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Cinematic Workshop Summer, 2013 Turning Ideas into Films How can we develop an idea into a screenplay and, afterwards, into an actual film? How can we detect the particular route of a film through all its component parts? How does the film team work together to create a unified whole? How can we develop and promote the film in the best way? The Cinematic Workshop is a 4 week intensive course of training and preparation for 25 participants from Effat University—5 teams of 5 members each--selected among those university students looking for a career in Film Making. The goal during the 4 weeks is to combine theory, practice, and outcome. The 4 week course will result in a 3 minute short film produced by each “team.” This program represents an important new area for development among the younger generation of women in Saudi Arabia, and we have structured the curriculum with the eventual goal of assisting Effat to develop its own film department and studio on campus in Jeddah. During the workshop, participants will discover the theoretical and practical art of cinema. This includes applied theory and practice in the following key disciplines that comprise a film: Identifying the Story Screenwriting Film Direction Cinematography Camerawork and the use of Digital Media Lighting and Technical Sound Design Film Editing Social Media and Distribution Art Direction/Costume Design Film Production and Distribution Because of the intensity of the program, it is highly recommended, but not essential, that prospective students have a good working knowledge of English, a basic background in photography and software applications used in today’s social media. Laptops will be required by each participant. Some essential software will be provided by the professors, as part of their package of educational licenses for students. The workshop will instruct participants in issues surrounding the shooting of a film in digital cinematic format, including digital image processing. Some of the most sophisticated digital equipment, including cameras and software, will enable participants to engage with technology commonly used in Hollywood settings. For a

list of technology and services to be provided at the workshop, please link to the following web site: Participants will learn about the history of these new technologies and their importance in terms of aesthetics. Apart from the necessary empirical exercises and discussion of fundamental theories, the syllabus of the workshop also includes film screenings with essential analytical discussions. The goal of this workshop is to gain the best general understanding, through practical experience, of each aspect of the cinematic production: from the first apprehension and formulation of an idea, to the writing of a film script, the composition of the narration into images through story boards, the production planning and its accomplishment, the main shooting, the stages of editing, the entire processing in the stages of post production, and some general discussion of the art of producing a film. The objective of the course is to place participants within the total process of the film production. Analysis of the workshop The workshop will take place for 4 weeks, during the month of June, 2013, in Thessaloniki Greece. Courses will be held 6 days a week, for 6 hours per day; each day will be organized into two-hour segments; 5 teams of 5 participants will be organized at the start of the course. The theoretical part of the workshop is the foundation to understanding film. But practice follows theory. The framework of each day will be organized to include three different emphases: 1. Theoretical. 2. Empirical (practical). 3. Production (of a short film) Setting and Location The summer workshop provides an important interlude to combining studies within a recognized holiday setting in Greece. Thessaloniki is Greece’s second largest city of 1.3 million inhabitants, and is the location for the largest public university setting in the country, comprising approximately 50,000 students. Thessaloniki is set at the base of the Balkans, and its historic Roman, Byzantine and Ottoman crossroads along the Orient Express, lending to the experience a spirit that favors the “East” than the “West.” Thessaloniki was selected as the Cultural Capital of Europe in 1997 and, as such, is a city recognized for its cross-cultural, multi-cultural, student-oriented setting. Thessaloniki is also home to one of Europe’s oldest film festivals, dating back to 1960. . The festival organization may also engage with this project.

