Workshops and Courses in Independent Filmmaking Winter ... - LIFT

Workshops and Coursesin Independent FilmmakingWinter 2011

2 Workshops and Courses in Filmmaking Winter 2011 WorkshopsAddress:1137 Dupont StreetToronto, Ontario CanadaTelephone: 416.588.6444Facsimile: 416.588.7017Hours:Monday–Friday, 10–6E-mail:registration@liſt .on.caWebsite:www.liſt .on.caRegistrationRegistration is on a fi rst come, fi rst serve basis starting at:10, Tuesday January 18 th , 2011.Register in person at LIFT (1137 Dupont Street) with cash,cheque, Interac, Visa, MasterCard or Amex or by telephonewith a credit card: (416) 588-6444.Registration is on a fi rst come, fi rst served basis. In personregistration takes priority over phone registration duringbusy periods.Updated Workshop GuidelinesLIFT Workshops have limited enrollment. Registration is notconfi rmed until payment has been received in full. All workshopstake place at LIFT unless otherwise noted.’s facility iswheelchair accessibleWorkshops are subject to cancellation, schedule and instructorchanges at the discretion of LIFT. All registered participantswill be notifi ed of any changes. Only the person whose nameappears on this confi rmation is registered for the workshop. Noother person can attend in her/his place. There are absolutelyno make-ups allowed for any missed session. For full dayworkshops, we recommend that you bring lunch or snacks.Please note, all workshops taking place in our digital classroomare on the Mac platform. Please note LIFT is a fragrance-freework place.New Cancellation PolicyAll cancellations must be received and confi rmed by telephonewith a LIFT staff member during offi ce hours. Cancellationsreceived via email, voicemail or otherwise will not berecognized. Participants must cancel up to fi ve (5) full businessdays prior to the date of the workshop to receive a 80% refundper cancelled workshop. No compensation is available forcancellations less than fi ve (5) full business days prior to yourworkshop start time or for non-attendance.Any refunds will be issued by cheque regardless of the originalmethod of payment.Community and Private Workshops welcomes inquiries from community groups, non-profi torganizations and others interested in partnering on specialtraining projects and community initiatives. Private workshopscan be arranged upon request.ContactIf you have any questions, please contact at(416) 588-6444, Monday to Friday, 10–6, or e-mailregistration@liſt .on.ca. The workshop schedule is alsoavailable on our website at www.liſt .on.ca.The Liaison of Independent Filmmakers ofToronto is supported by its membership,Canada Council for the Arts (Media ArtsSection), Ontario Arts Council, OntarioTrillium Foundation, the Government ofOntario and the City of Toronto through theToronto Arts Council. Additional support forthe Winter 2011 Workshop series is providedby Exclusive Film and Video and NiagaraCustom Lab.Design by Martina HwangLast updated: January 24 th , 2011

Winter 2011 WorkshopsTable of Contents3Free Programs5 No Reading Aſt er The Internet5 BravoFACT! Information SessionFilmmaking Intensives6 Arduino Interactive Cinema Intensive7 Interactive, Generative, Video, Audio,Installation Art Intensive8 16 Filmmaking Intensive9 Super 8 Filmmaking Intensive10 Filming Dance with Kaeja d’DanceDirecting and Writing11 Introduction to Independent Filmmaking11 Introduction to Documentary Filmmaking12 Introduction to Directing Film12 Directing Actors for Film13 Directing Independent Music Videos13 Storyboarding14 Short Film Writing14 Documentary Film WritingProducing and Distribution15 Producing Dramatic Film15 Producing Documentary Film16 Grant Writing for Arts Councils16 Budgets and Bookkeeping17 Careers in the Film Industry17 Festival Strategies for Independent Film18-19 CalendarPost-Production Fundamentals26 Post-Production Overview26 Editing Aesthetics27 Documentary EditingFilm: Post and Creative28 Editing on Film28 Telecine29 JK Optical Printer29 Introduction to the 16Oxberry Animation Camera30 Handprocessing Black and White Film30 Colour Reversal Processing31 Still Photography and Darkroom ProcessingDigital Tools: Editing, Animation and the Web*31 Introduction to Adobe Premiere Pro32 Introduction to Final Cut Pro 632 Intermediate Final Cut Pro 633 Final Cut Studio 233 Assistant Editing with Final Cut Pro 634 Introduction to Photoshop34 Websites for Artists35 Introduction to Flash35 Introduction to Aſt er Eff ects* Participants work at their own iMac stations.Students are expected to be familiar with the Macinterface, and are not permitted to bring personalequipment or projects for workshop use.Production20 Camera Theory20 Bolex 16 Camera21 35 Filmmaking21 HD Production with the Sony EX122 Introduction to Cinematography22 Lighting Fundamentals23 Grip Fundamentals23 Location Sound Recording24 Documentary Field Production24 Camera Assisting25 Voice-Over Techniques25 Sound Design with Pro Tools

Winter 2011 WorkshopsFree Programs5NO READING AFTER THE INTERNETMonthly Salon SeriesBravoFACT! INFORMATION SESSIONSchedule:• Tuesday January 25, 7• Thursday February 17, 7Cost:Free •Schedule:• Thursday February 3, 7–8:30Cost:• Free• Seating is limited, come earlySee www.lift.on.ca and www.noreadingaftertheinternet.wordpress.com fordetailed information and future dates.Beginning in January, lift presents No Reading After the Internet, amonthly opportunity to gather and read a text aloud, provoking theoreticalillumination on media art works and the context within whichsuch works exist. The focus of the salon series departs from an interestin cinema, but will accommodate the broad and ever expanding scopeof contemporary media art practices.Participation in No Reading After the Internet is free and open toeveryone, regardless of familiarity with a text or its author. Texts willbe handed out at the salon. No pre-reading or research is required.January’s Reading:“Radicals and Radicants” from The Radicant by Nicholas BourriaudLearn about the funding options available for independent filmmakersthrough Bravo!fact in this free information session withJudy Gladstone, executive director of Bravo!fact.ctv Television’s Bravo!fact (Foundation to Assist Canadian Talent)has distributed tens of millions of dollars in grants for the productionof thousands shorts across Canada. Short films and videos producedwith Bravo!fact grants have been honoured with awards andscreenings at festivals including the Cannes Film Festival, TorontoInternational Film Festival, Sundance, the Canadian Film Centre’sWorldwide Short Film Festival, and other prestigious festivals inNew York, Japan, Argentina, Italy and throughout the world, as wellas during the Victory Ceremonies at the 2010 Olympics and in theCanada Pavilion at Expo 2010 in Shanghai. www.bravofact.comTuesday January 25th, 7pmLIFT: 1137 Dupont StreetFacilitator: cheyanne turionsCo-presented with Gallery tpw (www.gallerytpw.ca)Provoked by the Gallery tpw presentation of The Permanent Longingfor Elsewhere, a screening curated by cheyanne turions, January’sreading will explore Nicholas Bourriaud’s idea of what it means to beradicant.Participants are strongly encouraged (though not required) to attendthe related screening: The Permanent Longing for Elsewhere at Gallerytpw (56 Ossington) on Wednesday January 19th, 7pm (free).February’s Reading:Ulises Carrion’s The New Art of Making BooksThursday, February 17th, 7pmMercer Union: 1286 Bloor Street WestFacilitators: Sarah Robayo Sheridan and cheyanne turionsCo-presented with Mercer Union (www.mercerunion.org)Ulises Carrión’s text is a utopian proposal for the possibilities of whatcan constitute a book, encouraging readers, writer and makers toconsider the book itself as a performance where form contributes atleast as much to meaning–if not more–than content.

6 Filmmaking Intensives Winter 2011 WorkshopsARDUINO INTERACTIVE CINEMA INTENSIVEExpand the potential of cinema art with ArduinoSchedule:• Friday March 18, 6-10• Saturday March 19, 12-5• Sunday March 20, 12-5Cost:• Members $195• Non-members $225• Enrollment is limited to 8Explore the possibilities of Arduino, a versatile program for makinginteractive art. Arduino is a tool for making computers that can senseand control more of the physical world than your desktop computer.It’s an open-source physical computing platform based on a simplemicrocontroller board, and a development environment for writingsoftware for the board. This three day intensive with lift Artist InResidence Enrico Mandirola will give you the knowledge and hands ontraining to bring Arduino into your cinema art practice.lift will provide basic Arduino hardware and required materials. Pleaseprovide an outline of your proposed project to registration@lift.on.ca byFriday March 11th 2011.Instructor:Enrico Mandirola studied cinema at the University of Turin (dams).He lives in Bogota, Colombia where he works and researches methodsof experimental cinema. Enrico co-created the first laboratory for handcrafted Super 8mm cinema in Colombia, KinoLab (www.kinolab.co.cc).He is a member of the Association L’Abominable in Paris, an artistrun film laboratory dedicated to the methods of “Argentique” cinema(www.l-abominable.org). He is a member of Cineparallax, a Frenchindependent cinema production company, and has collaborated onvarious film projects as director of photography (www.cineparallax.com).His films have screened at many festivals and galleries such as theTorino Film Festival, the Toronto International Film Festival, MexicaliVideo Gallery, and the Centre George Pompidou. Enrico’s film Monicais distributed by the French Cooperative Lightcone in Paris(www.lightcone.org). www.kinopoesia.org

