story written but it This course is recommended as a companion to the Directing Dramatic Film, won’t come to life if production can’t make their day. Script Coordinating and Production Management workshops. This course is recommended as a companion to the Script Supervision and Instructor: Production Management workshops. Filmmaker Jane Walker as worked in film for 23 years in various on-set positions, becoming a professional script/continuity supervisor Instructor: in 1996. Recently she was the continuity supervisor on the feature Ryan Spencer is a graduate of Tisch School of the Arts at New York film Dr. Cabbie and the television series The Listener, and is pres- University. He has worked for Paradigm Talent Agency and in Feature ently enjoying her fifth year working on the CBC series The Murdoch Development at Dreamworks. Ryan was Script Coordinator for over Mysteries. Jane holds a BA in Cinema Studies from the University of three seasons of Law and Order: SVU. Recently, he graduated from the Toronto, and an MFA in Film from York. She has also produced and Canadian Film Centre’s Bell Prime Time TV Writing Program and was directed several films which have screened in Canada and internation- a Bell Fellow at Banff Media Festival. His other credits include Lucky ally. Jane started teaching workshops at LIFT in 1997, and has also 7 for ABC/Disney and Hemlock Grove for Netflix/Gaumont. Originally taught at the University of Toronto’s Hart House Film Board and from Los Angeles, Ryan moved to Toronto over two years ago to marry Sheridan College. his partner. Fall 2015 lift Workshops Production 17
CINEMATOGRAPHY FUNDAMENTALS DATA MANAGEMENT
Schedule: Schedule: • Saturday October 17, 10am–6pm • Saturday December 5, 12pm–4pm
Cost: Cost: • Members $95 • Members $55 • Non-members $115 • Non-members $75 • Enrolment is limited to 8 • Enrolment is limited to 6
The cinematographer is responsible for all the visual elements of a In the age where digital cinematograpy continues to evolve, cameras film. They make every creative choice related to composition, lighting, can now come with digital magazines. A data management technician and camera motion—anything that audiences can see in a given shot. (DMT) is a digital film loader, whose job is to off load the digital files Whether you are interested in directing or shooting, this lecture-based on-set in a secure organized folder structure, and keep the integrity of class will give you a solid understanding of the elements of cinematog- the metadata. They work with the cinematographer to create a one light raphy. Topics include: film and video formats, focus and depth of field, scenario and prepare the image for the next stage in post-production. filters, natural and practical lighting, and shooting for editing. In this four hour workshop learn what the DMT is responsible for, how to handle digital files on-set, the beginning of colour science and The Camera Theory workshop is required as a prerequisite to this class. light theory and the essentials of backing up. Students will also see a practical demonstration of working with RED Epic Camera files and Instructor: Resolve software to gain an understanding of digital media frame sizes, Andrea Cuda is a Cinematographer who studied at York University’s resolutions and codecs when preparing files for post-production. competitive Film program. Over the course of his four year degree, Andrea’s work has contributed to countless short films in both the The Camera Theory workshop is strongly recommended as a prerequisite. This narrative and documentary fields, several of which have seen success at course is recommended as a companion to the RED Epic Camera, Blackmagic festivals in Canada and internationally. Andrea himself was recog- Cinema Camera, Digital Workflows HD and RAW and Digital Colour nized with the 2012 Best Cinematography award at Toronto’s Cinesiege Grading with DaVinci Resolve workshops. festival, for one such film. Since his time at York, he has gained exten- sive experience with all components of set and lighting design, and Instructor: has shot both fictional and factual entertainment for the big and small Rany Ly is currently a member of IATSE 667 as a Digital Imaging screens. More recently, he has worked on television shows for TVO and Technician (DIT). Rany comes from a background of post-supervision HGTV, along with a number of award nominated short films. and post-coordinating—with years of experience on episodic www.andreacudacine.com television, feature films, and commercials. Rany graduated from the Media Arts program at Sheridan College Institute of Technology and Advanced Learning. She has since worked as an editor at various professional post-houses, and quickly realized that there is a need for the proper management of data. Even though her background is post and technical, she has also directed several short films and music videos. www.vimeo.com/ranyly 18 Calendar Fall 2015 lift Workshops
September Note: Two part workshops are labelled 1/2 and 2/2
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26 Fall Workshop Registration Opens pg 2
27 28 29 30 LIFT Fall Open House pg 4
October SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 Panel Discussion: Intro to Independent Music Video Production Filmmaking pg 6 pg 4
4 5 6 7 8 9 10 Intro to Premiere Pro Grant Review for Camera Theory Short Film Writing Camera Theory Class A pg 32 Arts Councils pg 14 Class A 1/2 pg 23 1/2 pg 7 Class A 2/2 pg 23
11 12 13 14 15 16 17 Documentary Film Short Film Writing Documentary Film Cinematography Writing 1/2 pg 10 2/2 pg 7 Writing 2/2 pg 10 Fundamentals pg 17
18 19 20 21 22 23 24 Intro to Premiere Pro Documentary Research Camera Theory Camera Theory Lighting Fundamen- Class B pg 32 pg 9 Class B 1/2 pg 23 Class B 2/2 pg 23 tals pg 20 Intro to DaVinci Class A pg 27
25 26 27 28 29 30 31 DSLR Cameras Directing Dramatic Intro to Producing Doc Directing Dramatic Intro to Producing Doc Creative Lighting for Video pg 25 Film 1/2 pg 8 Film 1/2 pg 13 Film 2/2 pg 8 Film 2/2 pg 13 pg 20 Fall 2015 lift Workshops Calendar 19
November
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 5 6 7 Directing Documentary Careers in the Film Directing Actors The Art of the Interview Directing Actors Super 8MM Filmmaking Film pg 10 Industry pg 6 for Film 1/2 pg 8 pg 11 for Film 2/2 pg 8 Intensive 1/2 pg 5
8 9 10 11 12 13 14 Intermediate Premiere Directing Music Videos Intro to AE 1/2 pg 33 Directing Music Videos Intro to AE 2/2 pg 33 Intro to Location Sound Pro pg 32 1/2 pg 9 Producing Dramatic 2/2 pg 9 Producing Dramatic Recording pg 21 Film 1/2 pg 13 Film 2/2 pg 13 Intro to DaVinci Class B pg 27
15 16 17 18 19 20 21 Script Supervision Camera Assisting Starting a Production Telecine: Film to Video Starting a Production Super 8MM Filmmaking pg 16 pg 24 Company 1/2 pg 12 Transfer pg 29 Company 2/2 pg 12 Intensive 2/2 pg 5 Digital Workflows HD and RAW pg 28 22 23 24 25 26 27 28 Adobe Creative Suite Blackmagic Cinema Inter AE 1/2 pg 33 RED Epic Camera Inter AE 2/2 pg 33 Editing Aesthetics pg 31 Camera pg 25 Production Manage- pg 26 Production Manage- pg 26 ment 1/2 pg 15 ment 2/2 pg 15
29 30 Documentary Editing Timelapse Techniques pg 28 pg 21
December SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 5 Script Coordinating Worldbuilding for Story Editing Essentials Bolex 16MM Cameras pg 16 Storytellers 1/2 pg 11 pg 7 pg 24 Data Management pg 17
