Tutor profile: Aasaf Ainapore, Director
Aasaf Ainapore's workshops at LFS
Aasaf is a multiple award-winning director of branded online content, TV commercials and short films with twenty years of experience. He has also developed feature film projects and television shows for US studios, British production companies and broadcasters including the BBC and ITV and Pathe. Aasaf is a visiting lecturer in directing at the Met Film School and also up skills professional directors moving from broadcast to branded content and commercials at DV Talent. Aasaf has also consulted on the creation of series-based content across the Telegraph Media Group.
Tutor profile: Alex Boutellier, Cinematographer
Alex Boutellier's workshops at LFS
Alex Boutellier is a freelance cinematographer with over 15 years of professional experience in the film and television industry. His credits include feature length and short films, documentaries and commercials for television, and web content such as news and advertisements for corporate clients. Originally from Switzerland, he is currently based in the UK. A scholarship recipient of the London Film School and the University of Exeter 'Film by Practice' PhD program, his research on the impact of disruptive new technologies on the role of the cinematographer in the modern film industry will be completed in 2019.
Tutor profile: Alison Norrington, Writer/Producer
Alison Norrington's workshops at LFS
Alison Norrington is a writer/producer, CEO, Founder & Chief Creative Director of storycentral, a London-based entertainment studio that incubates and develops ground-breaking transmedia properties with global partners in film, television, publishing and gaming.
Alison and her team are working with filmmakers, writers, publishers, broadcasters, storytellers and technology start ups globally on incubating new franchises, participative experiences, production, story architecture, mythology and planning, prototyping, audience development & engagement and utilizing social media.
Alison is a best-selling novelist, playwright and screenwriter with a Masters Degree in Creative Writing & New Media and a PhD researcher. Over her 20-year career she has worked with and consulted to AMC, SundanceTV, Walt Disney Imagineering, FOX International, Harlequin Mills & Boon, McCann, Coca Cola, F&W Media, Eurovision Broadcasting Union, Cedars-Sinai Medical Centre, First Hand Films. She is currently writing and producing a web-series with LA partners and working with emerging film-makers in Sweden.
Alison is writer and producer of webseries THE LOEDOWN, author of 3 bestselling novels – CLASS ACT, LOOK BEFORE YOU LEAP and THREE OF A KIND and creator of the first transmedia romcom STAYING SINGLE. She has also written plays A FISH & A BONSAI and PISTOLS AT DAWN.
Alison is the European Academy (EBU) Eurovision Transmedia Masterclass trainer and runs workshops, training programs and labs worldwide. She is a judge for a series of global media festivals including Banff World Media Festival, Canada Media Fund, Publishing Innovation Awards and Independent Production Fund (Canada) and Digital Emmy Awards.
Alison was Conference Chair for StoryWorld Conference & Expo in Los Angeles, is a TEDx speaker and has presented at a number of conferences including Digital Book World, London Book Fair, Asia Media Summit, Eurovision TV Summit, London Screenwriters Festival and Story Expo LA, tapping her expertise in building transmedia properties and digital content for commercial and niche audiences.
She is featured on the BAFTA Guru series and is a member of the International Academy of Television Arts & Sciences, The Writers Guild of Great Britain, Women in Film & TV and the Romantic Novelists Association.
Tutor profile: Amanda Liz Cutting, Director and Artistic Director
Amanda Liz Cutting's workshops at LFS
Amanda Liz Cutting is an award-winning theatre Director and Artistic Director of the Artists Theatre Collective, based in Calgary, Canada. She has spent a significant spell in the UK, including a placement at the Globe, and most recently directing a production of Romeo & Juliet at the Pendley Shakespeare Festival. In 2019, she is coming back to the UK, presenting a series of Intimacy Directing workshops and a touring production of Haunted House Hamlet.
Tutor profile: Barrie Vince, Editor
Barrie Vince's workshops at LFS
In parallel to a successful career as a fiction film and documentary editor spanning four decades, Barrie has helped develop the talent of many young editors through his teaching. He was appointed twice Head of Editing - first at the National Film and Television School and later in the same capacity he set up the editing department at the Norwegian Film School, when the school opened in 1998. He currently continues to work both as a Visiting Lecturer for several institutions in the UK and in Europe and he has also been a member of several Editing and Film Production Committees at BAFTA and at the Arts Council of Great Britain.