We envision support services and assistants coming from the Cinematography School at the University of Aristotelos, and from the Municipal Government of Thessaloniki, leading museums and cultural institutions, all lending support to this effort. The mayor of Thessaloniki is aware of our program, and will do all he can to lend his support. While not an essential link, the importance of our connection to the public university system can be found in the ability for this workshop to be eligible for scholarship funding through the King Abdullah Scholarship Fund. For more information, please see the attached pdf file from the Kingdom Abdullah Scholarship web site. Description of Instructors All professors leading the program have studied and/or have taught at the university level, within the Greek University system and/or abroad. Many of them have studied or worked in the US and the UK, at leading film academies. Most importantly, all professors supporting this effort are active in the film business, engaged as entrepreneurs in some capacity of film-making. This program, therefore, ties in to our ongoing discussions with Effat on the importance of Entrepreneurship and new ideas for Business Development. Special oversight and support will come from an important figure within the Middle East Film industry—Mr. Marwan Akkawi— a Greek of Syrian origins who has lived in Greece since the 1980s. Mr. Akkawi’s experience as a director, film editor, screen writer and producer in some notable films from Syria and in Europe, will add much to the experience for GCC students. Marwan’s proficiency in Arabic, and his sensibilities to the considerations faced by GCC students, will be important in building a meaningful dialogue within the classroom setting. Mr. Akkawi’s son, Kenan Akkawi, is a prominent technical expert within the Greek Film and TV industry. Kenan specializes in sound design and film editing, and is recognized in Greece as a leading expert in these fields. Kenan’s fluency in Arabic will be a great support to workshop participants. The largest assistance will come from a team of Greek film directors, editors, sound engineers and cinematographers, all of whom work in the private sector. A short list of professional qualifications for each professor is provided in CVs provided as attachments to this proposal. Professional Film Makers and Professors leading the program will include: Mr. Marwan Akkawi—Directing, Editing, Screenwriting, Producing Mr. Kalampakas--Directing * Ms. Christina Kallas-Kalogeropoulou—screenwriting* Ms. Kosma—Film Theory* Mr. Hoursoglou—Working with Actors* Mr. Kenan Akkawi—Sound Design and Editing Mr. Christos Nikoleris— Film Directing Mr. Dimitris Stabolis—Cinematography and related Technical Production

Mr. John Valtis—Film Editing, Directing Mr. Haris Pallas—Camera, Technical Production Ms. Charlene Ioanidou—Advisor and Assistant to Effat Participants* *Professors and Assistants connected to University of Greece, Aristotelos, Thessaloniki, School of Cinematography Artex Value Limited—Curriculum and Program Advisory Board Mr. William Gianopulos Dr. Nick Kourkoumelis Program Layout and Description of Each module The workshop is organized into 3 two hour segments each day--5 or 6 days each week. The work is intense, but varied, giving all participants a combination of theory, practice and active engagement in the filmmaking process. Evenings may include screenings of films selected by professors to give participants useful insights into the history and techniques of key filmmakers. The fact that the workshop will be held in the building of the museum, gives the opportunity to the instructors to use the Video Arts from the collection of the museum as educational tools. Film Production The third part of the workshop includes the complete production of a short film. The participants will have the opportunity to produce and shoot their own short film, with the guidance of their instructors, so that they can use as groundwork the theoretical knowledge the workshop will give them. Conclusion and Course of Action The summer workshop gives Effat Students a unique opportunity to learn in a foreign setting conducive for free thought and multi-cultural student interaction. This freedom is essential to the development of creative thought. However, the longer term goal for this program should be the establishment of a working relationship between Effat and the local Greek film professionals and professors, to assist in the development of a working cinema program, studio and curriculum for Effat, to be established on campus in Jeddah. Clearly, there is a new wave of thinking in the GCC region. Social media has compelled governments to respond creatively to changes taking place among the region’s young generations. Media—TV, Cinema, social media—are all on the rise. Also, training women in these new technologies is an opportunity that should be captured and nurtured. Women comprise a significant new presence in film and television industries. They are also highly educated, motivated and challenged to expand their opportunities in areas that reflect this world of new media. Effat can

become a major force in the Kingdom to support such innovative education, providing skills for a new generation of leaders. Attached are descriptions of key modules for the workshop, CVs for major participants, and supporting documentation, including a new book on editing written by workshop professor, Marwan Akkawi. We look forward to your response to our proposal.

