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Welcome YEAR 12 Welcome to another year of amazing short format work. 170 short films from 23 countries have been selected for competition at this year’s festival. Incredibly the production budgets range from £50 to $2.5million, while you think you can probably guess what has the bigger budget, would you be willing to bet on it? From the newcomers and rising talent to long established professionals, from individuals to large multi-national studios, we’ve got them all here in a fantastic selection of work made over the last 18 months. These are joined by a further 55 screenings of guest curated work and over 40 events which will be held throughout the 10 day period, 90% of which is free to attend. Our competition programme will, once again, be held at the Institute of Contemporary Art and for 2010 we’ve introduced an Audience Award so you get to vote, we can’t wait to see if you agree with our judging panels! As always, the ICA have been very supportive of the festival and offered ‘Festival Friends & Family’ £5 tickets. Just quote that offer when you phone up or pop in to buy tickets and you get your ticket(s) at £5 each. Please do note you can’t do this online. Their phone number is 020 7930 3647. We’ve got our regular line up of (free) weekday seminars and panel discussions on product placement, the future of advertising, animation, documentary work, short film, editing, sound production, grading, 3D, pitching and much much more. Pop along to the street party in ‘Film Alley’ and see where the UK’s film industry was born or take in an amazing showcase of work ‘Electricity & Ghosts’, a preview of a bigger event by ArtHertz that is taking place at the Battersea Power Station, Autumn 2010. We’re also teaming up with BAFTA once again to bring you the Short Filmmakers Market with presentations from brands, production managers alongside marketing, distribution and financing experts. Co-produced with London Film Academy, Shooting People and Protein Networks there will also be free guest screenings of work from Australia, US and Germany with some networking drinks afterwards. Additional guest programmes include work from the ever popular straight 8, Dazzle Films, Kerry Film Festival, Tenderpixel Tenderprix, Renderyard Film Festival, Dorset Cereals, Virgin Media Shorts, Best Of Boroughs, Aesthetica Magazine, Fuji Film Awards, Bornshorts and Brighton University. All of which are free to attend. You’ll find a full breakdown of each day towards the back of this magazine, with daily festival itineraries and latest news also available at www.sohoshorts.com We’d also like to take this opportunity to congratulate the winners of our first Magazine Cover Competition. We hope you might already have noticed the artwork on the front cover! Phillip Warner’s ‘Maverick’, inspired by the spirit and independence of short filmmaking, has taken first place as our front cover for 2010. Russell Seal’s ‘Unititled’ was a close second and adorns our back page and Kellee Rich’s “With Feathers” came third and can be found towards the centre of the magazine.
‘Maverick’ by Phillip Warner
A massive thank you to everyone who has entered the festival this year, whether you’ve made shorts films or created graphic designs, written scripts or produced a viral, we wouldn’t be here without you and that is something we remind ourselves of everyday. We hope you enjoy the festival! The Festival Team ‘Unititled’ by Russell Seal
“With Feathers” by Kellee Rich 5
We are exactly what the name says : a full service film and digital laboratory based in the heart of Soho.
We are proud to be supporting Soho Shorts again this year.
Apple Store Panels
Festival Team Joce Capper . . . . . . . Joe Bateman . . . . . . Geoff Lown . . . . . . . . Sharon Hill . . . . . . . . Clare Candler . . . . . . Costas Charitou . . . . Leon Grant . . . . . . . .
Managing Director Festival Director Head of Operations Head of Media traffic PR & Marketing Graphic Design Head of Media Transfer
Festival Officers Emily Drake . . . . . . . Sigita Stakonaite . . . Thom Trigger . . . . . . Meng Wang . . . . . . . Li Wen Chang . . . . . . James Heaney . . . . .
Marketing & PR Screenings & Events Programme & Industry Production & Marketing Graphic Design Events & Screenings
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2009 Winners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Awards Accessing All Areas . . . . . . . . . . . . . . . . . . Newcomer Award . . . . . . . . . . . . . . . . . . . . . . . . . . Joce Capper: Rushes MD . . . . . . . . . . . . . . . . . . . . Short Film Category . . . . . . . . . . . . . . . . . . . . . . . . Magic For Sale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Documentary Category . . . . . . . . . . . . . . . . . . . . . The Fine Art Of Finishing . . . . . . . . . . . . . . . . . . . . Animation Category . . . . . . . . . . . . . . . . . . . . . . . . Crossing The Line . . . . . . . . . . . . . . . . . . . . . . . . . . Music Video Category . . . . . . . . . . . . . . . . . . . . . . . Understanding Stereo 3D . . . . . . . . . . . . . . . . . . . . Broadcast Design Award . . . . . . . . . . . . . . . . . . . . International Category . . . . . . . . . . . . . . . . . . . . . . Longform Category . . . . . . . . . . . . . . . . . . . . . . . . . Wednesday 21: Opening Night . . . . . . . . . . . . . . . Thursday 22: Diary . . . . . . . . . . . . . . . . . . . . . . . . . Friday 23: Diary . . . . . . . . . . . . . . . . . . . . . . . . . . . . Saturday 24: Flicker Alley Street Party . . . . . . . . . Sunday 25: Short Filmmakers Market . . . . . . . . . . Monday 26: Diary . . . . . . . . . . . . . . . . . . . . . . . . . . Tuesday 27: Diary . . . . . . . . . . . . . . . . . . . . . . . . . . Wednesday 28: Diary . . . . . . . . . . . . . . . . . . . . . . . Thursday 29: Diary . . . . . . . . . . . . . . . . . . . . . . . . . Friday 30: Diary . . . . . . . . . . . . . . . . . . . . . . . . . . . . Guest Programmes: straight 8 & friends . . . . . . . . . Tickets, Venues & Map . . . . . . . . . . . . . . . . . . . . . . Thank You Judges! . . . . . . . . . . . . . . . . . . . . . . . . . .
