masterclass 6:00 pm – 7:30 pm

drinks and Q&A with Sean 7:30 pm – 9:00 pm

Ticket: £40 (incl. a drink)

BAFTA Nominee documentary filmmaker Sean Langan is joining us for an evening’s masterclass. He will be discussing his documentary filmmaking process while sharing invaluable insights on how to best navigate between getting access, storytelling and getting your film out there. The masterclass is followed by a practical and informal Q&A and drinks (one drink is on the house) – Sean likes to call this session: ‘No compromise till Brooklyn’!

Langan made his name by travelling to many of the world’s trouble-spots – dangerous and volatile environments noted for war, conflict and civil unrest armed with nothing more than a camera.His personal style of filmmaking has been hugely successful with films such as Langan Behind The lines, Fighting The Taliban, Meeting The Taliban and Afghan Ladies’ Driving School being fine examples of his work. Born in 1964 Sean has been making documentaries since 1997; His first film Video Diaries: Nightmare In Paradise saw him investigate the kidnapping of two British tourists in Kashmir. He joined the relatives of these missing men, who didn’t know if their sons were alive or dead, following them as they took to the streets looking for information and recording their every move with his camera. He recorded his own thoughts and investigation into the pair’s disappearance in a diary format.

*Tickets include lunch

This two-day course gives an overview of the Canon EOS C200 and Canon C300 MkII cameras and is particularly focused on anyone wanting to self-shoot documentary, character led films, feature style magazine films, or corporate videos.

Through a series of modules, you will learn how to shoot video with either camera, understanding the strengths and weaknesses of each, learn how to deal with sound, lighting and movement. You will look at different styles of shooting, comparing treatment types and discussing the advantages and disadvantages of directed filmmaking against more ‘organic’, ‘run and gun’-style filmmaking.

We will explore structuring a magazine-style shoot and a corporate shoot, finding the message and discussing how to deal with corporate clients and what contracts or arrangements we should draw up.

You will also look at story structure, how the ultimate narrative of the film is achieved through editing techniques, and how that narrative should inform how we shoot. You will look at what qualities make a film compulsive and go viral and how you can incorporate those techniques in your shooting.

More than anything else this is a two-day shot-in-the-arm for independent videographers, useful to both beginners and those already shooting with any of Canons EOS cameras, or similar, who want to improve their skills or make better films. It is also ideal for anyone wanting to take the next step on from DSLR filmmaking.

We will look at:

– The C200 and C300 cameras, their operation, what is the difference and which camera best suits which roles

– How to work out what type of film you need to shoot for your output and what shots and sequences you need

– The application of each camera to corporate, online, news and documentary filmmaking and what should be your approach

– Lenses

– Shooting, composition, ‘run-n-gun’ coverage, directed sequences, interviews, exposure, light and lighting

– How to get the best out of each camera and get professional, broadcast results.

Places on this workshop are strictly limited. If you already own a Canon C200 or C300 please do bring it with you, but Canon are kindly supplying a number of cameras which participants can use on the course.

About the trainer:
Dean Arnett is an award-winning, self-shooting producer, with 23 years’ experience. After many years working for the BBC, he is now freelance, shooting documentaries, corporates and TV features with a variety of cameras, all around the world. He also provides training for the BBC, PA, Archant and other media groups.

Supported by

This two-day course gives an overview of the Canon EOS C100 Mark II camera and is particularly focused on anyone wanting to self-shoot magazine-style films, web docs or corporate videos.

Through a series of modules, you will learn how to shoot video with the EOS C100 Mark II, how to deal with sound, lighting and movement. You will look at different styles of shooting, comparing treatment types and discussing the advantages and disadvantages of directed filmmaking against more ‘organic’, ‘run and gun’-style filmmaking.

We will explore structuring a magazine-style shoot and a corporate shoot, finding the message and discussing how to deal with corporate clients and what contracts or arrangements we should draw up.

