Your guide is Frontline Member, James Mullighan (Board Member of Encounters, Doc|Fest and LSFF Festivals, and ex chief of Shooting People and Edinburgh International Film Festival). The seminar will guide you through a series of case studies and practical examples (with a focus on documentaries) to help you get up to speed with many of the digital tools now available to storytellers. This seminar will cover these areas:
1. Digital Frontiers – Why is all this important? What’s new – in funding, crowdsourcing, production, marketing, audience-engagement, and sales and distribution.
2. Digital Strategy – How to design a website and social media campaign for your film. How social media and technology can help you, and how you can help yourself, stay on top of new developments and opportunities.
3. Crowdsourcing and Crowd funding – Using case studies, the seminar will ask: What is the difference? Who are the players? What makes a good crowd funding campaign, from the fundraising trailer to the length of time, the amount you are seeking to raise and your social media strategy to solicit donations? How to make a crowd funding campaign fit into the wider web campaign for your film?
If you’re feeling overwhelmed about social media and all things digital then Digital Bootcamp will show you how to create a manageable strategy and use available tools to get your films made and seen. You will learn how to reach and engage audiences in new and exciting ways, and you will learn how to measure the impact of your endeavours.
]]>FCP X works with new paradigms from tapeless workflows. The workshop will step you through this revolutionary new way of editing by taking you through an edit from start to finish.
We’ll look at how to import and organise your media, create a rough cut, trim and cut, add music/effects/titles and voice over, colour correct and export for multiple platforms.
Own laptops and editing media are optional, though desirable if you have access – we do not provide hardware or software in these workshops.
Workflow
- Importing / transcoding files,
- Creating events,
- Keywords,
- Grouping clips
- Reviewing media,
- Marking.
Sequencing Clips
- Magnetic timeline,
- Adding clips to the timeline,
- Clip timing,
- Auditioning,
- Story lines and compound clips.
Adjusting Video
- Speed,
- Scaling,
- Cropping,
- Distorting,
- Keyframing.
- Text
Music & Audio
- Editing / Enhancement,
- Recording V/O
Effects
- Template effects,
- Adjusting effects.
- Colour correction,
- Auto balancing / matching colour,
- Manual correction.
Exporting
- Quicktime / Apple devices / Vimeo / Youtube,
- Compressor.
Trainer: Simon Ruben
Simon is an award winning freelance editor and video trainer with over seven years of broadcast experience across a range of genres.
Simon has designed and delivered popular courses for the Frontline Club since 2007 including Final Cut Pro, Compressor, DVDSP, Motion. He has also tailored courses for FT.com, Save The Children, Medecins Sans Frontiers, Soho Editors and the NUJ.
Simon has an MA in Mythology from Bristol University and found digital story telling to be the perfect vehicle for his academic and narrative passion.
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]]>This entry containers spoilers for the film Big Boys Gone Bananas!*
Filmmaker Fredrik Gertten took on the multinational corporation Dole Food Company and its PR army and won. Upon the release of Gertten’s blockbuster documentary Bananas!*, which recounts the law suit 12 Nicaraguan plantation workers brought against Dole, his tenacity and journalistic mettle were tested to their limits when he was hounded by Dole’s lawyers and PR firms.
Gertten’s follow-up film Big Boys Gone Bananas!* traces his journey from the LA film festival, which is pressurised by Dole to remove Bananas!* from competition, to Gertten and his colleagues’ battle for free speech, eventually gaining the support of the Swedish parliament.
Gertten will be at the Frontline Club to give a masterclass in filmmaking against the odds. Using clips from his films and drawing on his experience of becoming the story in his fight for journalistic freedoms, he will give a detailed account of his ordeal and answer questions about his films and filmmaking in general.
Moderated by award winning investigative journalist and author John Sweeney of the BBC’s Panorama.
]]>Each day is self contained, but there is a discount for those who choose to attend both.
Own laptops and software/media are optional – we do not provide hardware or software in these workshops.
This one day workshop will inspire participants to think about storytelling from an editor’s perspective.
How can you construct the most effective narrative from your raw material? What should you be concentrating on when building your story?
This workshop is designed to help you confidently make decisions in order to create concise and powerful digital narrative.
We will look at theoretical approaches and apply them to practical tips and tricks. We’ll also analyse scenes from documentaries, films and news pieces to illustrate effective and stale storytelling.
Topics covered:
*How does editing work?
*The “trick” of editing – misdirection
“The central secret of conjuring…is a manipulation of interest.”
(Henry Hay, The Amateur Magicians Handbook, pg. 2, copyright 1972).
*A look at the history of film editing theory and techniques
*How the audience tells your story
*The good, the bad and the ugly edit
*Emotion
*Setting objectives / Reviewing your material / Organising your edit
*Reading body language
*The importance of instituting a rhythm
*Perceptual blindness
*Using sound to your advantage
Trainer: Simon Ruben
Simon is an award winning freelance editor and video trainer with over seven years of broadcast experience across a range of genres.