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See our website for more info: www.sohoshorts.com Magazine printed by Tandy Group Published by Rushes 7
“heartwarming, engaging and darkly amusing. the must-see british film of the year.” – The Guardian “stunning, shocking, touching and deeply moving.” – London Evening Standard “raw, unflinching, staggering.” – Little White Lies
Watch now on
Congratulations to Rushes CGI for their creature work on “The First Men in the Moon” coming soon... contact Louise Hussey 9 or Warwick Hewett +(0)20 7437 8676
2009 Review With over 4000 attendees, 40 events and 60 screenings 2009 proved to be our biggest and most popular festival ever. For the first time we screened the work selected for competition at the ICA, selling out 80% of our screenings (get your tickets early this year!!) We also moved our Awards Ceremony to the Curzon Soho with an extravagant after party at Teatro & Stanza that continued well in to the early hours. Last years award winners were:
ANIMATION AWARD: “This Way Up ” Dir. Smith & Foulkes (Nexus)
SHORT FILM AWARD: “Washdays ” Dir. Simon Neal (Deeply Vale Productions)
DOCUMENTARY AWARD: “Avatar Days ” Dir. Gavin Kelly (Piranha Bar)
NEWCOMERS AWARD: “Tight Jeans ” Dir. Destiny Ekaragha (Pollibee Pictures)
MUSIC VIDEO AWARD: “Prodigy: Warrior Dance ” Dir. Corin Hardy (Academy Films)
INTERNATIONAL AWARD: “Charlie Thistle” Dir. Bragi Schut (Gallantyne Pictures)
LONG FORM AWARD: “Romans 12:20” Dir. The Shammasian Brothers (COY! Communications)
BROADCAST DESIGN AWARD: “BBC ‘Journey To The East’ ” Dir. Jamie Hewlett & Pete Candeland (Passion Pictures)
“I’ve always loved the Rushes Soho Shorts Festival, but in recent years especially it has become a true barometer for creativity in the film industry. People from all around the world are getting involved and I love the fact that cutting edge animators and motion graphics designers are represented alongside the brilliant live action directors.” Garrick Webster “Rushes Soho Shorts provides an impressively wide-ranging showcase of short format work year on year. Attracting some of the most established talent in the industry, the festival has also proved itself as a true champion of emerging talent. Now in its 12th year, the festival just gets better and better - this is a real tribute to the passion and dedication of Joe Bateman and his team. I look forward to seeing the pick of the most exciting and promising work in this year’s programme.” Maggie Ellis (Film London) “Such a great festival, their shortlisted videos are always excellent and there’s a great vibe to their events too.” Caroline Bottomley (Radar) “I - and Shooting People - am thrilled to be a juror for this edition of Rushes. We’ve been heavily involved with Rushes for four years now, and are hugely impressed with the efforts it makes to boost the careers of independent filmmaking. On both sides of the Atlantic, filmmakers are better off thanks to Rushes.” Ingrid Kopp (Shooting People)
“Talent needs a showcase. This festival is that showcase.” Phil Claydon “Rushes Soho Shorts is a key festival for showcasing new filmmaking talent and does a great job of bringing industry and filmmakers together.” Claire Cook (onedotzero) “The Rushes Soho Shorts festival showcases an impressive variety of the year’s best creative content – from the obscure to the mainstream – both in the awards and the enticing, creatively-focused events of festival week.” JakeBickerton(Televisual) “Rushes Soho Shorts reminds us every year that length isn’t everything, it’s what you do with it that counts.” Neil Bennett (Digital Arts)
“Rushes Soho Shorts - it’s a good thing” Susie Innes (Delaney Lund Knox Warren & Ptnrs) “Shorts aren’t just calling cards for aspiring directors, they’re little nuggets of creativity in their own right. Rushes offers cinema-goers the chance to enjoy the latest gems from around the world in a film-friendly environment.” Patricia Dobson (Screen International)
“One of the capital’s essential short film festivals, Rushes is a great place to have your work seen, plus its networking events and discussions are vital for anyone breaking into the industry.” James Rocarols (BBC Film Network)
tamed by: matt turner . simone grattarola . denny cooper 13
Awards Accessing All Areas W
hen awards announcements are made it has become almost a cliché for the judges to sum-up the year’s competition as the toughest in memory. That may or not be true but what is undoubtedly the case, and never acknowledged, is that each time the sheer media logistics of piloting an awards event gets more challenging. Rushes Short Film Festival (RSFF), for example, attracts over 1200 entrants annually from 40+ countries, which are whittled down by 80 judges to 140 competition films, 24 finalists and eight winners. Imagine now the behind-the-scenes legwork required to accept, catalogue, verify, digitize, dub to DVD, send to individual judges, track arrival, maintain consistency of information and collate the judges responses. “We’ve thought for some time that it would be just so much easier if we could streamline the whole process by taking everything online,” says Festival Director, Joe Bateman. “The logical next step for us after switching from VHS to DVD was to adopt a purely file-based approach. The question was – how to do it?”. Bateman and his team began to search for a viable application to manage the submissions for the festival entirely online. “Then when Viia came along we realized that we could make this happen,” he says. Viia is Ascent Media Group’s storage and asset management platform linking the group’s London, Singapore, Los Angeles and New York operations. Through a combination of dedicated fibre links and open Internet bandwidth, Viia allows studios, TV networks and other content owners to quickly and easily move 30-second clips to full-length feature films as media files around the world – a function traditionally accomplished by physically shipping tapes and film. Ascent Media already uses Viia to provide screener services, asset management and digital delivery to major studios including Sony and Paramount so it was natural to extend the service to Rushes. “We had built screening services for online dailies and rushes approval but this was the first awards client we had catered for,” explains Ascent Media’s Technical Solutions Manager Gavin Cole. “It meant enhancing Viia so that external third parties could upload content into the system and manage entry metadata.” Last autumn Ascent’s London-based development team set about writing an extra layer on top of Viia to expand it from a pure asset management system to one capable of secure and efficient content submission. In previous years a DVD would arrive and be logged into Rushes’ library system with the related 14
paperwork logged separately. “Since the filmmaker will have filled out the paperwork by hand in about forty percent of cases we would then spend time deciphering the information before typing into the database,” explains Bateman. “Then the DVD gets passed onto the short listing department who cross reference with the library to make sure they’ve received everything. We would then recontact the filmmaker to supply us with Digibeta masters of the shortlisted work, compile that onto a master DVD and issue one to each of our judges.” This worked well for as long as that was the only option but clearly removing physical media from the loop would be of huge benefit in cutting down the manual tasks and streamlining administration. The application build by Ascent on top of Viia now enables entrants to upload files to the site or, if they already have the file hosted somewhere, the facility to link directly to that media asset. “As a result, for the first time, we no longer have to lug around bags of DVDs,” says Bateman. “Our judges still dedicate most evenings during April and May to viewing submissions either at home, during travel time or at work but instead of working from stacks of discs all they need to do is pop a USB stick containing 20-30 shorts at a time into their PC or laptop. It works like a dream.” The new method encouraged about half the entrants for RSFF 2010 to simply link content to the Viia-supported site. It also allowed the judges to spend far more time actually viewing candidates rather than juggling discs and paperwork. “The filmmaker takes on more of the responsibility for adding and modifying metadata which saves our admin time, gives them more control and gives everyone a broader range of information to work with,” says Bateman.