You will also look at story structure, how the ultimate narrative of the film is achieved through editing techniques, and how that narrative should inform how we shoot. You will look at what qualities make a film compulsive and go viral and how you can incorporate those techniques in your shooting.

More than anything else this is a two-day shot-in-the-arm for independent videographers, useful to both beginners and those already shooting with an EOS C100 Mark II, or similar type cameras, who want to improve their skills or make better films. It is also ideal for anyone wanting to take the next step on from DSLR filmmaking.

Places on this workshop are strictly limited. If you already own a Canon EOS C100 Mark II please do bring it with you, but Canon are kindly supplying a number of cameras which participants can use on the course.

About the trainer
Dean Arnett is an award-winning, self-shooting producer, with 23 years’ experience. After many years working for the BBC, he is now freelance, shooting documentaries, corporates and TV features with a variety of cameras, all around the world. He also provides training for the BBC, PA, Archant and other media groups.

Supported by

This two-day course gives an overview of DSLR and larger sensor Canon cameras for video and filmmaking, detailing in particular the Canon EOS 7D Mark II DSLR camera.

Through a series of modules, you will learn how to shoot video with the EOS 7D Mark II, how to deal with sound, lighting and movement. You will look at different styles of shooting, comparing treatment types and discussing the advantages and disadvantages of directed filmmaking against more ‘organic’, ‘run-and-gun’ style filmmaking.

You will also look at story structure, how the ultimate narrative of the film is achieved through editing techniques, and how that itself should inform how we shoot. You will look at what qualities make a film compulsive and go viral and how you can incorporate those techniques in your shooting.

More than anything else this is a two-day shot-in-the-arm for DSLR moviemakers, useful to both beginners and those already shooting with a 7D, who want to improve their skills or make better films.

Places on this workshop are strictly limited. If you already own a Canon EOS 7D Mark II DSLR please do bring it with you, but Canon are kindly supplying a number of cameras which participants can use on the course. 

About the trainer
Dean Arnett is an award-winning, self-shooting producer, with 23 years’ experience. After many years working for the BBC, he is now freelance, shooting documentaries, corporates and TV features with a variety of cameras, all around the world. He also provides training for the BBC, PA, Archant and other media groups.

Supported by

Digital and hand-drawn animation techniques are increasingly seen in short and feature-length documentaries, interweaving with traditional filming methods and sometimes carrying a whole story from start to finish.

Given that animation has the freedom to represent, stylise, and re-imagine the world, this form lends itself well to documentary stories capturing human experience and a multiplicity of narratives and perspectives.

We will be joined by a panel of seasoned documentary filmmakers and groundbreaking animators who will present a behind-the-scenes look at the artistic techniques applied to recent projects, as well as the broader motivations and challenges to representing reality in animated form.

Speakers to be announced soon.

Bella Honess Roe (moderator) teaches Film Studies at the University of Surrey. She has published extensively on areas in animation, documentary and British cinema and her book Animated Documentary was published in 2013. Prior to entering academia, Bella worked in feature film script development in London and Los Angeles.

Dee Hibbert-Jones is an Academy Award nominated filmmaker and fine artist. She works collaboratively with Nomi Talisman on film, new media and fine art projects that address critical social issues, politics and personal testimony. Hibbert-Jones was awarded the Filmmaker Award with Talisman from the Center for Documentary Studies at Duke (2015) and the Gideon award for support to indigent minorities (2016) by the California Public Defenders Association. Hibbert-Jones and Talisman’s most recent animated documentary film Last Day of Freedom won Best Short Documentary at the International Documentary (IDA) Awards 2015, won an Emmy for Northern California, and was nominated for an 88th Academy Award for Best Documentary Short Subject. Hibbert-Jones is an Associate Professor of Art and Digital Art New Media at the University of California, Santa Cruz, USA founder and Co-director of SPARC a research centre for social and environmental justice.