6 7 8 9 10 11 12 Hand Processing Distribution Strat for Producing Screen Worldbuilding for Producing Screen Intro to Interactive Film B/W Film pg 30 Shorts pg 15 Content 1/2 pg 12 Storytellers 2/2 pg 11 Content 2/2 pg 12 and Video pg 34 Oxberry 1700 1/2 pg 29 Intro to FCP X 1/2 pg 31 Inter DaVinci 1/2 pg 27 Intro to FCP X 2/2 pg 31 Inter DaVinci 2/2 pg 27 Voice-Over Tech pg 23
13 14 15 16 17 18 19 Hand Processing Websites for Artists 1/2 Essential to Flm Scoring Websites for Artists 2/2 Multi-Platform Colour Film pg 30 pg 34 pg 22 pg 34 Storytelling pg 14 Oxberry 1700 2/2 pg 29 Intro to Post-Produc- tion Sound pg 22
20 21 22 23 24 25 26
27 28 28 30 31
20 Production Fall 2015 lift Workshops
LIGHTING FUNDAMENTALS CREATIVE LIGHTING
Schedule: Schedule: • Saturday October 24, 10am–6pm • Saturday October 31, 10am–6pm
Cost: Cost: • Members $95 • Members $95 • Non-members $115 • Non-members $115 • Enrolment is limited to 8 • Enrolment is limited to 8
This introductory class is an essential first step for those who want to This workshop will cover advanced lighting for filmmakers, cinema- learn the basic techniques of lighting for film and video. In this theory tographers and gaffers and will take you deeper into the artistic and hands-on class, participants will learn about different types of expression of lighting. Scenes and scenarios will be deconstructed lights, their sources and applications; power basics for lights; the prin- and recreated through hands-on exercises, to achieve a specific visual ciples of light including colour temperature; establishing the style and aesthetic for creative storytelling. Participants will explore dramatic logic of your lighting approach; and the essentials of light metering, lighting techniques for interior and exterior, night and day, static and gels and diffusion. This workshop is an essential foundation for anyone moving subjects, actors and locations. Daylight and fixtures, soft and interested in the art of lighting. hard light concepts, as well as all the peripheral lighting tools will used to shape and control the look and feel of your picture. This is an Camera Theory is strongly recommended as a prerequisite to this class. This opportunity to understand the many tools in your palette and the course is recommended as a companion to the Cinematography Fundamen- valuable hands-on trial and error. tals workshop. Participants are asked to bring work gloves to the workshop. The Camera Theory and Lighting Fundamentals workshops are required as Instructor: prerequisites to this class. This course is recommended as a companion to the Andrea Cuda is a Cinematographer who studied at York University’s Cinematography Fundamentals workshop. Participants are asked to bring competitive Film program. Over the course of his four year degree, work gloves to the workshop. Andrea’s work has contributed to countless short films in both the narrative and documentary fields, several of which have seen success at Instructor: festivals in Canada and internationally. Andrea himself was recognized TBA with the 2012 Best Cinematography award at Toronto’s Cinesiege festival, for one such film. Since his time at York, he has gained exten- sive 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 Fall 2015 lift Workshops Production / Audio 21
TIMELAPSE TECHNIQUES INTRODUCTION TO LOCATION SOUND RECORDING
Schedule: Schedule: • Monday November 30, 6pm–10pm • Saturday November 14, 10am–6pm
Cost: Cost: • Members $55 • Members $95 • Non-members $75 • Non-members $115 • Enrolment is limited to 8 • Enrolment is limited to 8
Explore the expressive and creative possibilities of timelapse, the ever- Learn the basics of location sound recording in this workshop that popular and seemingly ubiquitous visual time reduction technique in covers foundational theory and hands-on practice. This workshop will this lecture-based and practical workshop. Filmmaker James Buffin take you through professional recording techniques and the respon- will present the fundamental principles behind timelapse animation sibilities of the sound team. Learn the operation of LIFT’s recorders, which will allow you to greatly improve your footage whether you use microphones and mixers. By far the biggest technical shortcoming of analogue or digital cameras. Time will also be spent addressing how to many videos and independent films is the sound. Give your project a incorporate camera movement into your animations. boost with this workshop covering one of the most important jobs on set. Camera Theory is strongly recommended as a prerequisite to this class. Instructor: Instructor: Elinor Svoboda is a Toronto based filmmaker and sound technician. James Buffinhas been working in the film and television industry She has worked in field audio and post production sound for the past 6 for 23 years across Canada and in New Zealand. His first dramatic years within the television, film and the commercial industry. She has film, The Stone Skipper (1999), was developed at the Canadian Film also written and directed several short science fiction films and the Centre’s TV Drama Programme and broadcast on CBC and the Grammy nominated documentary, Tegan and Sara Get Along: India. Sundance Channel, New Zealand. James is currently working on four documentaries: Jingle Dress about a family healing from Residen- tial school trauma; Chasing with Heart about a Nebraska storm chase team; Paradise Tsunami about survivors of the 2009 Pacific tsunami and his most recent project, Dear Bini, a personal film set in Indonesia. James is currently a board member of the Documentary Organization of Canada’s Toronto chapter and regularly writes for POV Magazine. Sharing his experiences through teaching is one of his passions. www.vpics.ca 22 Audio Fall 2015 lift Workshops
INTRODUCTION TO POST-PRODUCTION SOUND ESSENTIALS TO FILM SCORING FOR FILMMAKERS AND PRODUCERS
Schedule: Schedule: • Monday December 14, 6pm–10pm • Tuesday December 15, 6pm–10pm
Cost: Cost: • Members $55 • Members $55 • Non-members $75 • Non-members $75 • Enrolment is limited to 12 • Enrolment is limited to 12
This introductory class is a must for filmmakers and producers who Music is the subtext of your project and is a powerful storytelling tool want to familiarize themselves with the post-production sound that can enhance and transform a film, but the process of finding the process. Sound-editor, designer and re-recording mixer George Flores perfect music is for many directors defying. Through film screenings, will review the following topics and address participants’ questions lectures and group discussions this one-evening workshop will focus about post-production sound. on how to use your music skills (whether or not you play music), and how to present and direct musical ideas to the music team, for efficient • What are the mix formats (surround 5/1, stereo, mono, etc.) filmmaking. Participants will learn what are common pitfalls to watch and the differences between them? out for and what are the creative solutions for making original film • What equipment is needed for professional sound post? scores. • How to get the film sound from video edit to sound post. • What are the main sound post disciplines? This course is recommended as a companion to the Introduction to Post- • Final output and deliverables. Production Sound workshop.