Film Editing Leading Professors: Marwan Akkawi with Yiannis Valtis, (N-Orasis), and Kennan Akkawi            

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The birth of cinema (moving pictures). How and why we see moving pictures? A summary of the history of motion pictures (history of film editing was the history of cinema at a certain period). The discovery of cutting. Kuleshov and Bodovkin experiments. Porter and Griffith experiments. What role film editing plays in the making of a film. How do we read a script and create ideas regarding the final shape of the film. Cutting rules (passion, story, rhythm, axes, and continuity. Communicating with the spectators through film editing. Film language and comparison with other human languages. Editing kinds and ways (informative editing, creative editing, parallel editing, crossed editing, sound editing, dialogue scenes editing, action scenes editing, comedy scenes editing, photomontage scenes editing, documentary editing, training and educational films editing, news editing, advertising films and video clip editing). Film editing equipment and systems. Digital film editing cons and pros. Editing the short films shot by the students.

Film Production Leading Professors: Marwan Akkawi, Dimitris Stamboilis (n-orasis) Film production is divided into six stages which are the stages of making a film: 1. Visualization: We get the idea of making a film either by coming across a story, a book, an article, a piece of news or anything that triggers our imagination, and begin to put it on screen for a specific reason. 2. Getting started:  

Finding a screenplay or a screenplay writer to write your vision. Rewrites and editing till we have a good script ready to go out for packaging.

3. Packaging:       

Script breakdown. Budgeting. Attaching a director to the script. Scheduling. Preparing story board with the director. Casting. Financing.

4. Preproduction:         

Attaching a production designer. Attaching a unit production manager. Location scouting. Set dressing. Property master. Costume designer. Makeup artist and hair stylist. Production publicist. Shooting schedule.

5. Production: Gathering the “cast of characters,” including:       

Director of photography. Camera operator and assistants. Gaffer and electricians. Grip. Sound recording. Script supervisor (continuity). Development and telecine.

6. Postproduction:       

Editing and sound designing. Visual effects or computer graphics. Music scoring. Sound mixing. Negative cutting. Printing. Delivery for distribution.

Screenplay Writing Lead Professor: Marwan Akkawi         

Finding the story. Building the hero’s Journey--his problem, desire, opponent, defeat, visit to death, battle, freedom or slavery Classical structure (the three acts structure and variations) Act 1 (the setup, character setting, the plot point, motivations, goal) Act 2 (conflict, moving towards goal, mentor, facing opponent, low point hero fails, hero survive) Act 3 (resolution, final push, final act, the golden point, the climax, wrap up finishing the journey) Choosing a genre Discussing morals conveyed on the screenplay Different societies, different screenplays

Sound Design Using Sound to Help the Mind See Workshop on Designing Sound for Picture Professor: Kenan Akkawi A brief history: the evolution of the use of sound in cinema. Introduction to Sound Design: What are the possibilities? How can sound be used to enhance the cinema experience? From the film set to the screen: an overview of all the stages involved in sound design. Understanding the terminology The technology: Familiarization with the tools used The 3 stages: acquisition/recording editing/design mixing Sound design: as a story telling tool Collaborating from the script stage to the final product Psychoacoustics: Creating tension by using sound Clarity: regulating the flow of audible information so the mind can comprehend Rhythm: How sound affects the rhythm of a film Surround sound Case study 1: Sound as a device to enhance reality Case study 2: metaphoric use of sound Practical issues and practices Hands on workshop: designing sound for a variety of scenes

The Art of Directing Leading Professors: Marwan Akkawi, with Christos Nikoleris (N-Orasis)          

A brief history of cinema and film theories. What is a director? Who can direct? Developing story ideas. Reading a script, or writing a script. Story development strategies. Location hunting. Breaking the script (shooting script). Structure, plot, and time. Developing a crew and cast. Introduction to directors technical tools during production (cameras, lighting, sound)

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Mise-en-Sc basics Directing actors or subjects. Screen grammar. (the shot, shot denotation and connotation, shots in juxtaposition, the axes, subtext, camera movement, screen direction changing, choosing angles on the same action, subjectivity/objectivity, duration and rhythm, sequence, transitions and transitional devices, and film language in summary). Seeing with a filmmaker’s Eye Composition and it’s dramatic effects Using lights, sets, and camera positions in developing the drama. Preparing to edit. A glimpse on postproduction. Implementing the above to develop a short film by the participants.