dvertising Producers Association
The Viia platform is also now playing host to the APA Collection, the hugely popular compendium of the 50 best UK commercials of the year. The particular nature of the APA’s showreel, which was again previously collated and distributed on DVD, required some custom development of the Viia software. With as many as 300 commercials vying for the coveted top 50 positions, the APA wanted to make it as easy as possible for the judges to view the material online. “It would be laborious to have to go into the site and each time select a new video to view so we asked Ascent to replicate the experience that our judges had with the DVD in terms of being able to quickly chapter through from one commercial to the next,” says APA Marketing Director Nicki Masterson. “We wanted to combine the ease and convenience of online access with the benefits of a DVD-style interaction.” Ascent developed an interface so that the APA’s judges could view one commercial after another, with updates displayed carrying information about product, spot title, agency, director and producer. The viewing process can be paused or stopped at any time ready to begin playing from the same place the next time it is accessed. In addition the fact that submissions are generated from a broad user base and originated in multiple different file formats had to be taken into account. A new transcoding engine and QC functionality was built onto the Viia application to streamline material into a standard format on ingest. “No two services are identical within Viia. We have to take the different needs of each client into account,” says Michael Ashley, Ascent Media’s Operations Director. “Viia has been designed in a way that allows its software to be tailored with bespoke functionality. It can be easily customized with specific domain names, colour schemes and skins to blend into the client’s existing online presence and corporate branding. A key advantage is that Viia was built from the ground-up by Ascent and intended to be a modular and always growing platform. Our in-house teams can continually refine the software while we can use the range of skillsets within the company from graphics teams to editors and quality control to define a look, track and verify content according to client needs.” According to Masterson, “Viia is more than just a website. Behind it there is a lot of operational expertise, automation and technology tying together a whole variety of processes and making it all happen.”
The launch of the RSFF online screening service was noted with interest in the US by prestigious awards body the International Emmys. Late last year they approached Ascent Media’s US team with a view to establishing a similar submissions process in time for the 38th International Emmy Awards Gala in November 2010. “We liaised closely with the International Emmys to establish exactly what they wanted to achieve,” explains Cole. Like Rushes, its existing tasks involved collecting DVDs, organizing entrants into categories and duplicating the videos onto screener discs before posting the relevant ones to as many as 600 jurors all over the world. With 15 categories attracting 1500 submissions from 57 countries the procedure was beginning to get unwieldy, inefficient and costly. Ascent was briefed to build them a digital system tailored to its needs. Specifically the International Emmys wanted a system of self service so that anyone wanting to be considered in any of the categories could upload content and later remove it from the service if needs be, as well take charge of adding and editing details on a webform. Instead of being regrouped onto DVDs, the content resides on the Viia platform, accessed with the right permissions through the site (www.iemmys.tv) and always linked to its own metadata. As busy media professionals the judges appreciated the freedom to view content when and where they wanted. Ascent designed a portal for each of the award categories, and assigned each judge a unique account log-in for them to access just the content they needed. The selected content is then either streamed direct to the desktop or downloaded for viewing at their own convenience. “The International Emmy organisers also have the new ability to track when and which parts of content have been viewed and by which judge, giving them a much deeper insight into the judging process,” explains Cole. The time the International Emmy’s first pproached Ascent to the time the site went live on January 1 was just six weeks.
Newcomer Category NOLAN’S CHEDDAR John Nolan (Streetlight Films UK Ltd) UK, 1m 28s
MAN MADE Fern Berresford (Coy Communications) UK, 3m 38s
HEAT Debbie Tucker Green (Hillbilly Films Limited) UK, 12m 35s
THE MIDGE Rory Lowe (Once Were Farmers) UK, 10m 51s
EXHALE Remi Weekes (Independent) UK, 14m
CHRISTMAS WITH SKELETOR Oliver Smyth (Kog Industries) UK, 1m 28s
Sniffels tries his luck…
Michael wants to know… and Donna is running out of excuses.
Joel, 17, decides he’d rather face HIV alone than with anyone else... to unexpected consequences. BRINGING IN THE SHEAVES Jonathan Stewart (Defusion Films) UK/United States, 12m
A reclusive blind man must test the limits of his abilities in presence of unwelcome guests.