Winter 2011 WorkshopsFilmmaking Intensives7INTERACTIVE, GENERATIVE, VIDEO,AUDIO, INSTALLATION ART INTENSIVELearn the possibilities of making art with Pure DataSchedule:• Tuesday March 29, 6-10• Wednesday March 30, 6-10• Thursday March 31, 6-10Cost:• Members $160• Non-members $190• Enrollment is limited to 8Discover the possibilities of Pure Data (Pd), a powerful tool for makingvideo art, interactive installations, audio art, and pretty much anythingyou can think of. Pure Data is a graphical-based media programminglanguage, similar to the well-known program Max/msp, but freeand open source. Pure Data is most commonly used in immersive andinteractive installations as well as live video mixing/vj events, andallows artists to interact with the real world through live camera feeds,audio, video, motion sensors and other sources, or create synthesizersand video mixers. This workshop will focus on using Pd for video, andwill also discuss things such as audio and physical computing.No experience necessary. Workstations will be provided for this workshop.Instructor:Julieta María is a Colombian, Toronto based new media artist witha background in computer science and visual arts. She works withvideo and interactive installations to explore issues like migration,memory, transcendence and personal history in a poetic way. Sheuses technology to provide the audience with an intimate space forreflection. Julieta is currently interested in nonlinear narratives andthe convergence between history and the personal. Her video work hasbeen shown in several venues in Toronto, Colombia and the U.S. Shehas been actively working with artistic organizations, being a foundingmember of e-fagia, a collective working in new media arts, and amember of the board of directors of aluCine Toronto Latin Film andMedia Festival. www.julietamaria.com

8 Filmmaking Intensives Winter 2011 Workshops16 FILMMAKING INTENSIVEBring your fi lm idea to life in this all-inclusivefi lm intensiveSchedule:• Bolex: Sunday February 13th, 11-5• Handprocessing: Sunday February 27th, 10-6• Editing: Sunday March 27th, 11-5Cost:• Members $225• Non-members $255• Enrollment is limited to 6Make a complete film in this filmmaking intensive. Learn to shootwith the Bolex camera, process your film in lift’s darkroom, and editon the Steenbeck. This workshop includes film, darkroom chemistry,equipment and facilities rental time (see details below).Bolex 16mm Camera (page 20)Gain a solid foundation in the operation of this camera, and take theopportunity to use the included rental time to take the camera out onyour own.Handprocessing Black and White Film (page 30)Take your footage into the darkroom and process it yourself in thisintroduction to handprocessing and darkroom practices.Editing On Film (page 28)Complete the 16mm filmmaking process by editing your film by hand.The 16mm Filmmaking Intensive concludes with a screening at TheCameron House (back room) at 8pm on Sunday May 8th, 2011. Allparticipants, members and friends are welcome to attend.16mm Filmmaking Intensive includes:· Bolex 16mm Camera Workshop· Handprocessing Black and White Film Workshop· Editing On Film Workshop· Camera: Bolex 16mm camera (one weekend rental or one weekdayrental)· Film: Kodak 7265 Plus X reversal black and white 16mm filmstock (200ft)· Darkroom: Four (4) hours of darkroom time (see details below)Editing: Eight (8) hours of flatbed editing time (see details below)·lift’s Camera Theory workshop is strongly recommended as a prerequisitefor the 16mm Filmmaking Intensive. All participants must book theirdarkroom and editing time during lift office hours (Monday–Friday,10am–6pm). All equipment credits and facility rental time must be used byFriday, April 29th, 2011.Instructors:Marcos Arriaga (Bolex Camera), see page 20; Coral Aiken (Handprocessing)see page 30; and Alexi Manis (Editing), see page 28.

Winter 2011 WorkshopsFilmmaking Intensives9Super 8 FILMMAKING INTENSIVEMake a Super 8 fi lm from start to fi nish injust one monthSchedule:• Sunday February 27th, 11-3• Sunday March 6th, 11-3Cost:• Members $120• Non-members $140• Enrollment is limited to 12Learn all aspects of operating a Super 8mm camera, with emphasis ongetting the best exposure and taking advantage of the unique featuresof the Super 8mm format. Learn basic elements of camera theory andthe fundamentals of shooting, directing and editing your own filmproject.The Super 8mm Filmmaking Intensive concludes with a screening atThe Cameron House (back room) at 8pm on Sunday May 8th, 2011.All participants, members and friends are welcome to attend.Super 8mm Filmmaking Intensive includes:· Super 8mm Camera Workshop· Super 8mm Editing Workshop· Camera: Super 8mm camera (one weekend rental, or one weekdayrental)· Film: Ektachrome (Colour), or Tri-X (Black and White) Super8mm film (one roll)· Processing: Exclusive Film and Video (one roll)· Editing: Eight (8) hours of editing time (see details below)· Transfer of footage MiniDV at lift (tape stock not included)Instructor:John Porter has been a filmmaker, performer, photographer andwriter in Toronto since 1968. He has made three hundred films, mostlysuper 8, and performed one hundred solo shows internationally. Hestudied Film Production at Ryerson University and has received 5Creation Grants from the Canada Council for the Arts. He has taughtmany super 8 workshops and has spoken in many university filmclasses. He taught his first super 8 and 16mm Film Workshop creditcourses in the Summer of 2005 and 2008, at Trent University, Peterborough,Ontario. His community activism includes photographing andwriting about local underground film activity, and advocating super 8film and $50 film budgets. www.super8porter.caAll equipment credits must be used before Friday, April 29th, 2011. Allparticipants must book their editing time during lift office hours (Monday–Friday, 10am–6pm). Participants wishing to edit digitally please see FinalCut Pro workshops dates and rates.

10 Filmmaking Intensives Winter 2011 WorkshopsFILMING DANCE WITH KAEJA D’DANCECelebrate 30 years of and 20 years of Kaeja d’Dance inthis hands on workshop with Allen KaejaSchedule:• Saturday March 5th, –6Cost:• Members $200• Non-members $225• Enrollment is limited to 15Dancers, choreographers and filmmakers are welcome to this courseexploring movement on film. Renowned choreographer and filmmakerAllen Kaeja leads an intensive session on dance on film with a focus oncapturing movement on camera. Learn to plan for making a dance film,generate movement suited to film and improvise choreography for thecamera. Work with the camera and test how different choreographylooks through the lens. Explore your own notions of movement withmentorship from an experienced dance filmmaker.The Camera Theory workshop is strongly recommended as a prerequisite.Instructors:Allen Kaeja is a Gemini nominated director and award winningchoreographer who is the co-artistic director of the CanAsianInternational Dance Festival, the Fringe Festival of IndependentDance Artists (ffida), and Kaeja d’Dance with his life partner KarenKaeja. He has created over ninety dance pieces since 1982 and choreographedfor seventeen films. The Kaeja films have been screened allacross the globe and have received special ‘Jury Mentions’ from theRocky Awards, imz and a ‘Certificate of Distinction’ from AmericanDance Festival.Kaeja d’Dance is a Toronto based dance company that is renownedfor creating exceptional contemporary dance work, award winningdance films and empowering education & outreach programs. At theheart of Kaeja are two dynamic energies – co-artistic directors Karenand Allen Kaeja. With their company of accomplished dancers, Karenand Allen push the boundaries of Canadian contemporary dance andinfuse local and international communities with exciting new experiencesboth on and off the stage. In 2011 Kaeja d’Dance celebrates 20years of dance and film with 20/20 Vision, a mixed concert of fournew works in association with Harbourfront NextSteps Series.www.kaeja.org

Winter 2011 WorkshopsDirecting and Writing11INTRODUCTION TOINDEPENDENT FILMMAKINGSchedule:• Saturday February 5th, 11–5Cost:• Members $35• Non-members $50• Enrollment is limited to 14INTRODUCTION TODOCUMENTARY FILMMAKINGSchedule:• Tuesday February 22nd, 6–10• Thursday February 24th, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 14This lecture based course gives participants an overview of all thestages involved in independent filmmaking. Learn about the writingprocess, planning your workflow, prepping for your shoot, crewing up,the fundamentals of production, basic cinematography, the importanceof sound, getting all your shots, how to approach editing and themany options for finishing and exhibiting your film. This workshop isa general overview for new filmmakers and a great starting point foryour filmmaking education.Instructor:Annette Mangaard is an independent filmmaker who has writtenand directed over fifteen films over a decades-long career. Acelebrated Canadian artist, Mangaard has presented several retrospectivesof her work internationally, the latest at the CinemathequePalais de Glace in Buenos Aires, Argentina. Mangaard was recentlybeen nominated for a Best Director Gemini (Documentary) for herfilm, General Idea: Art, Aids and The Fin De Siecle (tvo, Bravo, scn,Knowledge) about a celebrated Canadian artists collective. The filmpremiered at Hot Docs in Toronto and went on to garner accoladesat festivals in Vancouver, Mexico City, Buenos Aires, Asolo, Italy.Mangaard has several projects in development including Kinngait:Throwing Light Into the World, a feature documentary to premiereat the Art Gallery of Ontario in November; Wild Women, a multiplatforminteractive project about Canadian women cowgirls, andZero Footprint, a feature length documentary exploring indigenouspeoples and ways of living. www.annettemangaard.comThis lecture-based course provides a basic overview from the documentarydirector’s point of view. The workshop guides participants throughthe entire process of documentary filmmaking from development todelivery. Participants discuss proposals, scripts and basic elementsof documentary expression such as interviewing, mise-en-scene,shooting on the fly, and planning for anticipated locations. Finally, thiscourse will provide a brief overview of the various sources of fundingfor low-budget documentary in Canada.Instructor:Juan Baquero is a Toronto based director and editor. In 2007 he wasselected as a Quebecor Documentary Program Fellow and took part inthe Hot Docs Director’s Lab. In 2008, he was chosen to participate inthe omdc/doc Mentorship program at Hot Docs. Listen to This! hisdebut Canadian feature length documentary commissioned by tvoand Bravo explores the influence of music as a creative outlet for kidsliving in the inner city. Before moving to Canada, Juan worked forover 10 years as a tv director and producer in South America, wherehe created, directed and produced dozens of hours of original tvprogramming. Juan holds a B.S. degree in telecommunications fromthe University of Florida and a Master of Law degree from Harvard LawSchool. He also studied film production in Australia. Juan is currentlydeveloping Hockey in the Hood, a feature length documentary about aninner city hockey team.