This course is recommended as a companion to the Essentails to Film Scoring Instructor: workshop. Bob Wiseman is a composer, music producer and singer songwriter who’s had a front row seat since 1984 to the action adventure film Instructor: otherwise known as the music business. His first professional scoring George Flores is a Toronto-based Sound Editor, Designer, and engagement was a CBC sitcom called Material World (1992) and if Re-Recording Mixer with over 30 years of professional sound post there was a Gemini award for worst music in a sitcom he should have experience and expansive credits, including: 35 feature films in won it. Subsequently he focused on orchestration, soundscapes and Surround Sound 5/1, over 300 hours of television programming, experimental music along the way studying with Fred Stone (The several AAA console video games, and a myriad of corporate, documen- Duke Ellington Orchestra), Darwin Aitken and Governor General tary, and multi-media productions. As an internationally recognized Winner John Oswald. professional, George Flores is a member of the Cinema Audio Society, www.bobwiseman.ca the Motion Picture Sound Editors association, the Canadian Academy of Cinema and Television and SOCAN, and a past Emmy award nominee. George combines exceptional technical skill, artistry, and commitment to fulfill directorial ‘sound vision’. www.georgefloressound.com Fall 2015 lift Workshops Audio / Cameras 23
VOICE-OVER TECHNIQUES CAMERA THEORY
Schedule: Schedule: • Saturday December 12, 10am–6pm Class A • Tuesday October 6, 6pm–10pm Cost: • Thursday October 8, 6pm–10pm • Members $95 • Non-members $115 Class B • Enrolment is limited to 8 • Tuesday October 20, 6pm–10pm • Thursday October 22, 6pm–10pm
Cost: • Members $75 • Non-Members $95 • Enrolment limited to 12
The world of professional voice-over is one of the most important parts Camera Theory provides a foundation for working with all types of of the entertainment and corporate industries. However, it is often cameras. Whether you are interested in shooting film, video or digital misunderstood and in some cases, unappreciated. The reason for this cinema, learn the basics of camera operation that will allow you to is that you are rarely seen, only heard. Very few people realize that approach any camera with confidence. Topics include: camera compo- voice-over is a multibillion dollar industry. This hands-on workshop nents, lenses, exposure, f stops, aperture, light metering, depth of is a detailed introduction into the voice-over industry. It is highly field, aspect ratio and more. recommended for beginners who are stepping into the voice-over world for the first time and are looking to take their work to the next level. It Camera Theory is a foundational course and is necessary as a prerequisite covers the three main areas of voice-over performance: commercial, for many of our camera based and cinematography-focused workshops. animation and narration as well as trailers, promos, imaging, on-hold This course is recommended as a companion to Directing Dramatic Film, messaging and more. Learn proper voice-over techniques, ways to Cinematography Fundamentals, Lighting Fundamentals and all our Camera quickly hone in on important elements of a script, recording studio workshops. procedures, voice-over demos, agents, marketing, home studios and more. Dave McRae shares his professional insight, knowledge and Instructor: experience to help you gain a better understanding of the reality you’re Class A and B: facing. He’ll tell you how to stand out and how to Know Your Voice. TBA
Instructor: Dave McRae is a Professional Voice Artist based in Toronto. With more than 15 years of experience he is one of Canada’s leading voice talents. Dave’s amazing range and bang on delivery has been heard in hundreds of Radio and Television Commercials, Network Promos, Movie and Game Trailers, Corporate Presentation and Training videos and more. Heard Nationally as the Narrator of Four Weddings Canada, the Commercial and Promo voice for The Real Housewives of Vancouver, the Network Promo and Imaging voice for the adventure channel’s Travel and Escape and as the announcer for Scene Card in Cineplex theatres. Dave’s voice has also been heard in Commercials and Promos for Big Brother Canada, My Teenage Wedding, Restaurant Stakeout, The Shop- ping Channel, Sun News, Cineplex Movies, Toyota, GM, Rogers, Slice, Honda, TSN, DELL and the LCBO. Additional clients include Hasbro, Time Warner, Warner Brothers, Nelvana, CBC, Corus Entertainment, Nestle, Shaw Media and more. Alongside his voice over career, Dave is also an independent filmmaker and award winning actor. www.davemcrae.ca | www.thevoicemann.com 24 Cameras Fall 2015 lift Workshops
CAMERA ASSISTING BOLEX 16mm CAMERAS
Schedule: Schedule: • Monday November 16, 6pm–10pm • Saturday December 5, 10am–6pm
Cost: Cost: • Members $55 • Members $95 • Non-members $75 • Non-members $115 • Enrolment is limited to 8 • Enrolment is limited to 8
An important role in itself, camera assisting offers an opportunity to The Bolex is LIFT’s smallest, lightest and most affordable 16mm/S16mm work with professional cinematographers. Using LIFT’s digital Sony camera. The Bolex provides a great introduction to shooting on film, F3 camera learn the theory and practice of camera assisting in this offering simplicity for beginner filmmakers and more advanced features one evening intensive workshop. Participants will learn lens testing, for the experienced camera user. With the spring wind there are no camera setup, labeling, slating, focus pulling, as well as on set proto- batteries involved for basic operation, but optional motors, intervalo- cols for digital cameras. With this hands-on introductory workshop, meter, and matte boxes make everything possible. The iconic camera for participants will have time to build, operate and break down a camera experimental and independent film, the Bolex is an imaging power- setup, to practice some of the duties of a camera assistant and put house. During this class you will also shoot a short test to view after it aspects of cinematography theory into practice. 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. This course is recommended as a companion to The Camera Theory workshop or equivalent experience is required as a Blackmagic Cinema Camera and RED Epic Camera workshops. prerequisite to this workshop.