Two men strike a deal that reveals to be something altogether more sinister.
A boy meets the girl of his dreams and nightmares, but it’s not her he should be scared of.
The Universe’s most evil dictator wants to conquer Christmas. THE PROGRESSION OF LOVE Luke Rodgers (Latent Talent) UK, 9m 3s
Ollie has difficulty getting a beautiful fellow-traveller’s attention.
The Newcomer Category (2 Hours)
Showcasing fictional, live action work (under 12 minutes) created by new filmmakers in the UK. ‘Festival Filmmaker and Friend’ offer to get your tickets for £5 each. (Offer not available online) Buy tickets online www.ica.org.uk or call 020 7930 3647
Newcomer Category TWO LADIES & A HILL Federico Forcolini (Well Fed Films) UK, 3m 46s
YOUNG BLOOD Ben Riddell (Young Blood Productions) UK, 11m
Two old friends rejoice in the finer offerings of the great outdoors.
Theo is forced out of his solitude to engage with the world around him.
JUNK FOOD Gavin O’Grady (Independent) UK, 2m 48s
THE DROWNERS Catherine Taylor (Independent) UK, 12m
ASHENDEN George Belfield (Yepsen Films) UK, 3m 31s
Bovine William McGregor (University for the Creative Arts) UK, 9m
A man gets far more than he bargained for when he dumps his rubbish in the local woods.
Intoxication of love, unique emotional connections, romance and sexual tensions within a microcosm.
A surreal doppelganger thriller. When a young man thinks he sees himself on a bus his sanity is stretched to breaking point.
A young boy has to come to terms with the harsh reality of farming life.
TWO men & A car park Federico Forcolini (Well Fed Films) UK, 3m 46s
Just another day staffing an underground car park. Two ordinary men share an extraordinary responsibility. It’s a tough job but someone’s got to do it.
Fri.23 Sat.24 Weds.28
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£5 £5 £5
Booking Required Booking Required Booking Required 17
The indusTry wiThouT skills and Training is like a film wiThouT a*: Producer Executive Producer Production Manager Unit Manager Production Coordinator Post-production supervisor Director First Assistant Director Second Assistant Director Production Assistant Script Supervisor Stunt Coordinator Production Designer Art Director Assistant art director Set Designer Illustrator Set Decorator Buyer Lead Man Set Dresser Props Master Props builder Armourer Construction Coordinator Head Carpenter Key Scenic Greensman Make-up Artist Hairdresser Costume designer Costume supervisor Key costumer Costume standby Art finisher Costume Buyer Cutter Cinematographer Camera Operator First Assistant Camera Second Assistant Camera Loader Camera Production Assistant
Digital Imaging Technician Steadicam operator Motion Control Technician Production Sound Mixer Boom Operator Utility Sound Technician Grip Key grip Best boy Dolly grip Gaffer Lighting Technician Location Manager Assistant Location Manager Location Scout Location Assistant Location Production Assistant Transportation Coordinator Transportation Captain Driver Picture Car Coordinator Generator Operator Operator Film Editor Colorist Negative Cutter Visual Effects Supervisor Compositor Matte Painter Sound Designer Dialogue Editor Sound Editor Re-recording Mixer Music Supervisor Composer Foley Artist Foley Mixer Foley Editor ADR Editor Distributor Exhibitor Health and Safety Advisor
in 2004, skillset launched a Bigger future to provide a complete training and skills strategy for the uk film industry. The campaign has funded courses, career sessions, apprenticeship-style schemes and business training for thousands of industry professionals and new trainees, maintaining Britainâ€™s position at the forefront of international film. from today, a Bigger future 2 will continue this success, funded in part by the industry itself through the skills investment fund (sif), as well as by the national lottery through the uk film Council.
a Bigger future 2 will help to assure the long-term future of uk film through: - Training in new technologies - Developing creative talent - Improving business skills - Supporting new industry trainees - Enhancing Health and Safety skills So whether you are a seasoned professional, a budding trainee or apprentice, an employer or a training provider, visit www.aBiggerfuture2.co.uk for more information.
a Bigger future 2: skills. Jobs. action. *of course, some films need more or less people; but they all need skills and training.
Joce Capper Soho Shorts continues to promote the truly amazing creative industries in the UK. That the new Government understands what a hugely valuable asset and revenue earner the creative sectors are for the country over all and find new innovative ways to support all film making. Ok, this is turning into a chick flick now right?! Other countries get tax breaks and help, enabling the UK to compete on a more level playing field, we must offer the same deals. As Board member of UK Screen and Chair of the Commercials group, it is frustrating that the expertise of UK companies is being so severely challenged, through rates and falling margins. Rushes produces fantastic work in the UK along with our AMG sister co’s through our people and talent. Greater value must be placed upon the skills in the industry.
Joce Capper, Managing Director, Rushes I am writing this on a sunny day in early June, prior to the emergency budget. By the time you read this, we will know the outcome. On such a sunny day, it feels very gloomy! It’s still an uncertain economic climate and many businesses are nervous. Uncertainty is bad for everyone, it prevents decisions getting made and life goes on hold with no commitment to anything short or long term. General gloominess and the fear of not knowing is scary. We know the money that we had a great time spending needs to be paid back. And real cost savings must be put into place. Where will these cuts take place? How does this affect us? Who or what gets cut/slashed the most? Sounds like a horror movie eh? We know that the world around us is often is stranger than fiction and this could be a movie script. Like all good (or short!) movies I watch, I want a happy ending. Happy to go through an emotional and bumpy journey but I like it best when all turns out just right ;O) My happy ending is that the sun shines ALL Summer you all have a great time at the festival,
That’s why I love the festival, now our 12th year, RSSF is one of the largest and most popular film festivals, promoting great filmmaking across all genres. I’m proud of all the festival has achieved and the respect it earns each year, reaching as many people as we can and showcasing exceptional talent. Rushes has always nurtured new talent and finding ways for creatives to express themselves is at the very heart of the festival. As we prepare for the rainstorms that are looming, I’m holding out for the rainbow! My Happy Ending? England win the World Cup, Andy Murray triumphs at Wimbledon, I fit back into the dress I wore at my 30th birthday party and the industry is buoyant and successful. Thanks to everyone for their support of the festival - our sponsors, judges, volunteers, the Rushes team and all of you who come along to the screenings and events. Enjoy the festival.
