yearbook 2004/05 - The European Film College

tions, why do we shoot multiple
cameras and what kind of
productions require it. You will
learn the process involved, commands
and terminologies necessary
to be part of the team, operate
studio cameras, learn the
technical jobs involved, working
in the control room, directing
cameras and switching for live
television. You will be working as
a team on different productions in
the studio, technically and creatively.
We will bring forward your
idea, develop your skills to make
decisions on visual format and
picture composition, for your productions.
Live television is a fast
working, high-energy environment
with fast results and great team-
work.
Director of photography
This course is for students with
camera and lighting experience.
This is not a technical course, but
a course where we will set focus on
creative Camera work. We will look
at composition and the right light
for the scene. The students in this
class will be given a script, (Jim¹s
students will write)the directors
(Esben¹s students) will prepare the
actors for the scene and you will
be given the opportunity to creatte
the cinematic style. You will have
a chance to experiment and find
your own way to tell or support
the story. Lights and camera will
be your tools.
Aslak Mildh:
Sound Production
Danish. Studied music production
at Media Production Services
1989-90, and in 1995 graduated
as a sound engineer from the national
Film and Television School
in England, where he worked on a
great number of films screened at
various festivals around the world.
Aslak has a broad background in
sound production, ranging from
music production at Danish Institute
for Electro-acoustical Music
to being sound desginer on drama
and commercials at Easy Film.
Since 1997 Aslak has been running
his own studio facility while
working as a freelance sound engineer
for, among others, Channel
4 Films,
DR, TV2, Nordisk Film and Zentropa,
as well as on features and
documentaries shot in Scotland,
South Africa, Denmark, Spain
and England. His credits include
a BAFTA for best short in 1995.
Aslak joined the EFC as a teacher
in autumn 2002.
Courses:
Protools drivers licence
We shall familiarise ourselves with
the core functions of the Protools
systems, used inhouse to facilitate
post production sound for students
productions. The course
requires students to absorb quite
a bit of technical info, but should
also give people the opportunity to
get their hand on the machines,
and will finally give attendants a
drivers licence for working in the
sound studio.
Protools, Sound studio and Music
recording
A partly theoretical and partly
practical course culminating in
the recording and mixing of our
own recordings.
The theoretical part takes place in
the sound studio with a basic
introduction to ProTools and studio
inventory used for the various
recording applications. The practical
part involves recording of
instruments, live or multi layered,
acoustical considerations and
mixing and mastering of finished
products. This will be in collaboration
with students playing or
performing in the
college.
Jean Leander:
Teaching assistant
Danish. Teaching assistant. Edu-
WHO´s WHO
cated as stage director/actor from
the Royal Danish Theatre, 1963-
67. Employed at the Royal Danish
Theatre until 1974. From 1974
employed at Danish Broadcasting
as producer, and I have produced
approx. 2500 programs within
the fields of current debates and
magazines, language and the TV
kitchen. In 1997 I chose to become
a freelance TV producer and
moved to Ebeltoft together with
my family and I have worked from
here since.
James Fernald:
Screenwriting
American. Graduated with a cinema
degree from Ithaca College
in upstate New York and studied
scriptwriting in the UCLA
Extension writers programme.
Wrote a humour column for a
suburban Boston (Massachusetts)
newspaper prior to moving to
St. Thomas in the US Virgin Islands
for a stint is bartending on
the beach. Arrived in Los Angeles
in the early ´90s, working
first as a script reader and then
as a develoopment executive for a
variety of film and television production
companies. Also a proli-
fic screenwriter, signed by the
Writers and Artists Agency and
Messina-Baker Management of
Beverly Hills, and most recently
the Above the Line Agency on
Sunset Blvd. in West Hollywood.
Courses:
Essentials of screenwriting
In this class students will study
scenes and characters from films
both good and bad, to see what
works and what doesn’t in regards
to the big picture. The objective
is for each student to create a dynamic
character of their own and
place them in a scene or sequence
of scenes that ideally could be
made into a short film, yet could
possibly be part of a bigger picture.
There’s many a feature film
out there that originally started as
a great short film which caught the
attention of the movers and shakers.
Here’s looking at you, kid.
12 films about you
This is a writer intensive introductory
screenwriting workshop that
will focus on what are typically the
best scripts to come from novice
screenwriting students - storeies
about themselves. Using a variety
of tools to jog your memory,
students will be prodded to write
both humorous and dramatic stories
from their past, with some
embellishment, if needed. The
title is actually a challenge, the belief
being that all of us have at
least a dozen stories in our past
that could be developed for film.
However, the aim is for each student
to write and refine several
scripts that could be filmed later in
the academic year. Learning from
the past, students will also get to
view former EFC student films
to see why they worked, and why
they didn’t, with the hope that
they can emulate or improve on
our cinematic history here at the
EFC. Set in Big Bear, we will also
watch several feature films to see
how seemingly small stories about
one self, can turn into the big picture.
Lord of the Flies
Based on William Golding’s classic
novel, Lord of the Flies, this class
will explore the dynamics of writing
a feature film based on existing
material (both book and two
inferior film adaptations). The
unique concept of this class is to
actually write a group screenplay
of feature film length, that
is, 100 to 120 pages. Each student
will develop a character to place
on the island and a vote will ensue
to determine the hierarchy of
characters - from the protagonist
and antagonist, to the first victim.
Following group agreement on
characters, all writers will study
each individual biography so all
participants will know intimately
all the players, then the story itself
will be developed, with feature
film structure applied.