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Introduction on the Use and Handling of Digital Cameras Lead Professors: Dimitris Stabolis, Haris Pallas, Christos Nikoleris (N-Orasis) 1. Understanding the digital signal 2.

Camera Sensors and understanding formats: DVCAM, XDCAM, DSLR………

3. Methods of stabilizing the camera 4. Power Supplies and batteries 5. Lenses and Filters 6. Monitors, viewfinders 7. Color temperature, white balance 8. Camera sensitivity; dynamic contrast 9. Exposure--automatic and manual 10. Lighting: an introduction to lighting instruments 11. Sound and microphones 12. Lighting Exercises; night shoot 13. Camera Movement 14. Downloading the material for post production 15. Working as a team with the director, editor and other members of the crew.

Video Art and the Social Media Leading Professor: John Valtis Working Within the Realm of Social Media Each seminar consists of 3 parts: theory, analysis of a case study, and the implementation of an exercise. Finding and developing a general concept of an audio visual production A. B. C. D. E.

Choosing a medium, depending on the goal of the creator Pros and cons of each medium Steps from the proposal phase to the choice of the idea Developing the idea Final implementation of the idea through a specific medium

Technical presentation, screening and promoting an audio visual production A. Screening techniques in various spaces (galleries, art houses, theaters, musical concerts, outdoor events) B. Technical studies and finding the proper equipment and manufacturers C. Technical uses of YouTube and other Social Media with the goal of viral transmission of production D. Analysis of statistical data from YouTube and others with the goal of the increasing distribution

KENAN AKKAWI Filmography 57-61 Evripidou St., Athens, 10554, Greece Tel: Home: +30-211-4093319, Mobile: +30-6937 048221 Email:

2001-Today: Freelance Editor – Sound designer. 1998-2001: LEXICON & PARTNERS: Head of post-production, editor. 1990-1998: PPV S.A. and TANWEER Ltd. - tape operator, editor, and installation engineer.

EDUCATION:  2007 - Insight Out – Digital workflows in film and TV  2004 - Global Negotiations – negotiating co-productions.  2003 - MA.G.I.C.A Multimedia Master online training program.  1999 - John Truby’s Screenwriting workshop.  1991 - 1994: BΕNg (Hons) Electromechanical Engineering, Southampton University.

LANGUAGES: Greek, English, Arabic, and some French.

AWARDS and DISTINCTIONS:       

Ethnos 1998 (TV Awards) Best Editing for a TV series «Love came a day late» with P. Papakyriakopoulos. Drama film festival 2000 : Sound Design award for the short film “Monday” Prosopa 2000 (Nitro) Best TV Concept award “Kalipolis”. Kalamata Doc. Festival 2002: Special Effects distinction for the Docu-drama “Talk Of the Devil” National Film Awards Thesaloniki 2007: National award for short film production. “Zafiris” National Film Awards Thesaloniki 2008: National award for short film production. “Shoulder for hire" Drama film festival 2009 : Sound Design award for the short film "Kai ego gia mena"

Professional Background 1- AS AN EDITOR-SOUND DESIGNER Feature Film work:                     