Rushes, 66 Old Compton Street, London, W1D 4UH +44 (0)20 7437 8676 www.rushes.co.uk 19
Short Film Category WAR SCHOOL Ben Newman (ctrl+alt+shift) UK, 8m 3s Military training camp for child soldiers in a British school.
W.O.W.1 Iona Ramsay, Oli Hudson (Great Monday Films) UK, 3m 54s
THE SUMMER HOUSE Daisy Gili (London Film Academy) UK, 13m 41 July 1969, one small step for a girl, one giant leap for a man.
LORRAINE Julius Amedume (National Film School) UK, 14 m
THE OFFICE ORPHAN David Lilley (Loonatik and Drinks) UK, 5 m A satire of office life in today’s economic climate.
SIS Deborah Haywood (Anthem Films) UK, 11 m
THREADS Matt Taabu (The South Yorkshire Filmmakers Network) UK, 11m 55s
FAULT LINES Nick Light (Nick Light) UK, 1m 30s Family life is not always easy.
A mixed-race fifteen year old comes face to face with a man he believes is his father, a member the Far Right.
Battle of words with very little wisdom.
Lorraine’s experience in a new school.
Man who “likes children” is about to be tracked down.
The Short Film Category (2 Hours)
Showcasing fictional, live action work (under 12 minutes) created by experienced filmmakers in the UK. ‘Festival Filmmaker and Friend’ offer to get your tickets for £5 each. (Offer not available online) Buy tickets online www.ica.org.uk or call 020 7930 3647
Short Film Category ONE MAN AND HIS DOG Jonathan Hopkins (Between the Eyes/ Pablo Films) UK, 7m 40s
HARD HAT Karan Kandhari (Oslo Beach Films) UK, 10m 20s
CONVERSATION PIECE Joe Tunmer (New Treatment) UK, 7 m
TRANSGRESS Leanne Welham (Lacking Productions) UK, 12 m Driving home one night, a woman hits a man who shouldn’t be there...
I LOVE LUCI Colin Kennedy (Sigma Films) UK, 12m 30s
GOLD TOP Sat Johal (Tim Dann Ltd & Sat Johal) UK, 10m 58s Milkman’s special delivery on Christmas Eve.
London through immigrants’ eyes.
The misfortunes of a gentle alien who came to save mankind.
Inspired by Rex Stewart’s recording “Conversation Piece” (1966).
Missing teeth, true love and dog’s help unlucky lovers.
Weds.21 Sat.24 Weds.28
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Magic For Sale C
inematic-style CGI is almost commonplace in advertising these days. Just look at the Daily Mail campaign earlier this year, which Rushes created with M&C Saatchi and Great Guns and involved the kind of complex 3D and compositing challenges previously only to be found in feature films. “The Daily Mail films are quite typical of a modern campaign in that there were multiple complex VFX shots throughout,” says Jonathan Privett, Rushes VFX supervisor. “The Money Mail film, in which a giant oak tree groaning with bank notes grows from a tiny sapling, is in fact entirely CG with no live action components at all and as such Rushes
took sole responsibility for the delivery. 10 years ago Rushes would have struggled to complete this film, the sheer amount of CG objects and very detailed textures and animation would have been the preserve of US based film VFX companies. The adoption of Pixar’s Renderman software allows us to handle massive data sets and scenes with minimum fuss and to produce amazingly beautiful and vivid results.” In addition liquid and cloth simulations, and very complex particle effects were used, helped by the massive increase in computing power previously only available to a few within the feature film business.
Daily Mail ‘Money Mail’ Agency: M&C Saatchi Production Co: Great Guns
Magic For Sale
nike ‘Fresh Air’
As a veteran VFX Producer for films Drew
Jones, currently heading up Method’s London studio, is well placed to observe this increase in complexity. “I think commercials always strive to have a big picture feel about them, some more than others,” he says. “But there are definitely commercials aiming to generate the scope and expanse of a feature. I think this can only naturally lead to VFX, creature, characters and complex shots being fairly mainstream, pending the creative story and budget constraints.” Not that those in the film world are standing still. “I don’t think feature VFX [companies] ever cease raising their game,” says Jones. “The defining factor is the creative mind and then whether one can persuade the production budget to accommodate based on the whole business of selling the film to an audience. Therein lies the rub. Clients may be savvier about what they can expect to achieve with visual effects, but they’re perhaps less realistic about the effort and cost that may be involved in getting that result.” “Budgets in VFX are a major issue,” says Privett. “The rate we receive per day for creating CG is a third of what it was 10 years ago and now less than the hourly rate for someone to service your car. The biggest problem is expectations never go down in line with the budget.” “Everyone wants the world but never wishes to pay for it,” agrees Jones. But he has a more charitable outlook too. “ Perhaps more education is needed in terms of understanding
what can be achieved in the time frame and how much it should cost,” he suggests. “These things do not always sit comfortably together.” However budgets and timescales might preclude 3D CGI sequences completely. In these cases the Flame or Smoke artists might be able to deliver visual effects shots within these constraints by using compositing and tracking skills. A good example of this can be seen in Rushes extensive work for the Lucozade Sport’s Evolution campaign (Dir. Tony Kaye for M&C Saatchi), where crowds in the stadium and stands were created using photographs and shot footage on digi beta of the team working on the project, then tracked in by the Rushes team led by Flame artist Rufus Blackwell. Jonathan Privett says a tighter integration with production and agency is being driven by the need to understand how VFX can be harnessed to enhance narrative, reduce costs and realise the impossible. “Or,” he says. “Simply create something so visually arresting that it’s impossible not to be entranced.”