Marie-Margaux Tsakiri-Scanatovits set up the multi-award winning animation studio The Moth Collective along with Daniel Chester and Dave Prosser. After meeting at the Royal College of Art, they formed in 2010 to share a collective passion for all things drawn. The Moth Collective has received acclaim for their imaginative and thought provoking hand-drawn work. They have since worked on a myriad of different projects, covering documentary feature films, commercials, short films, illustrated books and music videos for clients such as The New York Times, The Guardian, WWF, and Headspace.

Katerina Athanasopoulou is a Greek artist living in London who creates animated films for cinema and gallery space. She studied Fine Art at Aristotle University in Greece and graduated with an MA Animation from the RCA in 2002. Her award-winning films have been shown internationally at film festivals and galleries, including Clermont-Ferrand International Short Film Festival, Thessaloniki Biennale 5, Holland Animation Film Festival, European Media Art Festival, and The Museum of Contemporary Art, Zagreb. Works include: Branches of Life (2016), commissioned by Cast Iron Radio and Recording for the Body Of Songs project, supported by Wellcome Trust and Arts Council England; Rupture (2015), commissioned by the Bill & Melinda Gates Foundation for The Art of Saving a Life; The Violet Hour (2014), commissioned by the London College of Fashion for a brief set by the Venice Architecture Biennale, within the 2014 Now project; Apodemy (2012), a short film on Emigration and the Economic Crisis, commissioned by the Onassis Foundation, and many more.

This two-day course gives an overview of DSLR and larger sensor Canon cameras for video and filmmaking, detailing in particular the Canon EOS 7D Mark II DSLR camera.

Through a series of modules, you will learn how to shoot video with the EOS 7D Mark II, how to deal with sound, lighting and movement. You will look at different styles of shooting, comparing treatment types and discussing the advantages and disadvantages of directed filmmaking against more ‘organic’, ‘run-and-gun’ style filmmaking.

You will also look at story structure, how the ultimate narrative of the film is achieved through editing techniques, and how that itself should inform how we shoot. You will look at what qualities make a film compulsive and go viral and how you can incorporate those techniques in your shooting.

More than anything else this is a two-day shot-in-the-arm for DSLR moviemakers, useful to both beginners and those already shooting with a 7D, who want to improve their skills or make better films.

Places on this workshop are strictly limited. If you already own a Canon EOS 7D Mark II DSLR please do bring it with you, but Canon are kindly supplying a number of cameras which participants can use on the course. 

About the trainer
Dean Arnett is an award-winning, self-shooting producer, with 23 years’ experience. After many years working for the BBC, he is now freelance, shooting documentaries, corporates and TV features with a variety of cameras, all around the world. He also provides training for the BBC, PA, Archant and other media groups.

Supported by

This two-day course gives an overview of the Canon EOS C100 Mark II camera and is particularly focused on anyone wanting to shoot money-making, magazine-style films or corporate videos.

Through a series of modules, you will learn how to shoot video with the EOS C100 Mark II, how to deal with sound, lighting and movement. You will look at different styles of shooting, comparing treatment types and discussing the advantages and disadvantages of directed filmmaking against more ‘organic’, ‘run and gun’-style filmmaking.

We will explore structuring a magazine-style shoot and a corporate shoot, finding the message and discussing how to deal with corporate clients and what contracts or arrangements we should draw up.

You will also look at story structure, how the ultimate narrative of the film is achieved through editing techniques, and how that narrative should inform how we shoot. You will look at what qualities make a film compulsive and go viral and how you can incorporate those techniques in your shooting.

More than anything else this is a two-day shot-in-the-arm for independent videographers, useful to both beginners and those already shooting with an EOS C100 Mark II, or similar type cameras, who want to improve their skills or make better films. It is also ideal for anyone wanting to take the next step on from DSLR filmmaking.