Simon has designed and delivered popular courses for the Frontline Club since 2007 including Final Cut Pro, Compressor, DVDSP, Motion. He has also tailored courses for FT.com, Save The Children, Medecins Sans Frontiers, Soho Editors and the NUJ.
Simon has an MA in Mythology from Bristol University and found digital story telling to be the perfect vehicle for his academic and narrative passion.
]]>Each day is self contained, but there is a discount for those who choose to attend both.
Own laptops and editing media are optional, though desirable if you have access – we do not provide hardware or software in these workshops.
Final Cut Pro X has redefined the post-production process for journalists and video professionals. Until now all non-linear editing systems were based on film editing.
FCP X works with new paradigms from tapeless workflows. The workshop will step you through this revolutionary new way of editing by taking you through an edit from start to finish.
We’ll look at how to import and organise your media, create a rough cut, trim and cut, add music/effects/titles and voice over, colour correct and export for multiple platforms.
Workflow
- Importing / transcoding files,
- Creating events,
- Keywords,
- Grouping clips
- Reviewing media,
- Marking.
Sequencing Clips
- Magnetic timeline,
- Adding clips to the timeline,
- Clip timing,
- Auditioning,
- Story lines and compound clips.
Adjusting Video
- Speed,
- Scaling,
- Cropping,
- Distorting,
- Keyframing.
- Text
Music & Audio
- Editing / Enhancement,
- Recording V/O
Effects
- Template effects,
- Adjusting effects.
- Colour correction,
- Auto balancing / matching colour,
- Manual correction.
Exporting
- Quicktime / Apple devices / Vimeo / Youtube,
- Compressor.
Trainer: Simon Ruben
Simon is an award winning freelance editor and video trainer with over seven years of broadcast experience across a range of genres.
Simon has designed and delivered popular courses for the Frontline Club since 2007 including Final Cut Pro, Compressor, DVDSP, Motion. He has also tailored courses for FT.com, Save The Children, Medecins Sans Frontiers, Soho Editors and the NUJ.
Simon has an MA in Mythology from Bristol University and found digital story telling to be the perfect vehicle for his academic and narrative passion.
Join more than 15 photojournalists from the prestigious agency VII Photo for a half-day seminar on photojournalism at the Royal Institution of Great Britain.
The seminar will be split into three panel discussions with opportunities to ask questions and learn more about the work of VII and the state of modern photojournalism.
9:00 Keynote address
Director and Founder of the Frontline Club Vaughan Smith
9:30 The Creation of VII – The role of photojournalism in the 21st century
With Ron Haviv, Christopher Morris, Seamus Murphy and Franco Pagetti. Moderated by Max Houghton.
11:00 Photographic Education: Finding your way
With Ashley Gilbertson, Ron Haviv, Gary Knight and Anastasia Taylor-Lind. Moderated by Paul Lowe.
12:30 The New Economy: How to fund your projects
With Venetia Dearden, Ed Kashi, Tomas van Houtryve, Jon Jones (The Sunday Times), Gary Knight and Donald Weber. Moderated by Stephen Mayes.
14:00 Book signing of Questions Without Answers – The World in Pictures by the Photographers of VII and more.
The seminar will be followed by portfolio reviews with eight VII Photo photographers. More details on how to book a portfolio review are available here.
Sponsored by:
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Could Multimedia Story-telling be the new journalism? Who are its clients and how can it work commercially?
Brian Storm, founder and executive producer of multimedia production studio MediaStorm, came up with some assured answers during a most informative and positive presentation about journalism and its future at the Frontline Club.
Storm touched upon some ways to structure a multimedia story to make it compelling viewing: establishing empathy with the character(s); using body language, which makes up 80 percent of communication. Storm spoke about ‘back-timing’, having a visual element in the imagery that challenges a statement that has just been made.
Visual sequences should be little essays, moving without extreme cuts from wide to extreme close-up. The viewer’s eyes should be able to stay in the same place and remain on the point of interest when cuts are made. Storm also advised taking tills in the same format as the video, 16:9, to avoid letter-boxing or crops in the edited piece, and as much ruthlessness in editing by subtraction as you would be when selecting your portfolio.
Being passionate about still photography, Storm had been shocked to learn that newspaper readers spend no more than 0,6 seconds looking at an image. Embedding images in a multi media story encourages viewers to engage with photography beyond a cursory glance, he said.
Storm described the four strands of the agency’s work; publication, project specific agency work, production work for others, and teaching online and workshops.
Editorial work for partners has developed as NGOs and non-profit organisation begin to seek partnerships with journalists rather than straight marketing to get their message out. They are more frequently turning to journalists for their skills and are often prepared to pay better rates for projects than regular editorial clients.
A question about photographers ‘crossing over’ raised the issue of video work compromising the stills photography. Storm replied that one needed to allow enough time for ‘hunting’ (getting the right stills) and ‘fishing’ (filming).
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