12 Directing and Writing Winter 2011 WorkshopsINTRODUCTIONTO DIRECTING FILMSchedule:• Tuesday February 15th , 6–10• Thursday February 17th , 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 14DIRECTING ACTORS FOR FILMSchedule:• Saturday March 12th, 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 14This workshop is ideal for new filmmakers as well as those interested inrefining their skills. Focus will be on the practical aspects of directingsuch as casting, locations, storyboards, budget driven technical decisions,rehearsals, telling a story with pictures, the psychology ofcomposition, moving camera, screen direction, eye-lines and the ‘axis’,shooting schedule, on set protocol, and other production concerns.Film clips are shown to illustrate key points and generate and discussion.As a hands-on exercise, the participants will break down a scenefrom a film script, and compare with how the film’s director actuallyshot it.Instructor:Shane Belcourt is an award-winning Metis filmmaker, writer, andmusician based in Toronto. His debut feature film, Tkaronto, has playedmany international film festivals, winning the Best Director prize atthe 2008 Dreamspeakers Film Festival and 2008 Talking Stick FilmFestival, along with being nationally distributed in theatres acrossCanada. Shane has made a variety of short films that have beenshown on national television and various film festivals. Alongsidethe dramatic work, Shane continues to make documentary films as adirector and cinematographer. www.shanebelcourt.comThis workshop is designed to help new filmmakers and experienceddirectors improve their communication with actors. In this practicalworkshop participants will have hands on sessions working with actors,mentored by veteran actor and director Michael Greyeyes. Learn aboutthe main acting techniques, discover the vocabulary used by actors, andcome away with a solid understanding of the acting process. The coursewill lead you through how to carry out successful auditions, approachrehearsals and help your actors give a great performance.Instructor:Michael Greyeyes is an actor, choreographer, and director. As anactor with seventeen years of experience in film and television, hehas worked with a wide range of directors, including Bruce McDonald,Clement Virgo, Paul Gross, John Sayles, and Terence Malick. He haswritten for film (Triptych/Bravo) and directed the first Cree opera,Pimooteewin (The Journey) for Soundstreams Canada and AlmightyVoice and his Wife (nnnn rating from Now Magazine) for Native EarthPerforming Arts and directed a number of short films. His latest film,Seven Seconds (Super 16mm) was a product of the lift and imagineNATIVE2010 Mentorship program recently premiered at the 2010Festival. Michael Greyeyes is a professor in the theatre department atYork University.

Winter 2011 WorkshopsDirecting and Writing13DIRECTING INDEPENDENTMUSIC VIDEOSSchedule:• Tuesday March 8th , 6–10• Thursday March 10th , 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 14STORYBOARDINGSchedule:• Monday March 7th , 6–10• Wednesday March 9th, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 14This workshop gives an overview of how to produce and direct yourindependent music video. Special focus on shooting music videosguerrilla style, with a limited or shoestring budget. Topics include:conceptualizing and writing for music videos, funding, pre-production,production and post-production. Participants learn how to brainstormideas, find the right fit for the song, and explore techniques for bringingyour visual concepts to the screen.The Camera Theory workshop is strongly recommended as a prerequisite.Filmmakers are encouraged to discuss their current projects and works-inprogressin this forum, and bring music that inspires their practice.Instructor:Alison Duke is an award-winning filmmaker with over ten yearsexperience producing films for broadcast television, community-basedorganizations, corporations and small businesses. She has worked as asegment producer/director for several internationally syndicated documentarytelevision series, and has written, produced and directed filmsshown in film festivals. Ms. Duke brings a variety of different skills toeach production including producing, directing, camera operation andediting. She currently is the founder and ceo of Goldelox ProductionsInc, an independent production company whose mission is to producesocial issues documentaries, dramas and media products for privateand public companies as well as other filmmakers. She has directedmusic videos for such artists as Nelly Furtado, Motion, Gavin Hope andCitizen Kane, amongst others. Her latest music video, The Batty BoysRevenge by Troy Jackson, premiered at the ago and the 2010 InsideOut Toronto lgbt Film and Video Festival. www.alisonduke.comThis workshop covers the basic components which make up the visualizationof a screenplay. Learn the principles of concept and designillustration, continuity sketches and storyboards, the line of axis,the illustration of camera techniques, shot flow, mood and character.Learn a brief history of storyboarding in Hollywood. The participantswill have the opportunity to practice basic drawings skills and viewsample storyboards alongside their actual filmed sequences. Drawingskills are not required.Participants are asked to bring the following materials to the workshop:blank paper, pencil and eraser.Instructor:Ron Hobbs is currently a storyboard artist for major motion pictures,television and commercials. As well as drawing out scenes, Ron hascontributed story ideas that were incorporated into script-in essence,the script rewrites would be taken from his storyboards at the director’srequest. He worked on the Academy Award-winning Chicago, XMen,Cold Creek Manor, Undercover Brother, The Recruit and many others. Hehas also worked as a graphic designer, illustrator, comic artist andmagazine publisher (Video Pages). www.ronhobbsstoryboard.com

14 Directing and Writing Winter 2011 WorkshopsSHORT FILM WRITINGDOCUMENTARY FILM WRITINGSchedule:• Monday April 11th, 6–10• Monday April 18th, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 10Schedule:• Monday March 14th, 6–10• Monday March 21st, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 10A short film is often viewed as a stepping-stone towards a long formnarrative, but like a short story or a poem, it can be much more thanthat, an art form with its own liberties and language. Through filmscreenings, lecture and group discussion, this workshop will focus onthe unique characteristics of the short film, its constraints and its freedoms,structural conventions and departures. Participants will learnstory editing and workshop each other’s work with the mentorship ofindustry professional Maureen Dorey.Participants should submit a brief description of their short script byMonday April 4th, 2011 and must come on the first day with a short scriptin some written stage of development. Submit to registration@lift.on.ca withthe course title in the subject line.Instructor:Maureen Dorey is a freelance analyst and story editor who helpswriters renew their inspiration and find their voices. Her productioncredits include: Hidden, written by David Shamoon, now filming withdirector Agnieska Holland, Amal written by Shaun and Richie Mehta(2007), A Stone’s Throw written by Garfield Lindsay Miller and CameliaFrieberg (director) (2006), Moccasin Flats, Season ii, Random Passage, aneight-hour mini-series directed by John N. Smith, produced by PassageFilms and Cité-Amérique for broadcast on cbc and rte (Eire), andMile Zero, a feature film produced by Anagram Films. Other creditsinclude Born Into This by writer-director Emmanuel Shirinian, ExtraordinaryVisitor, The War Between Us; Lyddie, Violet and On My Mind, 6 x30 min children’s dramas. She has acted as consultant to the NationalScreen Institute, Praxis Film Works, nifco and b.c. Film, and hasbeen Story Editor in Residence to the Canadian Film Centre’s WritersLab for the past seven years. She has acted as story editor on severalCanadian Film Centre Feature Film Projects, including: Nurse.Fighter.Boy. (produced 2008), The Dark Hours, Sibilings, Horsie’s Retreat andShow Me.Writing for documentary is a very different discipline than fiction;it has its own rules and conventions. In this workshop, participantslearn to conceive and write their own documentary project. Learn howto articulate and focus the central themes of your work, the basics ofdocumentary research and how to identify characters and how theycan illuminate your subject. You’ll learn when to use narration to spellthings out and when not to, what should be written before you startshooting, and what comes after. Participants will come away with anenhanced tool kit for turning an idea into an accessible, compelling andstylish documentary film.Participants should submit a one-page treatment of their documentaryconcept by Monday March 7th, 2011. Submit to registration@lift.on.ca withthe course title in the subject line.Instructor:Steve Lucas is a Toronto-based writer-producer with many years ofexperience in the Canadian film and television industry. His documentarycredits include the Genie Award-winning The Champagne Safari,the Gemini Award-winning Last Call at The Gladstone Hotel, The NewIce Age: A Year in the Life of the nhl and Before Their Time, and theAcademy Award-nominated After the Axe. Steve has taught screenwritingat the Canadian Film Centre, Ryerson University, HumberCollege and the Guangzhou International Documentary Film Festivalin China. Steve and Toronto filmmaker Karen O’Donnell are currentlyworking on a documentary series about an exclusive Ontario boardingschool for troubled teenage girls.