Places on this workshop are strictly limited. If you already own a Canon EOS C100 Mark II please do bring it with you, but Canon are kindly supplying a number of cameras which participants can use on the course.

About the trainer
Dean Arnett is an award-winning, self-shooting producer, with 23 years’ experience. After many years working for the BBC, he is now freelance, shooting documentaries, corporates and TV features with a variety of cameras, all around the world. He also provides training for the BBC, PA, Archant and other media groups.

Supported by

Composer Patrick Jonsson working on the score for Frame by Frame. Shot by RED REEL.

One often overlooked yet crucial element in a documentary is its music. A well-crafted score can make a difference in the mood, pacing, emotional texture and character of a film. And the right chemistry between filmmaker and composer can help achieve the visceral cinematic experience that we all yearn for as audience members.

We will be joined by a panel of some of the UK’s most celebrated composers to discuss the process of constructing a score for documentary, exploring the collaborative relationship between composers and directors and how music can ascribe meaning to images.

Looking in depth at the scores of a selection of recent, award-winning documentaries, we will hear from composers about the role of music in these films and the creative techniques behind the union of sound and imagery.

Laura Nakhla (moderator) is a Music Supervisor and Composer Agent at Air-Edel Associates. She has worked on the music for films including ‘Everest’ (Working Title), ‘Cinderella’ (Disney), ‘Woman In Gold’ (BBC Films), ‘The Boxtrolls’ (Laika), ‘Jack Ryan: Shadow Recruit’ (Paramount Pictures) and ‘Belle’ (Fox Searchlight Pictures). She studied music at King’s College London and took singing lessons at the Royal Academy of Music, before taking an MPhil in Musicology at Christ Church, Oxford. Laura previously worked as an agent’s assistant at The Rights House talent agency representing actors and TV presenters.

Rob Manning is a London-based composer who has scored documentary feature films, natural history, drama, comedies, and commercials. During a decade in the industry he has composed music for the BFI, HBO, Disney, Discovery, National Geographic, SKY, BBC, Channel 4, ITV and FIVE. His credits include Chuck Norris Vs Communism, a documentary feature film which premiered at Sundance 2015; Louis Theroux: Miami Mega Jail for the BBC; The Last Chance School, a BAFTA-award-winning observational film; and many more. He worked with acclaimed director Penny Woolcock on her feature-length film On The Streets, which told the stories of a group of homeless people in London and won a Liberty Human Rights award.

Patrick Jonsson is a film composer living and working in London. In 2013 Patrick scored Bends, directed by Flora Lau, which premiered at the Cannes Film Festival as part of ‘Un Certain Regard’. He also went on to receive a nomination for ‘Best Original Film Score’ at the Taipei Golden Horse Awards, one of the top Chinese-language film awards. Patrick has since composed the score for Academy Award and BAFTA nominated feature documentary Virunga, directed by Orlando von Einsiedel and executive produced by Leonardo Di Caprio’s Appian Way Productions. The film’s music was picked out as one of the ’15 Best Film Scores of 2014′ by HitFix. More recently, he composed the score for documentary Frame By Frame, directed by Alexandria Bombach and Mo Scarpelli, for which he was nominated for ‘Best Documentary Score’ at the Hollywood Music in Media Awards 2015. Patrick has also composed music for numerous award-winning short films and has assisted composers on a number of studio level feature films such as Thor, Rise of the Planet of the Apes and Brave.

Nainita Desai is one of the UK’s leading composers, having scored hundreds of films for major broadcasters – most recently for Brian Hill’s Mumbai High – The Musical. Many of her projects have won or been nominated for Academy Awards, BAFTAs, Emmys and RTS awards, including an RTS Best Music nomination for BAFTA-nominated film The Day Kennedy Died (Dir: Leslie Woodhead); and a 2016 Music and Sound Best Feature Score nomination for The Confessions of Thomas Quick [BFI/Film4/Picturehouse].