nike ‘Fresh Air’ Production Co: Great Guns
Documentary Category UNEARTHING THE PEN Carol Salter (Rock Salt Films) Uganda/UK, 12m 30s
An intimate portrait of a boy’s struggle to reconcile tradition with his desire to learn. THE KILLING OF THE IMAM Khalid Shamis (tubafilms) South Africa, 10m
A reflection on the killing of Imam Abdullah Haron under Apartheid South Africa. BEING MARTIN Lou Hamilton (Create Lab) UK, 10m 40s
An inspiring tale of a man overcoming his disability. RIKSHAWALA Tom Stoddart/Misha Hussain (Film Bengal) Bangladesh, 8m 30s
An insight into the lives of a family of rickshaw pullers in Dhaka, Bangladesh. ON STONY GROUND Rehana Rose Khan (Ponder Productions) UK, 9m 30s
Two homeless alcoholics meet on Brighton beach. UP THERE Malcolm Murray (Mekanism) USA, 12m 42s
The dying art of hand-painted advertising in New York.
The Documentary Category (2 Hours)
Showcasing factual work (under 12 minutes) created by new and established talent from around the world. Quote ‘Festival Filmmaker and Friend’ offer to get your tickets for £5 each. (Offer not available online) Buy tickets online www.ica.org.uk or call 020 7930 3647
AT THE END OF THE WORLD Jan Bednarz (Buzz Films) UK/Bahamas, 5m
A reflection on Ernest Hemingway’s impact on the Bahamian island of Bimini. STEVE AVERY Sam Huntley (Mad Cow Films) UK, 4m 53s A portrait of champion bodybuilder, Steve Avery. GENTLEMEN OF THE ROAD – PART 1 Fred & Nick (Pulse Films) UK, 12m 48s Follows then up-and-coming band Mumford & Sons. TIN TOWN Nora Connor/Clementine Wallace/ Colton Margus (Barefoot Workshops) South Africa, 12m 5s
A look at the dispossessed of Cape Town and the meaning of community. THE GHOSTVILLAGE PROJECT Tim Daly (Agents of Change) UK, 11m 43s
An uninhabited village in Scotland is transformed into a giant art-installation. LES ELEPHANTS Richard Bullock (Hungry Man) Cote D’Ivoire, 5m 5s
The build-up to the Ivory Coast’s last qualifying match before the World Cup. Official Screening
Thurs.22 Sun.25 Tues.27
18:15 15:30 15:30
ICA ICA Soho Film Lab
£5 £5 £5
Booking Required Booking Required Booking Required 25
The fine art of finishing
“Y ou only need to look at movies like 300 or Sin City to give you an idea of the myriad possibilities grading
can give to a production,” says award-winning colourist Matt Turner of Company 3. From the correction and finishing aspects of the traditional Telecine (TK) process to the non-linear grading of the modern digital intermediate (DI) workflow, good colourists have always been essential in the postproduction of commercials, TV and features. Senior Colourist Simone Grattarola, with ten years experience in film grading, uses the latest resolve DI grading system at Rushes. “There is a lot of creativity in what we do,” he says. “We are able to beautify images in real time which is what a lot of clients always enjoy about TK. Telecine started as a way of getting film onto tape formats, then it became about enhancing those images and now we can create multiple layers of imperceptible colour correction, which together with the way we can make 2D lighting changes, help build a totally different picture to what was filmed, if it’s needed!” “It’s without doubt an extremely creative process,” says Matt Turner. “All good colourists possess an obsessive attention to detail and of course a great eye.” It’s become even more creative with the advent of the DI process, which has brought many benefits. Chief among these, Grattarola feels, is the ability to grade images sequentially and from multiple formats in the highest resolution possible. “The Resolve system allows me to track moving subjects, with a grading window, in the frame,” he says. “Whereas before I had to keyframe the window. Now I can render/lay off to multiple formats at a click of a button; beforehand my session was locked to the format I was in. Now I can work with 4k files and render a 2k DPX sequence, create a HD CAM SR master or a Digi Beta or even an uncompressed QuickTime at 26
the touch of a button.” “Just the simple action of putting a window over an actor’s face & making it brighter was impossible before DI,” says Turner. “The available tools a DI colourist now has are incredible, from tracking to keying individual colours, to isolating 20 different areas of a single shot. The creative possibilities in terms of colour and contrast are virtually limitless.” Being able to apply a creative stamp is one thing but can grading make or break a production? “Flat, dull colour inspires no one,” says Mustard director Cris Mudge. “The world is awash with rich and amazing colours, stylish and subtle tones, and beautiful and considered art. People need to see aspects of all of these reflected on our screens.” Simone Grattarola thinks it’s a complex argument. “A production which has suffered from poor lighting conditions will need light/colour enhancement. At the same time you have to be aware that some things look beautiful and throwing all your toys at it may not enhance the film. As a colourist it is essential you understand the system you are working on and the director/agencies vision”. Turner agrees. “It’s really important for most directors to be able to trust a colourist to do a great job, which makes them invaluable. Especially when a director may have very tight deadlines and have so much to concentrate on, they must have someone that’s going to get the job done without having to worry about that person’s skill or ability.” This is certainly the case with the directors that ask for Turner, such as Cris Mudge. “The colour, look and feel of film are all very subjective and individual, so working with a colourist who understands how both the director and the cinematographer work is