2012: "ACAB - All cats are beautiful" Editor, Sound designer Greek Feature Directed by: K. Voulgari - RED. 2010-12: "Chinatown - The three shelters" Editor, Sound designer Cypriot Feature Directed by: A. Danezi Knutsen - RED 2010: "Harisma" Sound designer Greek Feature Directed by: C. Ioakimidi - RED 2010: "I ypografi" Editor, Sound designer Greek Feature Directed by: S. Haralambopoulos - HD Awarded film 2009: "The building manager" Editor, Sound designer Greek Feature Directed by: P. Hoursoglou - S16mm Awarded film - Fipresci award Thessaloniki film festival 2009: "Pera Kasiros" Editor. Greek Feature Directed By: S. Papaxristou - S16mm 2008: “3 Moments” Sound designer Greek Feature Directed by: P. Sevastikoglou HD 2007: “Correction” Sound designer Greek Feature Directed by: T. Anastopoulos HD – Awarded film - Official selection Berlin Film Festival. 2007: “Vlase Sentimental” Editor, Sound designer Greek Feature Directed by: K. Voulgaris. Dv – Awarded film 2006 “False alarm” Sound designer Greek Feature Directed by: K. Evaggelakou. High Definition 25P 2005: “The hunt Feast” Editor, Sound designer. British-Syrian feature Directed by: N. Maleh. Produced: Hannaywood Studios, Reguard Enterprises. HD 24p 2004 “Real Life” Sound designer. Greek-French feature Directed by: P. Koutras. 2004 “What’s your name?” Sound Editor. Greek feature Directed by A. Aristopoulos. 2003 “BAR” Editor. Greek-Cypriot feature. Directed by: A. Danezi Knutsen. 35mm. 2003 “All the weight of the world” Sound designer. Greek feature Directed by: T. Anastopoulos. 35mm. 2002 “Close, so close” Sound designer. Greek feature Directed by: S. Theodoraki. 35mm – Awarded film 2001 “ Foyska ” Sound Editor. Greek feature. Directed by: N. Perakis. 35mm 2001: ”Alexandria”. Editor, Sound designer. Italian, French, Greek feature. Directed by: Maria Iliou. 35mm – Awarded film 1999: "The Forbidden Island" Editor, Sound designer. Lebanese Feature. Directed by: Samir Gouseini. 35mm. 1997: “Black Out” Assistant Editor Greek feature. Directed by M. Karamangiolis. 35mm – Awarded film 1996: " The attack of the giant Mousaka" Assistant Editor on Greek feature. Directed by P. Koutras. 35mm

Short film work:  2012 " Hands" Sound Designer. Directed by: Y. Bougioukos  2012 "45 Degrees" Sound Designer. Directed by: G. Grigorakis

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2012 "The man who fed his shadow" Sound designer, Directed by: M. Garefo. RED. 2011: "Epistrofi: Editor, Sound Designer Directed by: C. Gousia. HD 2009: "Kai ego gia mena" Sound designer Directed by: G. Grigorakis. 35mm – Awarded film 2007: “Shoulder for Hire” Editor, Sound Designer Directed by D. Emmanouilidis. S16mm. – Awarded film 2006 “Steady Traffic” Sound designer Directed by: K. Fragopoulos. S16mm – Awarded film 2006 “Summer Holidays” Sound designer Directed by: E. Psikou. S16mm – Awarded film 2006 “Paraisthesis” Editor, Sound designer Directed by: S. Konstantinidis. 35mm, HD 24P 2006 “Circo de la vida” Editor, Sound designer Directed by: M. Lafi. S16mm 2006 “Apostasi” Editor, Sound designer Directed by: S. Eksarchou. S16mm 2006: “Zafiris” Editor, Sound designer. Directed by: E. Dimitrakopoulou 35mm – Awarded film 2005 “The trikala photographer” Editor, Sound designer. Directed by: V. Kosmopoulos. 35mm – Awarded film 2005 “Shaking hands” Editor, Sound designer Directed by: R. Dragasaki S16mm 2005 “2nd Nature” Sound designer Directed by: V. Marinakis S16mm 2004 “Zero positive” Sound designer Directed by: A. Bafaloukas Dig Beta. 2004 “Tender” Sound designer Directed by: A. Papadimitropoulos S16mm Awards 2003 “Destroy all brains” Editor, Sound designer. Directed by: D. Emanouilidis S16mm – Awarded film 2002 “Gone” Editor, Sound designer. Directed by: Stella Kavadatou. DV. 2002 "Iasmin" Editor, Sound designer. Directed by: Stella Kavadatou. DV. – Awarded film 2001 “ Krio - Zesto “ Editor, Sound designer, Directed by: Stella Kabadatou. S16mm – Awarded film 2000: ‘Monday’. Editor, Sound designer. Directed by: Stella Kavadatou. 35mm – Awarded film 1997: “Personna” Editor. Directed by V. Voreadi. 35mm