Winter 2011 WorkshopsProducing and Distribution15PRODUCING DRAMATIC FILMSchedule:• Saturday April 2nd, 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 14PRODUCING DOCUMENTARY FILMSchedule:• Monday April 4th , 6–10• Wednesday April 6th, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 14Hone your producing skills in this crash course in producing independentfilm. In this workshop, participants learn the process of taking adramatic film project from development to delivery from a producer’sperspective. Topics include story editing, pitching, casting, crewing,securing locations, financing, budgets, scheduling, contracts, clearingmusic, deliverables, marketing and distribution. Focusing specificallyon the particularities of the dramatic film, you will acquire thefoundational knowledge to help guide you through a narrative-basedproduction.Instructor:Daniel Bekerman is a producer with a sixteen-year history in theindustry. In 2010 Daniel produced the feature film You Are Heredirected by video artist Daniel Cockburn. Principal photography wascompleted in March 2010 on the 35mm feature film Brother Frank,a naturalistic drama shot on a true shoestring budget. Daniel hasproduced seven short films and line produced eleven feature films.Films in development include The House of Wittgenstein, a historicalepic, The Berliner Complex, a psychological thriller, Mathilde, an intensecharacter study and An Inconvenient Youth a documentary with Oscarwinning director of The Cove, Louie Psihoyoshe attached as mentordirector. At the Toronto International Film Festival in 2010 Daniel hadproducer or production manager credits on five films—You Are Here(producer), How To Rid Your Lover (producer), The Whistleblower, A Beginner’sGuide To Endings and Trigger.This workshop takes participants through the various stages of makinga documentary, from development to post-production, delivery andlaunching your project. Participants will discuss the proposal, thedocumentary script, the budget, getting into the field, the importanceof editing and the crucial relationship between producer and director.This lecture based workshop provides an overview of how to financefactual programming, big or low budget, in today’s multi-platformenvironment.Instructor:Ed Barreveld has been making films since 1986 when he first joinedCanada’s Oscar-winning National Film Board’s Ontario Studio. He hasbeen an independent filmmaker since 1996, producing mostly auteurdrivendocumentaries for domestic and international broadcasters.In 2000, Barreveld co-founded Storyline Entertainment Inc. andproduced the award-winning feature documentaries Aftermath: TheRemnants of War and Shipbreakers (2005 Gemini winner). In 2004,Barreveld became the sole principal of Storyline Entertainment. Thatsame year, Storyline released Bruce & Me (an Australian-Canadianco-production) and Whale of a Tale, which premiered at the TorontoInternational Film Festival. Since then Barreveld has produced manyother documentaries including the 2009 Gemini-winning featuredocumentary Tiger Spirit (Hot Docs 2008). He is currently in postproductionon Min Sook Lee’s The Real m*a*s*h, a history versusHollywood look at the popular television series m*a*s*h and RamaRau’s The Market, which looks at the trade in human organs. Barreveldis based in Toronto, Canada. www.storylineentertainment.com

16 Producing and Distribution Winter 2011 WorkshopsGRANT WRITING FOR ARTS COUNCILSSchedule:• Tuesday February 1st, 6–10• Tuesday February 8th, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 14BUDGETS AND BOOKKEEPINGSchedule:• Tuesday April 12th, 6–10• Thursday April 14th, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 14Sustaining a career as an artist necessitates learning how to write aclear, concise and persuasive arts grant application. This workshopwill outline the process of planning, writing and submitting mediaarts grant proposals that accurately and interestingly represent eachindividual project. The first evening will focus on what juries look forin the presentation, budget preparation and support material. On thesecond evening, we will review and critique a number of different grantproposals.Participants should submit a draft grant proposal by Tuesday January25th, 2011. Submit to registration@lift.on.ca with the course title in thesubject line.Instructor:b.h. Yael has been writing grants for nearly twenty years now. Shesupports the idea of a peer jury system, one in which practitioners arejudging the applications for funding grants, and she’ll tell you why inthis session. Yael is a local video and installation artist, and teachesat the Ontario College of Art & Design, in Integrated Media. Her mostrecent work, Trading the Future premiered at the Mumbai InternationalFilm Festival and in Toronto at Images Festival. This video recentlyreceived the Audience Award at the Ecofilms Festival in Rhodes, Greeceand was funded by all three levels of arts councils, for which she istruly grateful. www.bhyael.comDemystify production financing and learn to keep track of productionspending in this workshop. Learn to create a realistic productionbudget. Look at the relationship between the budget and the productionschedule. Learn about funding options and government tax credits.Learn the difference between a production budget and a productionfinancial statement and many other details that will assist in maintaininga balanced budget. Understanding the books is essential tomounting a successful production. Budgeting and bookkeeping skillswill assist producers navigate the financing of the independent filmindustry.Instructor:Marva Ollivierre has over twenty years of industry experience. Sheis a Gemini nominated Executive Producer, a management accountant,and award-winning writer. She is the creator of the highlysuccessful cross-Canada lecture series Making Your Art Your Businessand was Executive Producer and Head of Business Affairs atInner City Films. During her five-year tenure with Inner City Filmsher productions received international recognition: Skin Deep—Gemini Winner, Best Lifestyle/Doc and the Canada/South Africaco-production Jozi H—four Gemini Nominations including BestDrama Series. In 2006, Marva started her own independent productionhouse. There are several projects on the company’s developmentslate, one of which, the commissioned documentary Made In Canada,is in production. www.doeeyeproductions.com

Winter 2011 WorkshopsProducing and Distribution17CAREERS IN THE FILM INDUSTRYSchedule:• Monday March 28th, 6–10Cost:• Members $45• Non-members $65• Enrollment is limited to 14FESTIVAL STRATEGIESFOR INDEPENDENT FILMSchedule:• Wednesday March 23rd, 6–10Cost:• Members $45• Non-members $65• Enrollment is limited to 14This workshop provides an overview of all the different roles in thefilm industry. Training programs often prepare students to be writers,producers and directors, but the film industry is full of interestingjob opportunities. One of the best ways to get more involved in theindustry is by working on set, learning different roles and makingconnections. Explore the career possibilities available in this informativecourse with Jane Walker. Topics covered include crew categories,volunteering, set etiquette, job search and union membership.Instructor:Jane Walker holds a ba in Cinema Studies from the University ofToronto, and an mfa in Film from York. She has produced and directedseveral documentary films including Spinsters and 2-11 both of whichhave screened in Canada and internationally. Jane has worked in filmfor over 16 years in various on-set positions, becoming a professionalscript supervisor in 1995. Most recently she was script on The GoodWitch’s Gift and the cbc series The Border. Jane started teaching workshopsat lift in 1997, and has also taught at Hart House Film Boardand Sheridan College.In this workshop participants will learn how to create an effectivestrategy to promote your film internationally. Discussion pointsinclude: why a festival strategy is necessary, the strengths of theworld’s top festivals, secrets to a successful festival submission, whathappens after your film is accepted, maximizing and fully exploitingfestival participation, the role of a sales agent in having successfulfestival, the costs involved in promoting your film, and finally howprogrammers make their selections. The right plan of action willensure the successful launch of your film - the result of all your hardwork - into the international market.Instructor:Jane Schoettle is an International Programmer for the TorontoInternational Film Festival. In this role, Schoettle is responsible forprogramming films from the territories of Australia, New Zealand andIsrael, as well as American independent cinema. Her reputation forhaving a keen eye for discovering new talent was cemented when filmsshe programmed won the Cadillac People’s Choice Award three yearsrunning—Hotel Rwanda in 2004, Tsotsi in 2005 and Bella in 2006. Shehas served on numerous international festival juries including eventsin Scandinavia, Europe, South America and South Asia, and oftenappears on camera or in print as a film expert. At SXSW 2010 She willbe leading a panel on Festival Strategies for Independent Film. She iscurrently the co-programmer for TIFF’s film subscription series, ReelTalk.

18 Calendar Winter 2011 WorkshopsJanuarySUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY12 3 4 5 6 7 89 10 11 12 13 14 1516 17 18WorkshopRegistration Opens23 24 25No Reading Aſt erThe Internet pg530 3119 20 21 2226 27 28 29FebruarySUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY6 7Camera Theory 1/2pg20Introduction to FinalCut Pro: Class A 1/2pg32Grant Writing forArts Councils 1/2pg16Grant Writing forArts Councils 2/2pg16189Camera Theory 2/2pg20Introduction to FinalCut Pro: Class A 2/2pg322 3BravoFACT!InformationSession pg54 5Introduction toIndependentFilmmakingpg1110 11 12HD Production withthe Sony EX1 pg211316 FilmmakingIntensive pg8Bolex 16 Camerapg2014 15Introduction toDirecting Film 1/2pg1220 21 22Introduction toDocumentaryFilmmaking 1/2p1123Camera Assisting1/2p2416 17No Reading Aſt erThe Internet pg5Introduction toDirecting Film 2/2pg1224Introduction toDocumentaryFilmmaking 2/2p1125Camera Assisting2/2p2418 1926Documentary FieldProductionp242716 FilmmakingIntensive pg8HandprocessingB&W Film pg30Super 8FilmmakingIntensive pg928

Winter 2011 WorkshopsCalendar19MarchSUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAYSuper 8 FilmmakingIntensive pg913LightingFundamentals pg22Intro to Aſt er Eff ects pg35Colour ReversalProcessing pg3020Arduino InteractiveCinema Intensive 3/3 pg62716 FilmmakingIntensive pg8Editing on Film pg28Still Photography & DarkroomProcessing pg316Storyboarding 1/2pg13714Documentary FilmWriting 1/2 pg1421Documentary FilmWriting 2/2 pg1428Careers in the FilmIndustry p17Intro to Final Cut Pro:Class B 1/2 pg32Directing IndependentMusic Videos 1/2 pg1322Intro toCinematography 1/2 pg22Intro to Adobe PremierePro 1/2 pg3129Interactive, Generative,Video, Audio, InstallationArt Intensive 1/3 p718Storyboarding 2/2pg132 3Intro to Final Cut Pro:Class B 2/2 pg32910Directing IndependentMusic Videos 2/2 pg1315 16 17 18Arduino InteractiveCinema Intensive1/3 pg623Festival Strategies forIndependent Film pg1730Interactive, Generative,Video, Audio,Installation ArtIntensive 2/3 p724Intro toCinematography 2/2pg22Intro to AdobePremiere Pro 2/2 pg3131Interactive, Generative,Video, Audio,Installation ArtIntensive 3/3 p74 5Filming Dancewith Kaeja d’Dancepg1011 12Directing Actorsfor Film pg12Intro to Photoshoppg3419ArduinoInteractive CinemaIntensive 2/3 pg625 2635 Filmmakingpg21AprilSUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY3Location Sound Recordingp23Assistant Editing p331016 Oxberry Stand p29Intermediate Final Cut Pro1/2 p324Producing DocumentaryFilm 1/2 pg15Final Cut Pro Studio 1/4pg33Short Film Writing 1/2pg1411Final Cut Pro Studio2/4 pg33512Budgets & Bookkeeping1/2 pg16Websites for Artists1/2 pg346ProducingDocumentary Film2/2 pg15Final Cut Pro Studio3/4 pg337Final Cut Pro Studio4/4 pg3313 14Budgets & Bookkeeping2/2 pg16Websites for Artists2/2 pg341 2Producing DramaticFilm p15DocumentaryEditing p278 9Grip Fundamentalspg23Intro to Flash pg3515 16Editing Aestheticspg2617Voice-Over Techniquespg25JK Optical Printer pg29Intermediate Final Cut Pro2/2 p32Short Film Writing 2/2pg14Telecine pg2818Post-ProductionOverview 1/2 pg2624 25 26Sound Design with ProTools 1/2 pg251920 21Post-ProductionOverview 2/2 pg2627 28Sound Design withPro Tools 2/2 pg2522 2329 30