The fine art of finishing crucial,” he says. “I have been grading with Matt for many years, so together we have developed a language of colour which we both understand and share. He also knows exactly how my DOP uses light, so can see what we were trying to achieve in camera and then enhance and refine the images that are on the negative itself.” Another aspect of the job is the ability to be patient and pay attention to what the director or client really wants. In this regard Matt Turner again wins plaudits, this time from Partizan director Patrik Bergh who first worked with the colourist on 2005’s BBC 7 ‘Earman’ film. “He is a extremely good listener and sensitive to what you are trying to achieve,” says Bergh. “Personally I don’t think I am the best communicator in the TK, but Matt is extremely patient and you never feel rushed in to having to commit to a look when you work with him.” Bergh names Turner as by far one of his favourite colourists, with his admiration rooted in that first job together. “We had already been grading most of the shots on this job already but then one particular shot wasn’t really working for us,” he recalls. “What Matt did then was to try something quite different that just seemed to fit so much better with everything and give the film something special. It was not a look per se but simply managed to capture something that had earlier been missing. I was impressed that although we were more than half way through all the shots, he was happy to try something so different when he knew it meant having to redo all those other shots we had already done.” “Our job is subjective in the same way as sound design,” says Grattarola. “Certain people work best with certain people. In a way it’s hardest for a colourist to develop a relationship with someone in the suite, as everything is realtime. You have to do it quickly. You need to understand
what the client wants and how you can deliver them that and more.” Knowing the kit helps of course, as sometime you have to think creatively to work around the parameters defined by grading systems. “I believe that there is never a NO until you’ve tried,” says Grattarola. “For a recent car commercial Hyundai “Big”, I used multiple windows (nodes) to separate a moving car from the background shot on a grey flat day with no lights which the client thought would only be possible in flame.” “Before, this would not have been possible, but using the Resolve I created a shape around the car that I auto tracked through the frame, allowing me to grade the car separately. Using 20 different nodes I was able to create lighting ‘affectations’ to the car and add a grade for the sky to create a sunny day feel.” As for skills needed for DI, Grattarola says the real challenge is to be a step ahead of the game. “You have to have one eye on new cameras, new file formats and technologies, which are constantly evolving,” he says. “You also need to have an eye on what has gone before. The experience of grading straight from film is invaluable and I’m pushing my assistants to learn that first.” Clients can help the process too. “The more information we have about files, formats and getting edls in as soon as possible from editors then the smoother the telecine session will run,” says Grattarola. “It’s great if clients have a clear idea or a direct visual reference, such as a photo, painting or movie,” says Turner. “But it’s equally rewarding if they need some creative inspiration. A session will usually begin with me setting three different looks. The director will usually prefer one and that’s the road you go down. Sometimes it’s completely different to their original idea.”
Hyundai “Big” Agency: M&C Saatchi Production Co: Serious Pictures
Animation Category BREAKFAST Kris Hofmann (Royal College of Art) UK, 3m 20s
MOTHER OF MANY Emma Lazenby (Arthur Cox) UK, 6m
VERNE ON VACATION Sylvain Marc/ (Cartoon Network) UK, 2m51s
CHERRY ON THE CAKE Hyebin Lee (Partizan) UK, 7m 42s
THE GIRL WITH STORIES IN HER HAIR Phoebe Boswell (St Martins) UK, 2m52s
JUNK Kirk Hendry (th1ng) UK, 6m 10s
FAMILY PORTRAIT Joseph Pierce (Fifty Nine Productions) UK, 4m44s
SUPERSTITIOUS? David Magnier (Independent) UK, 3m53s
SECRET SANTA Anna Fyda (St. Martins) UK, 1m32s
SAVE OUR BACON Peter Baynton (Glendale Picture Co) UK, 13m 38s
FLY Alan Short (Aardman Animations) UK, 2m44s
Toys tell the real story of how animals live.
Junior explorer + magic merman+ robotic pig = adventure!
Inspired by Edgar Degas’ La Coiffure.
Suspicion bubbles to the surface during a tense family portrait.
A friendly old man turns cabaret stripper.
The eternal battle between man and fly.
The most dangerous journey needs a helping hand.
Cherry’s family forgets her birthday, she gets smaller and smaller as she craves attention.
A tale of an obsession with junk food that may prove hard to swallow!
A lonely man becomes obsessed with changing his luck.
A struggling farmer’s dubious plan to cross his one remaining pig with an earthworm.
John Williams (Spitfire Studio) UK, 8m 23s
An epic battle between animals and men.
The Animation Category (2 Hours)
Showcasing animated work (under 12 minutes) using a broad range of techniques, created by new and established talent from around the world. Quote ‘Festival Filmmaker and Friend’ offer to get your tickets for £5 each. (Not available online) Buy tickets online www.ica.org.uk or call 020 7930 3647
Animation Category SPIN Max Hattler (Autour de Minuit) France/Germany/UK, 3m 55s
THE SEA CHANGE Harry Dwyer (2AM Films) UK, 4m15s
the astronomer’s sun
STILL LIFE WITH SMOKE AND MIRRORS Graham Young (Independent) UK, 3m 40s
An epic war story on a tiny scale.
Conflict between toy soldiers.
Simon Cartwright/ Jessica Cope (Duchy Parade Films Ltd) UK, 5m 50s
A magical journey about what it is to be human.
Jean-Paul Frenay (Condor)Belgium, 3m 15s
COALITION OF THE WILLING Collaboration (Knife Party) UK, 12m
ADLAND Mark Denton/Seth Watkins (COY! Communications) UK, 2m52s
LOBSTER CLUB Milo Waterfield (Tandem Films Entertainment) UK, 6m 17s
A fantasy town where the inhabitants of Adland live.
Travelogue of a sex tourist beyond the sea.
HEARTSTRINGS Rhiannon Evans (International Film School Wales)
AU BOUT Du ROULEAU David Baumann/Marc Mandril (Artaban.tv) Switzerland, 4m 5s
ARTIFICIAL PARADISE, INC
A future where software holds lost memories.