Instructor: Instructor: Tyler Shoemaker started shooting basic photography on polaroid Marcos Arriaga was born in Lima, Peru. He graduated from San around the age of 10, before advancing to 35mm still SLR. At age 18, Martin de Porres University in Lima with a Bachelor’s Degree in he shot and directed his own film which won best film at the Toronto Communications in 1985. Marcos worked as a journalist and photogra- International Film Festival (Sprockets). Tyler is a graduate from the pher for the daily newspaper Marka, and the weekly magazine Amauta. University of Windsor with a BA in Communications, Media and Film, He immigrated to Canada in 1987 and graduated from the Sheridan as well as Sheridan College’s Advanced Television and Film program. College Media Arts Film Program in 1995. He earned a Master of During this time he was awarded a recognition by Parliament for a Fine Arts in Film Production at York University in 2003. Marcos has short documentary, on people living with HIV and AIDS and the social completed eight short films and a medium long documentary, which stigma surrounding it. Tyler now works as a freelance 1st and 2nd have been shown widely in Canada and internationally. He also recently camera assistant on feature films, commercials/corporate and music completed his first feature length documentary Looking for Carmen. videos. He is also an IATSE 873 grip and electric permit. www.marcosarriaga.com Fall 2015 lift Workshops Cameras 25
BLACKMAGIC CINEMA CAMERA DSLR CAMERAS FOR VIDEO
Schedule: Schedule: • Monday November 23, 6pm–10pm • Sunday October 25, 10am–6pm
Cost: Cost: • Members $55 • Members $95 • Non-Members $75 • Non-members $115 • Enrolment limited to 8 • Enrolment is limited to 8
After years of being the forerunner for all digital formats through DSLR continues to democratize filmmaking with low cost and high their post-production systems such as DaVinci Resolve and state-of- quality images. Bring your own camera to explore the possibilities the-art video cards, Blackmagic Design, formally a post-production of DSLR video. This workshop focuses on incorporating DSLR video software and hardware developer, decided to go to the next logical into your film project. Technical, creative and logistical questions will step: to bring a powerful, yet budget friendly camera into the digital be addressed as well as the practicality and efficiency of accessories cinema marketplace—the Blackmagic Cinema Camera. such as an external monitor, matte box and follow focus. Also up for This new and revolutionary camera with its 2.5K resolution sensor discussion will be strategies for managing iris settings and shutter offers 13 stops of dynamic range and can hold most Canon DSLR speeds—and what to do if you also want to shoot stills. lenses. Sporting a powerful processing unit, it can deliver your choice of glorious 12-Bit RAW CinemaDNG in a 4:4:4 color space, or 10-bit The Camera Theory workshop or equivalent experience is required as a ProRes/DNxHD in 4:2:2. Utilizing solid-state hard drives as media prerequisite to this workshop. Participants must bring their own video storage, cinematographers can now seamlessly integrate their footage capable DSLR camera for this class. LIFT will not be providing cameras. with Blackmagic’s own DaVinci Resolve colour correcting software Participants are expected to know how to put their camera into full manual thus offering one of the most flexible file-based workflows. During mode and know how to manually adjust shutter, iris, aperture and colour this intensive hands-on workshop, participants will explore the temperature settings ahead of the workshop. Exploring the creative choices features of this powerful camera and workflow, as well as the flexible enabled by these settings will be covered in the workshop, so knowing how rigging options that can be customized to suit a wide variety of to access these settings is all that is necessary. stylistic approaches to cinematography. Instructor: The Camera Theory workshop or equivalent experience is required as a James Buffinhas been working in the film and television industry prerequisite to this workshop. This course is recommended as a companion for 23 years across Canada and in New Zealand. His first dramatic to the RED Epic Camera, Digital Workflows HD and RAW, Data Manage- film, The Stone Skipper (1999), was developed at the Canadian Film ment and Introduction to Digital Colour Grading with DaVinci Resolve Centre’s TV Drama Programme and broadcast on CBC and the workshops. Sundance Channel, New Zealand. James is currently working on four documentaries: Jingle Dress about a family healing from Residen- Instructor: tial school trauma; Chasing with Heart about a Nebraska storm chase Jorge Manzano formed Nepantla Films in 1994. Nepantla is a team; Paradise Tsunami about survivors of the 2009 Pacific tsunami Nahuatl word that describes living between worlds and identities, and and his most recent project, Dear Bini, a personal film set in Indonesia. celebrates the diversity of society. His award winning films, City of James is currently a board member of the Documentary Organization Dreams (1994) and Johnny Greyeyes (2000) screened at the Sundance of Canada’s Toronto chapter and regularly writes for POV Magazine. Film Festival in 1999 and 2000. In addition to producing, writing and Sharing his experiences through teaching is one of his passions. directing, Jorge has lensed several documentary films in the last two www.vpics.ca years on the Black Magic Cinema Camera. His current documentary, The Water Guardians was filmed in the Mapuche communities of Southern Chile who are fighting for autonomy, ancestral land rights and cultural re-vindication. 26 Cameras / Post-Production Fall 2015 lift Workshops
RED EPIC CAMERA EDITING AESTHETICS
Schedule: Schedule: • Wednesday November 25, 6pm–10pm • Saturday November 28, 10am–6pm
Cost: Cost: • Members $55 • Members $95 • Non-members $75 • Non-members $115 • Enrolment is limited to 8 • Enrolment is limited to 12
The latest addition to LIFT’s digital cinema equipment, the RED Epic, Editing aesthetics is more art than science, but there are some basic is a workhorse of the digital production industry. The followup to the rules and techniques to editing that will help you tell a better story. revolutionary RED One, the RED Epic offers 5K RAW image capture This lecture-based class is an introduction to the creative aspects of with outstanding colour science and a vast array of post production picture editing, and is designed to teach why and how edits work. The options. During this hands-on workshop, participants will explore workshop includes a history of editing, and examples from feature the features of the camera and its different recording formats. The films as well as short and long-form documentaries. Learn how edits workshop will discuss strategies for digital light metering and the are designed to elicit emotional responses, how to make effective process of exposing to achieve a strong digital negative that allows shot transitions, construct sequences, work with storyboards, create for the most versatility when colour grading. scenes that better engage an audience in your story and how to log and organize your material for effective editing. The Camera Theory workshop or equivalent experience is required as a prerequisite to this workshop. This course is recommended as a companion to This course is recommended as a companion to the Directing Dramatic Film, the Blackmagic Cinema Camera, Digital Workflows HD and RAW, Directing Documentary and Documentary Editing workshops. Data Management and Introduction to Digital Colour Grading with DaVinci Resolve workshops. Instructor: Mark Stokes is a Toronto-based documentary editor who works Instructor: primarily on a variety of documentary television series. He has also Ian Carleton is a Toronto based cinematographer. He has been contributed to feature films, short films and music videos. Much of working with RED cameras since they first were introduced to Canada his work is currently airing on National Geographic, CBC, Discovery in 2008. His independent works focus on character driven stories, Channel, NFB, W Network, OMNI and Slice Network. shot on location in Ontario, Canada. They draw inspiration from their settings and tell stories of the environment in which they take place. www.iangcarleton.com Fall 2015 lift Workshops Post-Production 27