20 Production Winter 2011 WorkshopsCAMERA THEORYSchedule:• Monday February 7th , 6–10• Wednesday February 9th, 6–10Cost:• Members $65• Non-members $85• Enrollment is limited to 14BOLEX 16 CAMERASchedule:• Sunday February 13th, 11–5Cost:• Members $55• Non-members $75• Enrollment is limited to 8Camera Theory provides a foundation for working with all types ofcameras. Whether you are interested in shooting on a 16mm Bolexcamera or the newest digital cinema technology, learn the basics ofcamera operation that will allow you to approach any camera withconfidence.Camera Theory is a foundational course and is necessary as a prerequisite formany of our camera based and cinematography-focused workshops.Instructor:Sarah Moffat has been exploring cameras since childhood. Now,with over 15 years of professional experience, Sarah’s knowledgehas spanned across the camera world to include motion picture film,and video, still photography film and digital, and underwater. Shehas worked in a vast number of situations from large movie sets, topersonal documentary interviews, to covering live broadcast events, tophotographing everyday life, landscapes and print. The list is endless.Winning various recognition for her work over the years while stakingnew titles by developing and defining new positions, Sarah has beenmarked as one of the industry’s finest. www.sarahmoffatimagery.comThe Bolex is lift’s smallest, lightest and most affordable camera.The Bolex provides a great introduction to shooting on film, offeringsimplicity for beginner filmmakers and more advanced features forthe experienced camera user. Gain a solid foundation in the use of thisversatile camera.The Camera Theory workshop is strongly recommended as a prerequisite.Instructor:Marcos Arriaga was born in Lima, Peru. He graduated from SanMartin de Porras University in Lima with a Bachelor’s Degree inCommunications in 1985. Marcos worked as a Journalist and Photographerfor the daily newspaper Marka, and the weekly magazineAmauta. He immigrated to Canada in 1987 and graduated from theSheridan College Media Arts Film Program in 1995. He earned aMaster of Fine Arts in Film Production at York University in 2003.Marcos has completed seven short films and a medium long documentary,which have been shown widely in Canada and internationally.www.marcosarriaga.com

Winter 2011 WorkshopsProduction2135 FILMMAKINGHD PRODUCTION WITH THE SONY EX1Schedule:• Saturday March 26th , 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 8Schedule:• Saturday February 12th, 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 8Learn what makes 35mm the industry standard and keeps digitalcinema struggling to recreate the quality of 35mm images. This intensivecourse focuses on 35mm camera operations and putting thatknowledge into practice. This course covers lift’s the Arriflex iii andKonvas 2M 35mm cameras and their many features and accessories.The course will conclude by giving participants the opportunity to filma short scene with a basic lighting setup.The Camera Theory Workshop and experience with 16mm filmmaking arerequired as a prerequisite to the 35mm Filmmaking workshop.Instructor:Michael LeBlanc has worked in Toronto’s independent film industryfor the past 8 years. He has shot music videos for notable rock bandssuch as Sloan, Emily Hanes, Timber Timbre, Death From Above, JoelPlaskett, Great Lake Swimmers, Hidden Cameras, Sarah Harmer andFinal Fantasy. Recently Michael worked as 2nd unit DOP/OP on theBruce McDonald / Don McKellar feature This Movie Is Broken and wasthe main unit DOP/OP on two independent features shot on 35mm.Michael was nominated for Best Cinematography at the 2008 ukMusic Video Awards for Bruce McDonald’s film The Tracey Fragments.Michael looks forward to sharing his thoughts and techniques aboutfilmmaking. www.michaelleblanc.caThis intensive workshop takes you through the professional tape-lessworkflow of lift’s hd camera. The Sony ex1 hd camera producesimages in slow and fast motion with a 1080p, 720p and 1080i hd pixelcount. Topics include interlaced vs progressive, CMOS vs CCD chipsand SxS cards vs PHU-60K Hard Disk. Participants explore the featuresand functions of this digital video camera and shoot a scene in thishands on workshop.The Camera Theory Workshop is strongly recommended as a prerequisite.Instructor:Vince Kesavamoorthy was trained in cinematography by Mr. RichardLeiterman. Vince has completed many projects as cinematographer,and is always looking for interesting projects to film and light. He iscurrently shooting and producing the award winning tv series, TheWhat Is, for ichannel in Canada (www.twixterstv.com). He recentlycompleted his short film De-Limited using lift’s Aaton xtr camera,which is currently circulating at festivals internationally.

22 Production Winter 2011 WorkshopsINTRODUCTION TO CINEMATOGRAPHYSchedule:• Tuesday March 22nd, 6–10• Thursday March 24th, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 12LIGHTING FUNDAMENTALSSchedule:• Sunday March 13th, 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 12In this hands on workshop participants learn how to apply creativecamera styles and compositions. Topics include: film genres and styles,different film and video formats, shooting on location, focus and depthof field, filters, natural and practical lighting, and shooting for editing.The class will also analyze existing scenes and shots to gain a betterunderstanding of the preparation and resources required to achievethat look. Participants will gain practical advice to apply directly toyour film.The Camera Theory workshop is strongly recommended as a prerequisite.Instructor:John Price is an independent filmmaker who has produced experimentaldocumentaries, dance and diary films since 1986. His love ofanalog photography led naturally to extensive alchemical experimentationwith a wide range of motion picture film emulsions and cameraformats. Engagement with these modes of creation connected theway an images texture communicates subtext and is a key feature ofhis work and the work he shoots for others. He has received productionsupport from The National Film Board, the Canada Council forthe Arts, the Ontario Arts Council and the Liaison of IndependentFilmmakers of Toronto and his work has been exhibited at festivalsand galleries internationally. He has also produced film projectionsfor opera and dance and has led workshops in Canada and Europe. Heis active as a Toronto based cinematographer working with directorslike Bruce Macdonald, Charles Officer, Rob Pilichowski, Peter Lynch,Liz Marshall, Annette Mangaard and Mike Hoolboom among others.www.filmdiary.comLighting for film and video entails many things; first and foremost itinvolves getting light onto the subject to create an image on camera.Outlining the basic techniques of lighting, participants learn about thetypes of film lights and their applications, colour temperature, metering,and how to handle common location situations. Participants will practicedifferent lighting setups and learn to manipulate the quality, directionand quantity of the light. Theory meets practice in this workshopusing the most popular and versatile items in lift’s rental catalogue.Participants are asked to bring work gloves to the workshopInstructor:Juan Montalvo has been a professional in the film industry for thepast fifteen years. He has been a camera assistant on such Hollywoodfilms as The Incredible Hulk, Jumper, and K-19 The Widowmaker,learning techniques from some of the best cinematographers in theindustry. He began this year by shooting four short films: Doppelganger,a short comedy which will air later this year on the Bravo network;The Stakeout, a short drama which is currently in festivals; Do I ComeOn Too Strong?, a short musical-comedy which has acquired a nominationfor best comedy at the Yorkton film festival; and most recently, afashion film starring Shenae Grimes. Juan has also shot a variety ofmusic videos and corporate videos. Juan can cover all basic lightingtechniques as well as show you a few tricks to make your images pop.He enjoys shooting with both film and digital formats.www.peliculainc.com

Winter 2011 WorkshopsProduction23GRIP FUNDAMENTALSLOCATION SOUND RECORDINGSchedule:• Saturday April 9th, 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 12Schedule:• Sunday April 3rd, 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 12Learn what it takes to be an effective and professional grip. Gain anunderstanding of what a grip does and their important role in a professionalfilm crew. Get to know the types of grip (key, best boy, dolly),and the on-set etiquette of working with the camera and electricaldepartments. Topics include basic rigging, cutting light and settingflags, tenting out, managing on-set safety and more. Explore the othermajor aspect of the grip’s job—creative problem solving. Find out whatkind of on-set surprises can arise and learn effective strategies to dealwith them.Instructor:T.J. Richardson is a grip working in the Toronto independent filmindustry. After graduating film school in 2008, he was drawn to thechallenge and craft of rigging and grip work. He is experienced oncommercials, music videos and short films but loves the collaborativeand cooperative nature of making feature films.This hands-on workshop will take you through the operation of the,Sound Devices digital file-based recorder, Tascam DAT machine andmini disc recorder. Participants will learn how to record sound invarious scenarios using the Sennheiser shotgun, wireless lavaliermicrophones and the portable 6-channel microphone mixer. In groupsyou will alternate with the gear and learn professional recording techniques,the responsibilities of the sound team and how they interactwith the rest of the crew on set.Instructor:TBA