I owe a huge debt to the film director Sidney Furie. In 1966, while we were editing THE NAKED RUNNER, he explained how decisions on how to cover a scene (and therefore how it should be cut) were made through analysing its dramatic structure. Over the next eight years this concept alone proved invaluable editing, for instance, NEGATIVES (Peter Medak), THE TRIPLE ECHO (Michael Apted), THE MOON AND THE SLEDGEHAMMER (Philip Trevelyan), THE OPIUM WARLORDS (Adrian Cowell) and, above all, the recently re-released (to considerable acclaim) DEEP END (Jerzy Skolimowski). In 1974 I was invited to join the NFTS, initially as Head of Editing and encouraged to return as often as I liked to filmmaking, an arrangement which enabled me to develop in both roles. In the next nineteen years I returned several times to the NFTS as General Tutor, First Year Co-ordinator etc. building up a compendium of concepts that support and articulate the craft of filmmaking. During this time I not only edited A PRIVATE FUNCTION (Malcolm Mobray), THE SHOUT and MOONLIGHTING (Skolimowski) but also co-wrote MOONLIGHTING, which won Best Script award at Cannes in 1982. I also directed FREEDOM TRAIN, a documentary for Central TV. In 1992 Paul Bamborough, the co-inventor of Lightworks, asked for my comments on a prototype and later that year I chose the system, which remains my digital weapon of choice, to edit RUNNING LATE (Udayan Prasad). Since 1993 I have continued to edit for Udayan and Malcolm, Simon Shore (GET REAL), Charles MacDougall (HILLSBOROUGH -for which I was awarded a BAFTA), Mike Grigsby (THE SCORE), Kim Longinotto (DIVORCE IRANIAN STYLE) et al. I have been a visiting tutor at the European Film College, the Metropolitan Film School, the Central Film School, the London Film Academy, the London Film School and the University of Westminster MA in Directing course. I run an editing workshop each year at the NFTS and every two years at the Cologne International Film School.
Tutor profile: Beth Multer, Script Supervisor
Beth Multer's workshops at LFS
Beth Multer is a Script Supervisor specialising in American Independent Films. Since 1999, she has worked on over 20 features including WRISTCUTTERS, THE TENANTS, MY SUICIDE, and MAY. In addition to films, she has worked on commercials, television and other projects for companies such as Comedy Central, Discovery Channel, Spike TV, Showtime, MTV/Paramount, Dangerous Films, Carsey-Werner, ABC, First Tuesday Media and more. She holds a BFA in Film from New York University’s Tisch School of the Arts, and a Certificate in Directing from the American Film Institute’s Center for Advanced Film and Television Studies. She uses ScriptE Digital software on set.
Tutor profile: Chris Terrill, Documentary Maker
Chris Terrill's workshops at LFS
Back in 1996 Chris Terrill, already a seasoned BBC documentary producer, asked his department if he could experiment with one of the new lightweight video cameras to see if he could use it to make a film on his own – without a conventional crew. This was a highly unorthodox request at the time and the reaction was far from enthusiastic. But Terrill got his way and secured a commission to make a one-off film about Soho as a one man band. This was strictly an experiment with no guarantee of transmission.
But so successful was this experiment that the one-off film ended up being a twelve part series, SOHO STORIES, that went out on BBC2 to critical and popular acclaim. The films were intimate and personal in a way that had not been seen before. SOHO STORIES proved to be a seminal work that revolutionised factual filmmaking. It was also considered the first of the modern docu-soaps, being transmitted three times a week over four weeks. It more than trebled the average audience for its schedule slot.
“It was the most liberating experience of my career. I was able to cast off the shackles – not only of an accompanying crew but also many of the so called rules of filmmaking that had been restricting our spontaneous creativity for so long. We had become hamstrung by filmmaking conventions and so I was delighted to be given the chance to strike out on my own in SOHO STORIES." Chris Terrill
SOHO STORIES won a Royal Television Society Award for Innovation.
Chris continued to refine his ‘one man band’ techniques in subsequent blockbusters such as THE CRUISE and JAILBIRDS on BBC1 and countless series and one-offs ever since, on all the major channels. He is still breaking technical and creative boundaries as a single operator – particularly in extreme environments.