This two-day course gives an overview of DSLR and larger sensor Canon cameras for video and filmmaking, detailing in particular the Canon EOS 7D Mark II DSLR camera.

Through a series of modules, you will learn how to shoot video with the EOS 7D Mark II, how to deal with sound, lighting and movement. You will look at different styles of shooting, comparing treatment types and discussing the advantages and disadvantages of directed filmmaking against more ‘organic’, ‘run-and-gun’ style filmmaking.

You will also look at story structure, how the ultimate narrative of the film is achieved through editing techniques, and how that itself should inform how we shoot. You will look at what qualities make a film compulsive and go viral and how you can incorporate those techniques in your shooting.

More than anything else this is a two-day shot-in-the-arm for DSLR moviemakers, useful to both beginners and those already shooting with a 7D, who want to improve their skills or make better films.

Places on this workshop are strictly limited. If you already own a Canon EOS 7D Mark II DSLR please do bring it with you, but Canon are kindly supplying a number of cameras which participants can use on the course.

About the trainer
Dean Arnett is an award-winning, self-shooting producer, with 23 years’ experience. After many years working for the BBC, he is now freelance, shooting documentaries, corporates and TV features with a variety of cameras, all around the world. He also provides training for the BBC, PA, Archant and other media groups.

Supported by

The evening will include short stories capturing the essence of big issues, films showing life in other parts of the world under difficult or extraordinary circumstances, and stories focusing on remarkable individuals.

The lineup:

LOOKING AT TIME
Director: Brandon Lavoie
2015 / 3 min / USA
http://www.brandonlavoiefilms.com/

Salim Shariff, a 72-year-old watch repairman originally from Bombay, India, now living & working in Jackson Heights shares his memories of living in NY for the past 30 years.

STREET ANGEL
Director: Stella Scott
2014 / 4 min / UK
http://www.stellascott.net/

Street Angel follows an angel-card reader through London as she looks for connections and people who need guidance. The film blends the hyper-real with the familiar, offering us a new perspective on our everyday realities.

A WEE NIGHT IN
Director: Stuart Edwards
2014 / 11 min / UK
http://www.scottishdocinstitute.com/tag/stuart-edwards/

Chrissy is now 95, frail but full of life. From her house in a village near Glasgow, she engages in activities that keep her active. Today, Chrissy’s 91-year-old boyfriend Bill is coming over for a nice evening that will pass by according to the slow rhythm of age. An intimate, heartwarming portrait of love in old age, full of recognisable, comedic moments.

CALLING UKRAINE
Director: Jean Counet
2015 / 12 min / Netherlands
http://www.tamfilms.com/

Through a Skype call the daily life, dreams and fears of a family in Eastern-Ukraine is revealed while the bombs are falling in the background. A grandmother in Latvia phones with her sister and child who live in the war zone of Eastern-Ukraine, months without often having water and electricity. We see the traces of the war on the face of the grandmother who, like the viewer is powerless.

THE TYPIST
Director: Kristine Stolakis
2015 / 8 min / USA

From the archives of the “queer Smithsonian,” San Francisco’s GLBT Historical Society, comes the forgotten history of a gay Korean War veteran tasked with writing the military discharges of outed gay seamen. The Typist details a conflicted clerk’s participation in discrimination and his divided allegiance to homosexuality and heroism.

MARATHON
Director: Theo Rigby, Kate McLean
2015 / 9 min / USA
http://www.immigrant-nation.com

Julio Saucé, an undocumented, Ecuadorian New Yorker, struggles to makes ends meet, all while running 80 miles a week to train for the biggest race in the world, the New York City Marathon.

GOING BACK HOME
Director: Tim O’Donnell
2015 / 17 min / USA
http://www.GoingBackHomeMovie.com

Fueled by the ghosts of a tragic past, a Lost Boy of Sudan works three jobs in a tireless effort to achieve the American Dream and return to his wife and children halfway across the world.