24 Production Winter 2011 WorkshopsDOCUMENTARY FIELD PRODUCTIONSchedule:• Saturday February 26th, 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 12CAMERA ASSISTINGSchedule:• Wednesday February 23rd, 6–10• Friday February 25th, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 12This workshop looks at the practical side of shooting a documentaryproject with minimal crew. Using lift’s hd field packages, participantswill learn the basics of camera operation sound for documentaryprojects in this hands on workshop. Topics include: planning yourproduction, preparing your equipment, working with a crew of one ortwo people, capturing the moment and working with documentarysubjects.The Camera Theory workshop is strongly recommended as a prerequisite.Instructor:Kwoi Gin has worked extensively as a dp, writer/director, andproducer. He is heavily influenced by and passionate about CinemaVerite, the French New Wave that captured the dramas of real lifewith minimal interventions. His style of camera work is “anticipateand respond”. It’s second nature for him to connect talented individualswith others who would appreciate their talents.www.kwozimodo.comLearn the theory and practice of camera assisting in this intensiveworkshop with industry professional Brian White. Many successfulcinematographers start their careers as camera assistants. It is a greatway to break into the industry. An important role in itself, cameraassisting offers an opportunity to work with professional dops. Inthis course participants will learn how to prepare your camera, andhave practise time with the camera. Deepen your knowledge of cameraoperations, and put cinematography theory into practice with hands-oninstruction.The Camera Theory workshop is strongly recommended as a prerequisite.Instructor:Brian White began camera assisting after graduating from theUniversity of Windsor. His credits as a 2nd acinclude Gilmore Girls(pilot), Driven (feature film) and Total Recall 2070 (series). As a 1st achis credits include the features Mary Higgins Clark Mysteries, HollywoodNorth and Lie With Me. Brian instructs a workshop on camera assistingfor IATSE 667 and teaches cinematography for Sheridan College’sAdvanced Television and Film Program.

Winter 2011 WorkshopsProduction25VOICEOVER TECHNIQUESSOUND DESIGN WITH PRO TOOLSSchedule:• Sunday April 17th, 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 8Schedule:• Tuesday April 26th, 6p–10• Thursday April 28th, 6p–10+ two hours work timeCost:• Members $75• Non-members $95• Enrollment is limited to 4This hands-on workshop offers an introduction to the world of professionalvoice-over. It covers the three main areas of voice-over performance:commercial, animation and narration. Participants learn abouttrailers, promos, imaging, on-hold messaging and more. Learn propervoice-over techniques; ways to quickly hone in on important elementsof a script; recording studio procedures; voice-over demos; agents;marketing; home studios; and how to properly get to know your ownvoice. This class is highly recommended for those hoping to break intothe voice-over industry or desiring to learn how to effectively narratetheir film projects.Instructor:Dave McRae is a professional voice artist, filmmaker and awardwinningactor currently residing in the gta. Dave’s voice has beenheard in hundreds of radio and television commercials, movie trailers,animation and educational cds and dvds across North America.Some of Dave’s clients include Alliance Films, Global Television, a&e,Canwest, Ford Canada, Time Warner, Rogers, The Biography Channel,Woodbine and Mohawk racetracks and Warner Brothers. In 2003,he won a record-breaking five awards at the International Modelingand Talent Association convention in Los Angeles. A writer-director,producer, editor and cinematographer, with many short films and afeature length documentary to his credit, Dave continues to producefilms with intriguing stories, powerful messages and intense moodand atmosphere. www.davemcrae.caPro Tools is a digital sound editing and recording system and isindustry standard for both film and music. This workshop providespractical insight into the different techniques that can be usedcreatively to bring together sound and the visual image. Learntechnical terms, concepts and tools of digital sound editing. Learn thetechnical setup and considerations for a Pro Tools session, get handson experience with track layout, importing audio from a variety ofsources, editing, adding sound effects and sync to a video source withtime code. The course also covers session management procedures,adr, sfx, foley, music, pre-mixing and layback/mastering.This workshop includes an unsupervised two hour work session to be scheduledthrough the lift office. This time must be used before Friday, April29th 2011. All participants must use their time during lift office hours(Monday–Friday 10am–6pm).Instructor:Zoe Gordini is an artist, sound designer and new mother. She hasworked as a sound cutter for the nfb, cbc and won a Leo for BestSound Design with Dennis Burke’s sound team for the film Hope in2008. She loves using Pro Tools for making her own sound effectsand recording foley, but she also loves to use her ears and listen to theworld around her sans studio. She is a member of the Vancouver Soundwalkingcollective and a big fan of the World Soundscapes Project.

26 Post-Production Fundamentals Winter 2011 WorkshopsPOSTPRODUCTION OVERVIEWSchedule:• Tuesday April 19th, 6–10• Thursday April 21st, 6–10Cost:• Members $75• Non-members $95• Enrollment is limited to 14EDITING AESTHETICSSchedule:• Saturday April 16th, 10–6Cost:• Members $75• Non-members $95• Enrollment is limited to 14Whether you are finishing your work on film or digital, this workshopwill lead you through the various steps necessary to reach your finaldestination. Using examples, we will discuss available digital processesand film lab services, explore work-print options, sound recording andtransfer, inter-cine editing, adr and foley, colour timing and correction,sound mixing, answer print and optical sound track, marriedprint, final release print, dvd authoring, and more. Find out how tomake the post-production choices that best suit your artistic needs.Instructor:Michael Beard has been supervising post-production for more than25 years. Over this time he has worked on feature films, televisionseries including the long running drama Night Heat, movie of theweeks, short films and music videos. His career highlights include theOscar nominated film Water, two Gemini nominations for Post Sound,as well as working with his two children in the Animation Workshopat the National Film Board. His technical background in both filmand video and his experience with the digital intermediate processhas enabled him to grow within this ever-changing industry. He hasalso helped to pass on his knowledge to future filmmakers throughlectures and teaching at smpte, Ryerson University and mostrecently as an instructor at Sheridan College’s atvf program.Editing aesthetics is more art than science, but there are some basicrules and techniques to editing that will help you tell a better story.This class hands on is an introduction to the creative aspects of pictureediting, and is designed to teach why and how edits work. The workshopincludes a history of editing, examples from feature films as wellas short and long-form documentaries. Learn how edits are designedto elicit emotional responses, how to make effective shot transitions,construct sequences, and create scenes that better engage an audiencein your story.Instructor:Mark Stokes is a Toronto-based documentary editor who worksprimarily on a variety of documentary television series. He has alsocontributed to feature films, short films and music videos. Much ofhis work is currently airing on National Geographic, cbc, DiscoveryChannel, nfb, w Network, omni and Slice Network.

Winter 2011 WorkshopsPost-Production Fundamentals27DOCUMENTARY EDITINGSchedule:• Saturday April 2nd, 10–6Cost:• Members $105• Non-members $125• Enrollment is limited to 6The editor plays a very important role in documentary filmmaking.Learn how to wield that power wisely in this intensive with industryprofessional Andy Bely. Topics covered include logging and organizingyour material prior to editing, focusing and structuring your story line,shaping the visual and rhythmic flow of the film, balancing verbal andvisual content, and emphasizing the drama in your material by usingsound and silence effectively.Introduction to Final Cut Pro is strongly recommended as a prerequisite.Instructor:Andy Bely has been working professionally for over 14 years on filmsin Canada and abroad, and has settled into the field of documentaryediting. Fluent in several editing programs, and with experienceediting dramatic features and music videos, he enjoys most theparticularly difficult challenge of editing documentaries.

28 Film: Post and Creative Winter 2011 WorkshopsEDITING ON FILMTELECINESchedule:• Sunday March 27th, 11–5Cost:• Members $55• Non-members $75• Enrollment is limited to 6Schedule:• Monday April 18th , 6p–10+ two hours work timeCost:• Members $45• Non-members $65• Enrollment is limited to 6Learn analog editing on the Steenbeck 16mm flatbed. Complete the16mm filmmaking process by editing your film by hand. Get handson with your film and learn to organize and splice your film. Take theopportunity to view your film projected on a 16mm film projector.Instructor:Alexi Manis has been a loyal lift member for almost a decade andhas made several short films, most of which were shot, edited andfinished on 16mm. She spends her days trying to convince moderndigital teenagers of the magic and wonder of celluloid and herevenings with friends, family, Ivan the Terrible, Man Ray, Pierrot leFou and other classics of world cinema, and sometimes plays aroundwith local bluegrass band The Spitunes. She’s a big fan of Bonnie“Prince” Billy, the new Early Monthly Segments film social at the GladstoneHotel and lift’s new location.Learn how transfer film to video using lift’s custom telecine transfersystem. Set up projectors for transfer, splice and fix broken or weakfilm, load and run projectors and troubleshoot problems on lift’sSuper 8mm, Regular 8mm and 16mm transfer projectors. Participantslearn to transfer film to tape or hard drive with lift’s 24p videocamera, adjusting the image to achieve the optimum exposure, framingand gauging the speed of the original source.Free work time must be used before Friday, April 29th, 2011. All participantsmust use their practice time during lift office hours (Monday–Friday10am–6pm).Instructor:Alexi Manis (see page 28)