INTRODUCTION TO DIGITAL COLOUR GRADING INTERMEDIATE DIGITAL COLOUR GRADING WITH DAVINCI RESOLVE WITH DAVINCI RESOLVE
Schedule: Schedule: Class A • Tuesday December 8, 6pm–10pm • Saturday October 24, 10am–6pm • Thursday December 10, 6pm–10pm
Class B Cost: • Saturday November 14, 10am–6pm • Members $125 • Non-members $145 Cost: • Enrolment is limited to 6 • Members $125 • Non-members $145 • Enrolment is limited to 6
With the boom of digital cinematography over the past decade, digital This intermediate workshop builds on the material covered in the colour grading has become an integral part of the post-production Introduction to Digital Colour Correction Workshop and continues pipeline. Software like DaVinci Resolve has leveraged the power the exploration of the RED 5k RAW and ARRI Alexa workflow, of more efficient computer systems with decades of colour timing utilizing the full extent of RAW information available from each experience. This introductory course covers everything from initial camera, and the elevation of your visuals to the next level in DaVinci conform, dailies preparation, raw colour grading, and final export Resolve software. for various NLE softwares. We will do an in depth look at the RED 5k RAW and ARRI Alexa workflow, which will enable you to utilize the Introduction to Digital Colour Grading with DaVinci Resolve is required as full extent of RAW information available from each camera, and take a prerequisite to this workshop. This course is recommended as a companion your visuals to the next level with DaVinci Resolve. to the Blackmagic Cinema Camera, RED Epic Camera, Digital Workflows HD and RAW, Data Management and Introduction to DaVinci Resolve This course is recommended as a companion to the Blackmagic Cinema workshops. Each participant works at an individual Resolve Lite station. Camera, RED Epic Camera, Digital Workflows HD and RAW and Data Students must be familiar with the Mac interface. Management workshops. Each participant works at an individual Resolve Lite station. Students must be familiar with the Mac interface. Instructor: Trevor Lewis is a Toronto based freelance colourist with exten- Instructor: sive experience in the area of film production and post. He earned Class A and B: a Degree in Film Studies & Law from Carleton University and a Scott McIntyre is a Toronto based cinematographer/colourist who diploma specializing in the area of Film and Television production uses digital cinema, and motion graphics to create cinematic content from Humber College. For ten years Trevor was employed at Deluxe for web and tv. After graduating from the Media Arts program at Toronto in the picture department and earned many credits in Sheridan College three years ago, Scott started working for interac- numerous feature films. As a colourist he enjoys collaborating with tive production company Asylum Artists. During his time at Asylum, clients to ensure that their aesthetic visions are achieved. Scott worked with such clients as Gillette, Pedigree, Budweiser, Heineken, and AIR MILES. His 2009 CSC Award Nomination for the short film Solace, was his first taste of industry recognition, and was followed up with two consecutive Applied Arts wins for interactive exhibits curated during Scotiabank’s CONTACT Photo Festival in 2010-11. Now freelance, he’s working with production companies and ad agencies to create content for brands like Campbell’s, Mr.Big, Temptations, and Tim Hortons that is pushing how people look at media, and changing the medium itself. www.smakstudios.com 28 Post-Production Fall 2015 lift Workshops
DOCUMENTARY EDITING DIGITAL WORKFLOWS HD AND RAW
Schedule: Schedule: • Sunday November 29, 10am–6pm • Saturday November 21, 10am–6pm
Cost: Cost: • Members $95 • Members $125 • Non-members $115 • Non-members $145 • Enrolment is limited to 6 • Enrolment is limited to 6
The editor plays a key role in the creation of a documentary. Learn With the rise of digital filmmaking one must consider the workflow how to wield that power wisely in this intensive lecture course with from pre-production to delivery. Expand your understanding with this an industry professional. Topics covered include how to organize hands-on course to help plan your shoot, the digital project assembly your footage, paper edit and structure a story line without being and required delivery. Learn how to undertake a workflow that includes intimidated by large volumes of material. Learn how to use the tools transcoding dailies, applying LUTs, creating proxy files, conforming of editing for psychological effects, shape the visual and rhythmic flow camera RAW footage using XML files, applying basic colour timing of the film, and balance verbal and visual content. Students will be and delivering diverse formats. An overview of industry formats such encouraged to discuss their own projects. as the different HD and RAW, including RED’s R3D and Blackmagic/ Adobe’s DNG formats will be demonstrated. This is not an introductory level workshop. Participants should understand non- linear editing software basics. This course is recommended as a Basic camera and editing skills are recommended as prerequisites. This companion to the Editing Aesthetics and Directing Documentary Film course is recommended as a companion to the RED Epic Camera, Blackmagic workshops. Cinema Camera, Data Management and Introduction to Davinci Resolve workshops. Each participant works at an individual iMac station. Students Instructor: must be familiar with the Mac interface. Tina Hahn is a producer, director and editor of documentaries that incorporate creativity, health and the environment with a multi- Instructor: cultural perspective. She was nominated for two Gemini awards for Arthur Ditner is a Workflow Producer at Bling Digital. He designs producing and editing Life’s A Twitch which won the coveted Golden Post Production workflows for network television series utilizing the Sheaf at the Yorkton Film Festival. She directed and produced the latest digital cinema cameras from Arri, RED, Sony, and Panasonic. first season of the series, Heart of a Poet, and was awarded an Honor- His most recent credits include: Constantine (NBC), The Originals(CW), able Mention as Best Feature Documentary at the ReelHeart Film Containment (CW), Being Mary Jane (BET), Point of Honor (Amazon/ Festival for How Come You Walk Funny? Her feature documentary ABC), and Rectify (Sundance). about cycling and sustainable transportation entitled Tales of a Yellow Bike screened at international festivals from China to Israel. Most recently, she was picture editor on Patron Saint which premiered at the Reel Artists Film Festival 2015. Fall 2015 lift Workshops Post-Production / Creative Practises 29
TELECINE: FILM TO VIDEO TRANSFER OPTICAL PRINTING WITH THE OXBERRY 1700
Schedule: Schedule: • Wednesday November 18, 6pm–10pm • Sunday December 6, 12pm–4pm • + 2 hours work time • Sunday December 13, 12pm-4pm • + 8 hours work time Cost: • Members $55 Cost: • Non-members $75 • Members $95 • Enrolment is limited to 6 • Non-members $115 • Enrolment is limited to 4
Learn how transfer film to video using LIFT’s custom film to video Welcome to the world of the Oxberry 1700 optical printer! This preci- transfer system. Set up projectors for transfer, splice and fix broken or sion instrument was a film industry workhorse not so long ago, when weak film, load and run projectors and troubleshoot problems on LIFT’s mattes, dissolves, split-screens, etc. were always done the optical way. Super 8mm, Regular 8mm and 16mm transfer projectors. Participants A step up from the JK printer, the Oxberry is capable of producing learn to transfer film to tape or hard drive with LIFT’s video capture an amazing range of optical effects in 16mm or 35mm. This course system, adjusting the image to achieve the optimum exposure, framing will introduce the student to the Oxberry 1700 step by step, covering and gauging the speed of the original source. the basic functions of the camera and computer controller, as well as techniques for arriving at precise exposures and balanced colour filter Free work time must be used before Friday December 18, 2015. Non- packs, fades, dissolves, multiple exposures and step-printing. Whether members must use their practice time during LIFT office hours (Monday– you’re working in 16mm or 35mm, this machine can do it all, and this Friday 10am–6pm). workshop will show you how.