Documentary:     

2012 "Sea Gypsies" Creative Feature documentary. One Vibe Films - E. Zervopoulou. 2011: "Mediterranean" 14*50 mins The music of the Mediteranean countries by P. Karkanevatos. Produced by Vergi Films, ET1. 2007: “Apology of an economic hitman” Political Feature documentary by S. Kouloglou 90mins. Produced by LYNX, Greek Film Centre, ET, S Kouloglou, K Akkawi, I Bovalis, Moxie Films. 2006: “Lessons” by Maria Mavrou 45 mins produced by NET, Top 3. 2005: “Greeks of the world” by Emmanuella fragiadaki. 2* 45 mins. Produced by Metamorphosis.

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2001-3: “Reportge without frontiers” by Stelios Kouloglou. Producer: NETLexicon -LYNX. Director: A Apostolides. Dig. Beta 2001: “Are you Captain Corelli? ” 50min. Producer: BBC, ET1, Tassios productions. Director: Geoff Dunlop. Dig. Beta 2000: "Benin" 45 min. Producer: NET, IFAD, U.N. Director: V. Hadjiyannaki. Dig Beta 1998-1999: “Reportge without frontiers” by Stelios Kouloglou. Producer: NETLexicon Director: A Apostolides Beta sp. 1998: 7 * 30 min. series « 7 Days » Producer:NET Director: L. Danikas. Beta sp. 1995: "Dialogues of Ecumenism" 4 hour Religious Documentary Producer: St. Kyprianos. Beta sp.

TV series - drama:      

2009: "" Weekly 45 min comedy TV series - 9 episodes. Director: Maria Lafi 2008: “G4” Weekly 45 min drama TV series - 30 episodes. Director: Sergios Konstantinidis 2005-6: “ Moni ex amelias” weekly 45 min. comedy TV series Director: E. Chronopoulou. 1999-2000: “Kalipolis” Weekly 60 min. Fast paced Cultural TV magazine. Beta sp. 1998-1999: “Black out”, 13 * 30 min. episodes. In co-operation with T. Gianopoulos. Produced and directed: M.Karamagiolis. Also Post-Production Supervisor. Dig Beta. 1997: “Love arrived a day late”, 18 * 45min. episodes. in co-operation with P. Papakyriakopoulos. Producer, director: K. Koutsomitis. Dig Beta

Miscallaeous:  2006: "Patra Reels" Video Installation within the frame work of "Patras European cultural capital"  Approximately 150 TVC’s, film trailers, video clips etc.

2- LECTURES:    

Visiting lecturer at the post graduate program - School of Fine Arts Athens. Visiting lecturer at the cinema faculty - Aristotle University of Thessaloniki. Lecture: EMMA Soundtrack festival 2012, Greek Film Academy. Visiting lecturer SAE Sound School, Athens.


2008: “Apology of an economic hitman” Co-producer. Feature documentary Directed by: S Kouloglou. 2006: “Shoulder for hire” Producer Directed by: D. Emmanouilidis - Short fiction film. S16mm

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2005: “Zafiris”. Producer Directed by: Elena Dimitrakopoulou Short fiction film. 35mm 2001: “Talk of the Devil”. Scottish, Greek Mocumentary. Special Effects Production supervisor. Dig Beta. 2000: «SKRIKER» 2 hr theatrical for TV, Production Manager. Beta sp. 1999-2000 “ Kalipolis” Associate Producer. Lexicon and Partners/ NET. Beta sp

Summer Cinema Proposal  

Summer Cinema Proposal

Summer Cinema Proposal  

Summer Cinema Proposal