Winter 2011 WorkshopsFilm: Post and Creative29JK OPTICAL PRINTERSchedule:• Sunday April 17th, 10–6+ four hours work timeCost:• Members $75• Non-members $95• Enrollment is limited to 4INTRODUCTION TO THE16 OXBERRY ANIMATION CAMERASchedule:• Sunday April 10th, 10–6+ six hours work timeCost:• Members $75• Non-members $95• Enrollment is limited to 4Learn the basics of Optical Printing, including step printing, superimposition,bipacking film and blowing up 8mm and Super 8mm footageto 16mm on lift’s jk optical printer. The hands-on exercises willfamiliarize participants with this easy to use and versatile piece ofequipment. Participants will watch and discuss a variety of opticallyprinted films, in addition to getting hands-on experience with the jk.The Camera Theory workshop is strongly recommended as a prerequisite.Free work time must be used before Friday, April 29th, 2011. All participantsmust use their practice time during lift office hours (Monday–Friday10am–6pm).Instructor:John Kneller is a local filmmaker and educator. Born in Geneva,Switzerland, John Kneller grew up in Hudson, Quebec and movedto Toronto in 1985. He attended the University of Toronto, wherehe earned a ba in Cinema Studies, and recently received a Master ofFine Arts in Film Production from York University. His work withoptical printing, multi-layering and matting techniques has gainedcritical attention both locally and abroad. John is currently a fulltimeProfessor in the Media Arts Film program at Sheridan College,Oakville, Ontario.Learn the basics of how to operate lift’s 16mm Oxberry animationcamera. This versatile rostrum camera is a creative tool that can beused not only to shoot animation, but also for filming photographs andartwork, titles for 16mm films, etc. In this fun, hands-on workshop,participants learn how to load the film magazine and thread the camera,how to light the animation stand, how to execute in-camera fades anddissolves, how the peg bars can be used to register artwork, and how thevarious movements of the rostrum camera work, including the zoom,lateral and vertical movements and rotations. The 16mm OxberryAnimation Camera is an excellent tool for beginning animators orfilmmakers using graphic arts materials in their work. It allows a highdegree of control of materials and camera or background movement, butis simple to use and easy to learn.The Camera Theory workshop is strongly recommended as a prerequisite.Free work time must be used before Friday, April 29th, 2011. All participantsmust use their practice time during lift office hours (Monday–Friday10am–6pm).Instructor:Chris Gehman is an animator, curator and critic based in Toronto.His most recent film, Refraction Series, premiered at the 2008 TorontoInternational Film Festival, and won an award at the 2009 Ann ArborFilm Festival. Other films include Rostrum Press: Materials Testing(2008), First Dispatch from Atlantis (1993) and the award-winningContrafacta (co-directed with Roberto Ariganello, 2000). Chris wasArtistic Director of the Images Festival from 2000 to 2004, and hasalso worked as a programmer for Cinematheque Ontario, tiff, andPleasure Dome. He has written extensively on independent animation,and is the co-editor (with Steve Reinke) of the critical anthology TheSharpest Point: Animation at the End of Cinema (yyz Books, 2005).

30 Film: Post and Creative Winter 2011 WorkshopsHANDPROCESSINGBLACK AND WHITE FILMSchedule:• Sunday February 27th, 10–6+ four hours work timeCost:• Members $75• Non-members $95• Enrollment is limited to 6COLOUR REVERSAL PROCESSINGSchedule:• Sunday March 13th, 10–6+ four hours work timeCost:• Members $75• Non-members $95• Enrollment is limited to 4Take your footage into the darkroom and process it yourself in thisintroduction to handprocessing and darkroom practices. In this workshop,you will be shooting black and white reversal film. This film stockis extremely versatile, allowing film to go from camera to projector,skipping the expensive stage of printing from negative. Gain controlover your workflow in this one-day intensive, and take advantage ofthe provided darkroom time to process your footage. This workshopincludes all film, darkroom chemistry, and supplies for use during theworkshop.The Camera Theory workshop is strongly recommended as a prerequisite.Free work time must be used before Friday April 29th, 2011. All participantsmust use their practice time during lift office hours (Monday–Friday 10am–6pm). Chemistry for practice time is subject to availability,participants may have to provide their own.Instructor:Coral Aiken is a filmmaker and choreographer from Winnipeg,Manitoba. Her post-secondary background in Modern Dance andBallet has inspired a filmmaking practice rooted in corporeal poetics,and multi-channel modes of performance. In her films, Aikenexplores themes of nostalgia and memory, with surreal elementsrooting her work in the tradition of Magical Realism. Aiken recentlycompleted a Masters of Fine Arts at York University in Film Production.Coral Aiken recently joined lift as Education Coordinator.www.coralaiken.comLearn how to process colour negative film yourself in lift’s darkroom.This hands on workshop will cover various handprocessing techniquesincluding the Russian Hand Processing Tanks and the bathtubmethod. View a sample of handprocessed films, and further discussthe aesthetics and techniques of hand processing. Participants shoottests on colour film and then put processing techniques into practice.From camera to projector, at the end of the day participants will be ableview the footage that was processed. This workshop includes all film,darkroom chemistry, and supplies for use during the workshop.The Camera Theory workshop is strongly recommended as a prerequisite.Free work time must be used before Friday April 29th, 2011. All participantsmust use their practice time during lift office hours (Monday–Friday 10am–6pm). Chemistry for practice time is subject to availability,participants may have to provide their own.Instructor:Sebastjan Henrickson was born in Toronto, Canada during thespring of 1970 to artist parents Martha and Tom, who escaped theus in the sixties in search of a more peaceful life north of the border.Encouraged to paint draw and make music at a young age Sebastjan hasa natural involvement in the arts, love animals, wilderness campingand swimming. Sebastjan started working in motion picture film labswhen he was still a teenager and by his mid twenties had opened hisown art house film lab, the notorious Niagara Custom Lab, earning hima global reputation for being able to print anything.www.niagaracustomlab.com

32 Digital Tools: Editing, Animation and the Web Winter 2011 WorkshopsINTRODUCTION TO FINAL CUT PRO 6Schedule:Class A:• Monday February 7th, 6–10• Wednesday, February 9th, 6–10Class B:• Tuesday March 1st, 6–10• Thursday March 3rd, 6–10Cost:• Members $105• Non-members $125• Enrollment is limited to 6Final Cut Pro is becoming the industry standard in editing programs.With each student working on their own iMac in lift’s new digitalmedia lab, this hands-on workshop gives participants a basic understandingof digital editing using this powerful software. The coursetakes you through the process of capturing video and audio, editingand manipulating your image, adding titles and mastering your shortvideo to tape. Explore the possibilities of Final Cut Pro.Participants work at their own iMac stations. Students are expected to befamiliar with the Mac interface, and are not permitted to bring personalequipment or projects for workshop use.Instructors:Class AKunal Gauba is a media professional with over ten years of experience.He has worked internationally in an array of fields and currentlyfreelances as an offline editor. He also adopts the role of producer/director for various projects taken on by his personal company SohanLall Media. His editing work ranges from music videos, to corporateand non-profit organizations as well as broadcast and film festivals.Recently he finished three documentaries for omni Television: TheR Word, Rastafari Then and Now, and A Linc in Time the latter of whichhad its theatrical debut at the closing gala of the Canadian Black FilmFestival last September. www.kunalgauba.comClass BGareth Jasper (see page 31)INTERMEDIATE FINAL CUT PRO 6Schedule:• Sunday April 10th, 10–6• Sunday April 17th, 10–6Cost:• Members $195• Non-members $225• Enrollment is limited to 6This workshop is designed for participants who have a basic understandingof Final Cut Pro and are looking for a more in-depth understandingof what is possible with the program. Learn how to captureand transfer advanced formats, mix formats, capture files, incorporatestill images, use advanced motion and key framing, create titles, effectivelyuse video filters, and utilize the power of three way colour correction.Participants will learn how to customize their keyboards andhotkeys, explore markers, subclip and sync dual system footage, utilizeadvanced multi-cam editing techniques efficiently, work with audio(levels, filters and different formats) and export for Protools.Introduction to Final Cut Pro is strongly recommended as a prerequisite.Participants work at their own iMac stations. Students are expected to befamiliar with the Mac interface, and are not permitted to bring personalequipment or projects for workshop use.Instructor:Geoff Pugen is a filmmaker and visual artist who explores relationshipsbetween real and staged performance, the natural and the artificial,and tensions of virtual identity, through altering and manipulatingimages. Working with video, film, and photography in thedigital realm Pugen renders situations that examine our perceptionsof how history, documentation, and simulation intersect. His videosand art have been exhibited nationally and internationally in placessuch as Berlin’s Transmediale 05, New York, Australia InternationalDigital Art Awards, Poland 12th International Media Art Biennalewro 07, Vancouver, Toronto’s Museum of Canadian ContemporaryArt, and England’s Moves 08 Festival. www.rollscourt.com