Instructor: The Camera Theory workshop and/or prior optical printing experience are Based in Toronto, Canada, Karl Reinsalu is a “do-it-yourselfer” with strongly recommended as a prerequisite. Free practice time credit must be expertise in analog film techniques and a graduate of Humber College’s used before Friday December 18, 2015. Non-members must use their prac- Film and Television Program. Since 2006, Karl has had the opportu- tice time during LIFT office hours (Monday-Friday, 10am-6 pm). nity to experiment and hone his craft by helping his fellow artists in his role as Technical Coordinator for the Liaison of Independent Instructor: Filmmakers of Toronto. Chris Gehman is a filmmaker, arts administrator, and critic based in Toronto. His filmRefraction Series was composed on the Oxberry 1700; it premiered at the 2008 Toronto International Film Festival, and won an award at the 2009 Ann Arbor Film Festival. Other films include Rostrum Press: Materials Testing (2008) and the award-winning Contra- facta (co-directed with Roberto Ariganello, 2000). 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 has written extensively on experimental film and media arts, and edited the LIFT/Images Festival publication Explosion in the Movie Machine: Essays and Documents on Toronto Artists’ Film and Video (2013). 30 Creative Practises Fall 2015 lift Workshops
HAND PROCESSING HAND PROCESSING COLOUR FILM BLACK AND WHITE FILM
Schedule: Schedule: • Sunday December 6, 10am–6pm • Sunday December 13, 10am–6pm • + 4 hours work time • + 4 hours work time
Cost: Cost: • Members $115 • Members $135 • Non-members $135 • Non-members $155 • Enrolment is limited to 4 • Enrolment is limited to 4
Take your footage into the darkroom and process it yourself in this This hands-on workshop will teach you how to process colour reversal introduction to hand processing and darkroom practices. In this motion picture film stock in E6 chemistry, using various techniques workshop, you will be shooting black and white motion picture reversal including the Russian hand processing tanks and the “bucket” method. film. This film stock is extremely versatile, allowing film to go from Participants will shoot some 16mm colour stocks using a Bolex and camera to projector, skipping the expensive stage of printing from then put the processing techniques into practice. You will then view negative. Gain control over your workflow in this one-day intensive, the footage that you processed, look at other films that were hand and take advantage of the provided darkroom time to process your processed and further discuss the aesthetics and techniques of hand footage. This workshop includes all film, darkroom chemistry, and processing. This workshop includes all film, darkroom chemistry and supplies for use during the workshop. supplies.
The Camera Theory workshop is recommended as a prerequisite. All The Camera Theory and Hand Processing Black and White Film workshops equipment and facilities credits must be used by Friday December 18, 2015. are strongly recommended as prerequisites. All equipment and facilities Facilities must be used during LIFT office hours (Monday-Friday, 10am- credits be used by Friday December 18, 2015. Facilities time must be used 6pm). Chemistry for practice time is subject to availability, participants may during LIFT office hours (Monday-Friday, 10am-6pm). Chemistry for have to purchase their own from the LIFT store. practice time is subject to availability, participants may have to purchase their own from the LIFT store. Instructor: Sylvain Chaussée is a filmmaker and photographer based in Toronto. Instructor: He studied photography in France at École des Beaux-Arts, as well Sylvain Chaussée is a filmmaker and photographer based in Toronto. as film production at Concordia University in Montreal. His photo- He studied photography in France at École des Beaux-Arts, as well graphs and film installations have been shown in galleries in Europe. as film production at Concordia University in Montreal. His photo- Currently, he works at Niagara Custom Lab in Toronto, mastering the graphs and film installations have been shown in galleries in Europe. processing and printing of all motion picture film. His work is based on Currently, he works at Niagara Custom Lab in Toronto, mastering the experimentations with a variety of processing and printing techniques. processing and printing of all motion picture film. His work is based on he draws inspiration from the abstractions in everyday life, focusing experimentations with a variety of processing and printing techniques. on repetitive patterns, moving forms and natural light. he draws inspiration from the abstractions in everyday life, focusing sylvainchaussee.tumblr.com on repetitive patterns, moving forms and natural light. sylvainchaussee.tumblr.com Fall 2015 lift Workshops Digital Tools, Animation and Interactivity 31
INTRODUCTION TO FINAL CUT PRO X ADOBE CREATIVE SUITE
Schedule: Schedule: • Monday December 7, 6pm–10pm • Sunday November 22, 10am–6pm • Wednesday December 9, 6pm–10pm Cost: Cost: • Members $125 • Members $125 • Non-members $145 • Non-members $145 • Enrolment is limited to 6 • Enrolment is limited to 6
With each student working on their own iMac in LIFT’s digital media This workshop is designed for participants who have a basic compre- lab, this hands-on workshop gives participants a basic understanding hension of Adobe Premiere Pro, After Effects, Photoshop and Audition, of digital editing using this powerful software. The course takes and are looking for further understanding of the expressive potential you through the process of capturing video and audio, editing and when working with the four programs together. manipulating your image, adding titles and mastering your short video for export. Explore the possibilities of Final Cut Pro X. Photoshop to After Effects Participants will learn how to create a 2.5D animation in After Effects This course is recommended as a companion to the Editing Aesthetics using still images, manage Photoshop layers and optimize files, create workshop. Each participant works at an individual iMac station with Final advanced motion and key framing, build 3D models and sets, use 3D Cut Pro X. Students must be familiar with the Mac interface. cameras, lights, parent layers, puppet tool, as well as render and export.
Instructor: Premiere Pro to After Effects Guillermina Buzio holds a BFA from the National University of Learn how to bring Premiere Pro files into After Effects and take Fine Arts (Argentina), a Bachelor of Media Arts from the Emily Carr advantage of Dynamic Link to composite footage, tint and colour Institute of Art & Design, and an MFA from OCAD University. Her balance, create filmic looks, relight a shot using artificial lights, use work focuses on identity and human rights through a diverse mediums advance motion and key framing, create dynamic titles, motion including video installation and performance. Her pieces have tracking, render and export. screened in festivals and exhibitions nationally and internationally. Recently, Buzio has curated screenings for The Museum of Modern Art Premiere Pro and Audition (Buenos Aires), BIM (Bienal de Arte en Movimiento) and the Experi- Using Multitrack Editor and Waveform Editor learn how to open mental Media Congress. Guillermina teaches video workshops for selected clips or a multi track session in Audition for audio editing, youth and queer Latinos in Toronto, Colombia, Venezuela and Mexico. mixdowns and final export to a single mono, stereo, or 5.1 file. www.guillerminabuzio.com Basic knowledge of Premiere Pro and Photoshop are required. Each partici- pant works at an individual iMac station. Students must be familiar with the Mac interface.