With a zest for adventure Terrill has filmed all over the world from war zones to famine zones and from the bottom of oceans to the tops of mountains. He has gone undercover as an animal trader and a woman trader to expose the real bad guys. He has filmed many times with the Royal Marines Commandos on the front line in Afghanistan and, as part of his immersion, become the only civilian to pass the gruelling commando tests to win his own green beret. He has pitted himself against hurricanes, tornadoes and firestorms in his search for adventure and, above all, the most compelling human stories about people in extremis.
But Terrill does not limit himself to the obvious TV adventures and has taken his camera into many places just to seek out stories that seldom see the light of day: He went to prison for 8 months in order to understand how prisoners feel and think; he worked in the sex industry to see how pimps and prostitutes interact and operate; he trained with a premiership football team to understand the mindset of a professional footballer.
"There are those who say I have a death wish. Not true. I have a healthy respect for danger....but I love it too. Not just the adrenalin charge that comes with it but because it affords me a very different perspective of our extraordinary planet and those who inhabit it." Chris Terrill
Tutor profile: Dado Valentic, Master Colourist
Dado Valentic's workshops at LFS
Dado Valentic is an award winning master colourist credited for several developments in the field of RAW camera processing, Dado Valentic is at the very forefront of colour grading technology, continually pushing the boundaries and bringing innovations within this field. Working on some of the biggest feature films and commercials across the world, he is one of the most sought after colourists around.
Mytherapy has just opened London’s newest 4K Colour Grading Theatre at Warner Bros. De Lane Lea to provide the best talent, technology and the latest knowhow.
Dado Valentic’s approach to colour training blurs the boundaries between the arts, science and technology. The aim of his colour training work is to bring innovation and offer a deeper understanding of colour and perception that reaches far beyond perimeters of his research lab. Dado Valentic’s approach to communicating colour science has won him a wide audience with over 20 sell-out classes at the ICA-International Colourist Academy in London.
Reducation classes in London, New York, Los Angeles, Las Vegas, Singapore, Moscow and Gothenburg. Guest lectures at International Broadcasting Convention in Amsterdam, National Broadcasting Convention in Las Vegas, British Society of Cinematographers Expo, BAFTA and Creative Week in London. He is a regular lecturer at the Dutch Film Academy, London International Film School, Moscow International Film School, SAE Oxford and Edinburgh University of Arts, German film academy, Berlin- Up. Grade. Custom Training Programmes for production and post production companies such as Saatchi & Saatchi, Stink, Gramar Park Studios, The One Off, Burberry, etc. He has brought his method of teaching to TV GLOBO in Brazil and South Korean National Television Foundation.
BASE COLOUR TRAINING PROGRAMMES
1. Digital Cinematography Fundamentals
2. Introduction to Colour Grading
3. Davinci Resolve 101
4. Davinci Resolve 201
5. Popular Looks
6. Colour for UHDTV
7. Academy Colour Encoding Science ( ACES)
1. Feature film colour grading
2. Commercials colour grading
3. Colour Anatomy
Tutor profile: David McHenry, Production Designer / Art Director
David McHenry's workshops at LFS
David McHenry has over 35 years experience in film and television design. He is presently working on OUTLANDER. Recent work includes BLACK SAILS, Peter Kosminsky's THE STATE and GAME OF THRONES. His work in feature films as production designer include LOVE AND DEATH ON LONG ISLAND, JACKBOOTS ON WHITEHALL and as set designer on DREDD and RUSH. Extensive TV design credits include INSPECTOR MORSE.
Tutor profile: Dominic Clemence, Cinematographer
Dominic Clemence's workshops at LFS
Dominic Clemence studied film at the London College of Printing (now the London College of Communication) and then later at the Royal College of Art. He has worked over the last twenty years in many areas of film and television: producing, directing and filming documentaries, commercials, features and drama; but has become best known as a Director of Photography shooting many single films and mini-series for television.
Dominic’s credits include Tough Love, Torn, Kingdom, Messiah, Wire in the Blood and Silent Witness and BAFTA-nominated Hetty Feather. This broad experience gives a hugely knowledgeable overview of the filmmaking process, enabling Dominic to be creative and adaptive in a role that is regarded as the toughest on the film floor.