Winter 2011 WorkshopsDigital Tools: Editing, Animation and the Web33FINAL CUT STUDIO 2ASSISTANT EDITINGWITH FINAL CUT PRO 6Schedule:• Monday April 4th, 6–10• Tuesday April 5th, 6–10• Wednesday April 6th, 6–10• Thursday April 7th, 6–10Cost:• Members $195• Non-members $225• Enrollment is limited to 6This intensive four-evening workshop explores the range of applicationsavailable in the professional video and audio production suite,Final Cut Pro Studio 2. Students develop a short project in Final CutPro and navigate that project through Soundtrack Pro, Color, Motion,Compressor and finally dvd Studio Pro. This general overview ofdigital video and audio software will prepare ambitious students toconfidently explore the creative potential of these programs.Participants work at their own iMac stations. Students are expected to befamiliar with the Mac interface, and are not permitted to bring personalequipment or projects for workshop use.Instructor:Gerrit Van Dyke has been an editor in the advertising industryfor the past seven years. He has edited award-winning work thathas picked up major awards at Cannes (Fight Network, 2007), TheMarketing Awards (86it, 2009) and short listed for the Best Editing inOnline and Video Webby Award (Samsung Instinct, 2009). He has alsoedited a variety of work for clients such as McDonald’s, bmo, GeneralMills and Samsung.Schedule:• Sunday April 3rd, 10–6Cost:• Members $105• Non-members $125• Enrollment is limited to 6Learn the essentials of preparing a project professionally for onlineedits in this intensive workshop. The Assistant Editor logs andorganizes footage to facilitate the overall editing process. Workingclosely with the editor, the assistant editor is in a position to learnabout the post-production industry while playing an essential role in it.Workshop topics include: log and capture, organizing media, backingup media, compression and formatting, and outputting to variousformats. Learn to manage media through film, video and digital workflow.Gain insight into the editing industry, and learn the marketableskill of assistant editing in this course with industry professional AvrïlJacobson.Introduction to Final Cut Pro is strongly recommended as a prerequisite.Participants work at their own iMac stations. Students are expected to befamiliar with the Mac interface, and are not permitted to bring personalequipment or projects for workshop use.Instructor:Avrïl Jacobson is a Toronto-based editor. She has edited a diverserange of projects, including documentaries, dramas, music videos andart installations. Recently, she co-edited Peep Me, a feature-lengthdocumentary based on the book The Peep Diaries. In 2009 Avril was theCanadian representative at the Talent Lab at the Berlin InternationalFilm Festival. She has worked as an assistant editor on a variety ofprojects, including the television series The Naked Archaeologist andfeature documentaries such as Manufactured Landscapes and Act of God.Avril holds a bfa in Film & Video Production from York University.www.cutuppictures.ca

34 Digital Tools: Editing, Animation and the Web Winter 2011 WorkshopsINTRODUCTION TO PHOTOSHOPSchedule:• Saturday March 12th, 10–6Cost:• Members $105• Non-members $125• Enrollment is limited to 6WEBSITES FOR ARTISTSSchedule:• Tuesday April 12th, 6–10• Thursday April 14th, 6–10Cost:• Members $105• Non-members $125• Enrollment is limited to 6This workshop offers a do-it-yourself approach to designing andprinting promotional materials from home. Create logos and banneradvertisements for the web. Design your own dvd cases to promoteyour latest film project. Restore or manipulate photos for video slideshows. Topics include: filters, colour correction, masking, layering,short-cuts, importing images to-and-from Final Cut Pro projects, andworking with text overlays. Participants are welcome to bring theirown digital images to the workshop for manipulation and discussion.Participants work at their own iMac stations. Students are expected to befamiliar with the Mac interface, and are not permitted to bring personalequipment or projects for workshop use.Instructors:Nick Haffie-Emslie has been a filmmaker and animator since hisearly elementary school experiments on a Mac se. He has a BA in FilmStudies from the University of Western Ontario, and has presentedwork at festivals in six countries. After graduating from uwo, Nickand his colleagues started vmg Cinematic, a branded entertainmentcompany specializing in digital video production and social mediadistribution. www.vmgcinematic.comThis workshop provides an overview of how to establish a web presencefrom the creation of a website to producing web content. Thecourse provides basic web theory, and lets students experiment withbasic coding. Participants learn how to plan and visualize a layout fora multi-page site and be introduced to dynamic content managementsystems such as Wordpress. Additionally, third-party web platforms(Youtube, Vimeo, Flickr, etc.) will be explored as alternative meansof establishing web presence and sharing work. This course providesunderstanding hypertext markup language and cascading style sheetsas a basis of constructing web content. This workshop covers gettingyour site published, registering your domain, hosting, and maintainingyour website.Participants work at their own iMac stations. Students are expected to befamiliar with the Mac interface, and are not permitted to bring personalequipment or projects for workshop use.Instructor:Garry Ing is a designer and researcher practicing in Toronto, Ontario.His practice ranges from branding, publishing, typeface design andinteraction design. His affiliations include the Strategic InnovationLab (sLab) and the Knowledge Media Design Institute. Currently heis a research associate at the Technologies for Aging Gracefully Lab(taglab) located in the University of Toronto. Garry graduated fromthe Ontario College of Art & Design in 2009. www.garrying.com

Winter 2011 WorkshopsDigital Tools: Editing, Animation and the Web35INTRODUCTION TO FLASHSchedule:• Saturday April 9th, 10–6Cost:• Members $105• Non-members $125• Enrollment is limited to 6INTRODUCTION TO AFTER EFFECTSSchedule:• Sunday March 13th, 10–6Cost:• Members $105• Non-members $125• Enrollment is limited to 6Flash cs4 is a powerful motion graphics tool that allows you to createinteractive animated applications, content, and video. In this introductoryhands-on workshop, students learn the conceptual and technicalskills to create animations. Topics include: importing, manipulatingand managing external video and audio files for use within the weband movie environments. The workshop will also cover drawing androtoscoping techniques, and how to integrate this with photo andvideo. Students will ultimately gain a better understanding of dynamicanimation techniques using this versatile industry software.Basic knowledge of Photoshop and/or Final Cut Pro is strongly recommended.Participants work at their own iMac stations. Students are expected to befamiliar with the Mac interface, and are not permitted to bring personalequipment or projects for workshop use.Instructor:Damien Dornford works as a multimedia developer and filmmaker.Born in Toronto, Canada, he graduated from Sheridan and InternationalAcademy of design for arts, animation and multimedia. He alsocompleted his film certificate program at George Brown. Damien hasbeen working in the industry for ten years and has had the privilegeto work for companies including tvontario, Corus-ytv and KabooseEntertainment. His range in skill and passion has led him to developinteractive games and applications for many clients and their brands.He has also written, produced and directed his own personal filmshorts that have circulated amongst film festivals. As well, he hasfilmed and edited several corporate, event and concert videos. Damienlikes to bring and meld ideas that incorporates various film and animationtechniques. He is currently completing post-production on hislatest short film that is part of Rogers and George Brown. Damien isalso in pre-production on his first feature film.After Effects is a digital animation tool whose range of possibilitiesis virtually limitless. After Effects allows users to animate, alter, andcomposite media in 2D and 3D space with various built-in tools andthird party plug-ins. When used with Avid, Final Cut Pro, Photoshop,Illustrator and other software, filmmakers use After Effects to alterand enhance video images. Learn the basic operations of this powerfulsoftware in this intensive introductory session with Hyein Lee.Basic knowledge of Photoshop and/or Final Cut Pro is strongly recommended.Participants work at their own iMac stations. Students are expected to befamiliar with the Mac interface, and are not permitted to bring personalequipment or projects for workshop use.Instructor:Hyein Lee gave up a big fat paycheque as an engineer to pursue herdream as an illustrator. She is poor now, but somehow a lot happier.Her work has been published in magazines such as Tidings, Shameless,Ricepaper, Globe and Mail, Crow Toe Quarterly and Applied Arts. Sheteaches Motion Graphics Continuing Studies at ocadu.www.hyeinlee.com

Membership InformationWinter 2011 WorkshopsAddress:1137 Dupont StreetToronto, Ontario CanadaTelephone: 416.588.6444Facsimile: 416.588.7017Hours:Monday–Friday, 10–6E-mail:membership@liſt .on.caWebsite:www.liſt .on.caMembership Information has a two level membership structure. All newmembers must start at the Associate level.Associate Membership—$60 per yearAssociate Member benefits:Receive weekly e-bulletin• Post free listings of their productions screeningsin the e-bulletin• Entitled to members’ rates on workshops andcoursesReceive all mailings• Entitled to members’ admission rate for screenings• Entitled to discounts at various film servicecompaniesInclusion on ’s online Cast and Crew ListingsAbility to attend ’s Screenwriters Circle• After six (6) months in good standing, member isentitled to apply for the Production SupportProgram (announced yearly)After completing eight (8) hours of volunteering*Associate Members are then able to gain access toequipment:• Rent production and post-production equipment atAssociate Member rates• Priority booking of production and post-productionequipment two (2) weeks in advanceUpgrading to Full MembershipAny Associate Member in good standing maybecome a Full Member by completing an additionaleight (8) hours of volunteer* work and paying anadditional fee of $60.00 (please note: when upgradingyou will still expire at your original expiry date).Thereafter, maintenance of the Full Membershiprequires sixteen (16) hours of volunteer* work everyyear, plus an annual $120.00 membership fee.Full Membership$120 per year($60 Associate fee plus upgrade fee)In addition to Associate Member benefits, the FullMember may:• Rent equipment and post-production facilitiesat half the Associate Member rates• Priority booking up to six (6) weeks in advanceVolunteering relies on members’ volunteer hours to assistwith the day-to-day running of the centre, as well aswith our many on-going activities. Here are a fewways to fulfil ’s volunteer requirements:• General: helping in the office: data entry,typing, stuffing envelopes, cleaning edit suites,and mopping, etc.• Technical: members with a technical backgroundmay help with specific equipment tasks duringoffice hours.• Teaching Workshops: if particularly experienced inan area, members can teach workshops.Instructors are paid, whereby the payment can gotowards the buy-out option.Driving: run errands with your vehicle.•Note: double hours are granted for driving, howeverwe do not reimburse drivers for gas or parking.Events: help out at special events with set-up, sell•tickets, taking photos (for those with an experiencedphotography background), etc.Special: outside office hours special jobs are avail-•able for those members with special skills.*Note: There is a buy-out option for volunteer hours at arate of $10 per hour. To obtain rental status, one caneither volunteer, buy-out, or complete a combination ofboth.Drop by the office for a membership application, orvisit www.lift.on.ca.