Instructor: Joe Hambleton was born in Windsor, Ontario and is now an emerging artist based in Toronto. He is a graduate of the University of Windsor and York University where he received his MFA in visual arts. He creates video installations to explore how the medium can be used as a narra- tive device for the autobiography. His work has been shown in North America, Europe and Asia. He currently teaches courses in Digital Media at York University and Toronto School of Art. www.joehambleton.com 32 Digital Tools, Animation and Interactivity Fall 2015 lift Workshops
INTRODUCTION TO PREMIERE PRO INTERMEDIATE PREMIERE PRO
Schedule: Schedule: Class A • Sunday November 8, 10am–6pm • Sunday October 4, 10am-6pm Cost: Class B • Members $125 • Sunday October 18, 10am–6pm • Non-members $145 • Enrolment is limited to 6 Cost: • Members $125 • Non-members $145 • Enrolment is limited to 6
Ideal for those running Adobe Premiere Pro on their home computer or This workshop is designed for participants who have a basic compre- anyone looking to start learning non-linear editing. In this hands-on hension of Adobe Premiere Pro and are looking for a more in-depth workshop participants will learn step-by-step video editing from understanding of what is possible with the program. Learn how to import to export. Learn how to create a project for HD or SD, capture capture and transfer advanced formats, mix formats, incorporate footage, organize assets, apply basic editing techniques, add audio and still images, use advanced motion and key framing, create titles, use video transition effects, create titles, colour correct and audio mix. This adjustment layers, effectively use video filters and effects, and utilize workshop also discusses techniques for exporting your finished edit to colour correction tools. Participants will learn how to customize disc, tape, and a variety of digital formats. their keyboards and hot keys, explore markers, sub-clip and sync dual system footage, utilize advanced multi-cam editing techniques This course is recommended as a companion to the Editing Aesthetics and efficiently, work with audio (levels, filters and different formats) and Intermediate Premiere Pro workshops. Each participant works at an export for Pro Tools. individual iMac station. Students must be familiar with the Mac interface. Introduction to Premiere Pro workshop or prior experience with Premiere Pro Instructor: is required as a prerequisite to this workshop. Each participant works at an Class A and Class B individual iMac station. Students must be familiar with the Mac interface. Joe Hambleton was born in Windsor, Ontario and is now an emerging artist based in Toronto. He is a graduate of the University of Windsor Instructor: and York University where he received his MFA in visual arts. He creates Joe Hambleton was born in Windsor, Ontario and is now an emerging video installations to explore how the medium can be used as a narra- artist based in Toronto. He is a graduate of the University of Windsor tive device for the autobiography. His work has been shown in North and York University where he received his MFA in visual arts. He creates America, Europe and Asia. He currently teaches courses in Digital video installations to explore how the medium can be used as a narra- Media at York University and Toronto School of Art. tive device for the autobiography. His work has been shown in North www.joehambleton.com America, Europe and Asia. He currently teaches courses in Digital Media at York University and Toronto School of Art. www.joehambleton.com Fall 2015 lift Workshops Digital Tools, Animation and Interactivity 33
INTRODUCTION TO AFTER EFFECTS INTERMEDIATE AFTER EFFECTS
Schedule: Schedule: • Tuesday November 10, 6pm–10pm • Tuesday November 24, 6pm–10pm • Thursday November 12, 6pm–10pm • Thursday November 26, 6pm–10pm
Cost: Cost: • Members $125 • Members $125 • Non-members $145 • Non-members $145 • Enrolment is limited to 6 • Enrolment is limited to 6
After Effects is a digital animation tool with a range of possibilities that Take your animation to the next level in this intermediate class is virtually limitless. After Effects allows users to animate, alter, and exploring After Effects. Topics include masking and reflections, roto- composite media in 2D and 3D space with various built-in tools and third scoping, compositing, motion and keyframes. Bring in your own proj- party plug-ins. When used with Avid, Final Cut Pro, Photoshop, Illus- ects and customize the workshop to explore topics of interest to you. trator and other software, filmmakers can use After Effects to alter and enhance video images. Learn the basic operations of this powerful soft- Introduction to After Effects or prior After Effects experience is required as a ware in this intensive introductory session. prerequisite to this workshop. Each participant works at an individual iMac station. Students must be familiar with the Mac interface. Each participant works at an individual iMac station. Students must be familiar with the Mac interface. Instructor: Ian Tucker was born and raised on the island of Bermuda. At age 19 Instructor: he left the island for Toronto to attend the Ontario College of Art and Ian Tucker was born and raised on the island of Bermuda. At age 19 Design. After art school Ian returned to Bermuda to work for a small he left the island for Toronto to attend the Ontario College of Art and local production company. It was so small in fact that on most shoots, Design. After art school Ian returned to Bermuda to work for a small Ian ended being, not only the grip and gaffer, but also the camera local production company. It was so small in fact that on most shoots, operator, make up artist, wardrobe wrangler, editor and compositor. Ian ended being, not only the grip and gaffer, but also the camera Ian shot and edited numerous commercials, television shows and operator, make up artist, wardrobe wrangler, editor and compositor. Ian corporate videos, honing his shooting and editing skills. Since moving shot and edited numerous commercials, television shows and corporate back to Toronto Ian has continued to work on a wide variety of videos, honing his shooting and editing skills. Since moving back to projects and is constantly challenging himself by taking on work that Toronto Ian has continued to work on a wide variety of projects and is sometimes test his limits. He has directed work for several companies constantly challenging himself by taking on work that sometimes test around the city, including ADMG Communications, Aludra, Freedom his limits. He has directed work for several companies around the city, Films, Heroic Film Company, Cuppa Coffee Studios. And even though including ADMG Communications, Aludra, Freedom Films, Heroic Film Ian lives in the GTA, he has continued to direct projects for agencies in Company, Cuppa Coffee Studios. And even though Ian lives in the GTA, Bermuda, where the budgets are super low but he gets free trips to see he has continued to direct projects for agencies in Bermuda, where the his family. In 2008 Ian moved to The Studio Upstairs and in 2013 he budgets are super low but he gets free trips to see his family. In 2008 became lead creative director for Varipix in Liberty Village. To date Ian Ian moved to The Studio Upstairs and in 2013 he became lead creative has directed 30 commercials and a variety of show openings, film titles, director for Varipix in Liberty Village. To date Ian has directed 30 music videos and several animated segments in a CBC show. On 95% of commercials and a variety of show openings, film titles, music videos those projects he was also heavily involved in the post-production work. and several animated segments in a CBC show. On 95% of those projects Ian is a well-rounded talent and he never loses sight of the big picture. he was also heavily involved in the post-production work. Ian is a well- He knows the technical side of the business but can still easily talk to rounded talent and he never loses sight of the big picture. He knows the clients in plain English. technical side of the business but can still easily talk to clients in plain www.iantucker.ca English. www.iantucker.ca 34 Digital Tools, Animation and Interactivity Fall 2015 lift Workshops
WEBSITES FOR ARTISTS INTRODUCTION TO INTERACTIVE FILM AND VIDEO
Schedule: Schedule: • Monday December 14, 6pm–10pm • Saturday December 12, 10am–6pm • Wednesday December 16, 6pm–10pm Cost: Cost: • Members $145 • Members $125 • Non-members $165 • Non-members $145 • Enrolment is limited to 6 • Enrolment is limited to 6
This two-evening workshop provides an overview of how to establish What can you do with film and video in the gallery space beyond a a web presence to compliment your artistic practice. Participants will projected loop? This workshop is an overview of how film/video instal- learn basic web theory and gain an understanding of how websites lation can be expanded out of the movie theater to incorporate the are constructed. Topics will include, how to choose the right hosting viewer and the gallery. We will look at methods to create interactive platform and design to meet your goals, how to register your domain cinematic spaces including: starting a video only when a viewer is name, as well as how to prepare content and publish it to your site. We present, syncing multiple video channels, developing sensor systems will examine the creative potential of the medium as well as its use for viewer interaction and syncing film and video with physical output as a promotional tool. A variety of artist’s websites will be reviewed, such as lights and motors to create works that extend beyond the discussed based on design and content choices and how that reflects frame. We will be using the Arduino and open-source software (Pure each artist’s unique practice. Data) designed with artists in mind.
Each participant works at an individual iMac station. Students should be Fee includes an Arduino Uno Micro controller and various electronic compo- familiar with the Mac interface. No previous experience with web design nents and sensors ($60 value). Each participant works at an individual iMac required. station. Students must be familiar with the Mac interface.
Instructor: Instructor: Marty Spellerberg has 15 years experience as a web designer, devel- Dafydd Hughes is a musician, artist, programmer and educator based oper and builder of interactive media for artists and museums. He’s in Toronto. He has performed and recorded with some of Canada’s most developed the websites of the Museum of Contemporary Art Chicago, notable artists, including Feist, Esthero and jacksoul. He is active in the Art Gallery of Ontario, TIFF and many others. Marty is currently Canada’s jazz, pop and experimental music scenes through solo work based in Austin, Texas. and various collaborations. His work, both musical and visual, playfully explores the unpredictable intersection of analog and digital experi- ences of the world. He is a member of the Board of Directors at Toronto’s InterAccess Electronic Media Arts Centre, where he teaches workshops and spends time exploring the interface between technology and the creative impulse, which generally involves taking things apart and finding himself unable to put them back together. www.fancydavid.com Fall 2015 lift Workshops LIFT Equipment, Facilities and Store 35
EQUIPMENT AND FACILITIES RENTAL CUSTOM WORKSHOPS LIFT provides affordable access to production, post-production and Didn’t see something you’d like to learn? exhibition equipment for non-commercial film, video and new media projects. LIFT’s equipment rental program strives to make otherwise Some of our more specialized courses—especially our celluloid-based expensive production resources accessible to the broadest pool of courses—aren’t offered every season. media makers. Get in touch with [email protected] to arrange a custom workshop. Equipment rentals are available to all production and organizational members in good standing. LIFT does NOT rent equipment and/or Please allow 4 to 8 weeks for an evaluation of your proposal. facilities to non-members.
Please see the back of this catalogue for information on THE LIFT STORE membership fees. The LIFT Store carries a wide variety of film stocks (specializing in Regular 8mm, Super 8mm and 16mm) and supplies for all formats at For more info on our equipment and facilities, our rental policy and our economical rates. rental rates, please go online to our website at: www.lift.ca/equipment The LIFT Store is available to the general public; members receive a members’ discount. Special orders available. Available Equipment Includes: • RED EPIC Mysterium-X Package Information at: www.lift.ca/equipment/store • Blackmagic Cinema Camera Package • 35mm Motion Picture Cameras • Hi-Definition Video Cameras • 16mm Motion Picture Cameras • Regular 8mm and Super 8mm Cameras • Various Lens Packages • Lighting and Grip Equipment • Location Sound Equipment • Digital Video Projectors • Super 8mm, 16mm and 35mm Projectors • 16mm and 35mm Film Loopers • Additional Presentation Equipment
Available Facilities Includes: • Colour Correction and Finishing Suite • Final Cut HD Editing Suite • 16mm and 35mm Flatbed Editing Suites • Audio Recording Suite • Oxberry 16mm/35mm Animation Cameras • Oxberry 1700 Optical Printer • JK Optical Printer with Raspberry Pi Controller • Darkroom • Telecine Transfer Suite • Digital Classroom (Organization/Groups only—7 workstations) Address: The Liaison of Independent Filmmakers of Toronto (LIFT) is an artist-run charitable organization dedicated to facilitat- 1137 Dupont Street ing excellence in the moving image through media arts education and production resources. LIFT exists to provide support Toronto, Ontario and encouragement for independent filmmakers and artists through affordable access to production, post-production and exhibition equipment; professional and creative development; workshops and courses; commissioning and exhibitions; M6H 2A3 Canada artist-residencies; and a variety of other services. Founded in 1981 by a small collective, LIFT has since grown to become one of the foremost centres of its kind globally. Telephone: 416.588.6444 MEMBERSHIP INFORMATION Organizational Memberships: Hours: LIFT has a two level membership structure. All member- Organizational Memberships are available for production Monday–Friday, 10am–6pm ships are annual and expire one year to the end of the centers, festivals, art galleries, arts education and training month in which they were subscribed. Memberships are institutions, and other non-for-profit organizations. As per based on a calendar month and are non-refundable and LIFT’s funding mandate, commercial enterprises, produc- E-mail: non-transferable. tion companies and other for-profit groups are not eligible [email protected] for organizational memberships with LIFT. General Member: $80 per year Website: Organizational Membership: Level 1 Benefits: Cost: $150 per year www.lift.ca - Receive weekly e-bulletin (Operating budget under $1,000,000) - Entitled to post free cast and crew calls, film screenings/ broadcasts and art exhibitions in the weekly e-bulletin Organizational Membership: Level 2 - Entitled to member rates on workshops and courses Cost: $250 per year - Entitled to member rates on LIFT Store items (Operating budget over $1,000,000) www.facebook.com/LIFT.ca - Entitled to member admission rate for LIFT screenings - Entitled to attend LIFT’s Screenwriters Circle Benefits: - If in good standing, member is entitled to apply for the - Rent production equipment and post-production facilities www.twitter.com/LIFTfilm LIFT Production Support Program (announced annually) at the Production Member’s rate for organizational - General Members may not access equipment or facilities productions rentals and must upgrade to the Production Membership to - Booking of production equipment and post-production do so facilities up to six (6) weeks in advance - Staff members entitled to member discount on seasonal Production Member: $150 per year workshops and courses (list of staff provided by organiza (Reference check required) tion contact person) - Receive member’s weekly e-bulletin Benefits: - Post unlimited listings for upcoming screenings, events, - All General Member benefits call for submissions, fundraising campaigns, employment - Rent production equipment and post-production facilities opportunities, etc. - Advanced booking of production and post-production equip ment up to six (6) weeks in advance
Upgrading from General to Production Membership: Any General Member in good standing may become a Production Member by paying an additional fee of $70 and undergoing a reference check (please note: when upgrading you will still expire at your original expiry date). Thereafter, maintenance of the Production Membership is an annual $150 membership fee.