An online war against global warming.
UK/France, 2m51s Falling in love lasts as long as a piece of string.
For some people, going to the toilet is a nice, peaceful moment.
CRASH BANG WALLOW Jon Dunleavy/ Keith Wilson Singer (Screen East) UK, 4m 10s
A bittersweet tale of ex stuntman Larry LeTan’s rise and fall from Hollywood infamy. Official Screening
Thurs.22 Sun.25 Mon.26
15:30 18:15 15:30
ICA ICA Soho Film Lab
£5 £5 £5
Booking Required Booking Required Booking Required 29
Crossing the line
Philips Performer “House Mouse” Agency: DDB London Production Co: Flynn Productions
he TV commercial is not dead. But it’s got company.
“We are seeing an evolution of screen based media,” says Andrew Smith, Creative Director of A-Vision, a production company which uses everything from fully interactive websites to augmented reality to screens at live events to get a message across. The award-winning Sony Bravia digital escalators project, on which Rushes Motion Graphics (MGFX) department worked with Smith, saw thousands of iconic bouncing balls follow commuters down multiple screens lining Tottenham Court Road underground station. It’s an indication that agencies are thinking of new platforms and ways to create more sophisticated content that engages clients. “Online content has also seen an increase in budget with interactive promotions and storytelling, with Rushes-completed projects featuring augmented reality,” says Rushes Director of Production & Business Development Carl Grinter. Virals have gone upmarket. For example the award-winning Philips vacuum ‘House Mouse’ spot, for which Rushes created a highly photorealistic computer generated rodent being sucked up from beneath the floorboards, featured a level of CGI that would have been unheard of in the lo-fi fauxamateur viral films of the past. You’re also more likely to find production companies like Hotspur & Argyle producing full screen premium online content than Web designers creating YouTube clips. “It has to be approached in the way we’ve always made traditional TV advertising,” says Hotspur & Argyle CEO Danny Fleet. “Good ideas, well executed and with high production values.” We made a campaign, with Martin Aamund directing, for Virgin Media Business earlier this year that was shot on two RED cameras. It ran on huge Transvision screens at mainline stations, MPUs [website banners] that played full screen when clicked and also on the Virgin site. It wasn’t for TV, but our approach was very much that of a TV shoot.” Most campaigns also now tend to have an integrated focus between all media platforms including print and outdoor digital. Rushes commonly get involved in the moving media part of integrated campaigns, such as Saatchi and Saatchi’s campaigns for T-Mobile. “The T-Mobile “Flash Mob - Dance” and “Josh’s band” events and subsequent integrated campaigns are ideal examples of how an agency can think much bigger for a brand,” says Grinter. “They delivered PR and exposure through news value as well as commercials for specific services and as a participatory event. A good idea is what sells an integrated campaign to a client and with these specific ideas in particular they had lots of outlets for the different media platforms as the campaigns developed.” According to Saatchi &Saatchi producer Ed Sayers, integrated planning is the key, with big teams assembled both internally and externally around each good idea these days. “So as well as talking with the production company, you’re talking with the post house or digital production house 30
Crossing the line simultaneously and making sure everyone will get the raw materials they need and no opportunity is missed,’ he reveals. “All in the most streamlined, cost-effective way possible.” New technology also provides new opportunities and new ways of working. As an example, just look at the mass uptake of Canon’s EOS 5D digital still camera among production companies, due to the fact it can record HD video using SLR lenses. “They give us quality like 16mm or even 35mm film for tens of hundreds rather than tens of thousands of pounds,” says Andrew Smith. “It’s an amazing piece of kit,” agrees Danny Fleet. “We find we can get multiple cameras on one shoot and access to locations we couldn’t take a traditional crew into, purely due to logistics. These formats work well for the web and allow directors to do different things at a fraction of the cost of film. But if you want rich, beautiful film and great production value then I’m still a firm believer in good old fashioned film!”
“There are countless platforms out there now and some require more funding than others,” says Ed Sayers. “If a planned project can be proved to be able to reach X number of people, clients will be more likely to green light the idea. Sheer vanity projects that hope to result in effectiveness aren’t so easy to buy. Sometimes though it’s a bit of both - you can’t always be sure of the results and in this ever emerging landscape, the rewards go to those who are comfortable with some degree of risk.” “This is a growing area and some technologies are fads,” admits Grinter. “However ideas that use participatory events and interaction do provide value to consumers and these are the main drivers in advertising currently. Giving the consumer something for their time and engaging and participating. These actions strengthen brand recognition and memorability, which are very important when it comes to the point when a participant is faced with a consumer choice.”
As well as the extra dimension provided by augmented reality technology, 3D stereoscopy is also beginning to make an impact. “Particularly through the Sky 3D channel and cinema advertising for 3D films,” says Carl Grinter. Rushes is also working with a new form of online interactivity in the form of reactive graphics. “These are coded graphics that are implemented using open source coding,” Grinter explains. “This allows for an interactivity that can be achieved through sound and touch. They are very participatory. Our feeling is that this style of interactivity will create new possibilities in advertising, particularly online.”
T-Mobile “Heist” & “Football” Agency: Saatchi & Saatchi
Music Video Category TOM FUN ORCHESTRA: BOTTOM OF THE RIVER
THE FRAY: HEARTLESS
EMINEM: WE MADE YOU
JULIAN PERRETTA: RIDE MY STAR
Alasdair Brotherston/ Jock Mooney (Trunk Animation) UK, 3m7s
Chino Moya (Blur) Spain, 4m17s
Dylan Byrne/Ben Strebel (Dazed Digital/ Bogstandard) UK, 3m08s
Joseph Kahn (HSI Productions) US, 4m40
Blac Ionica (Another Film Company) Global, 3m38s
TIMBUKTU: VÄLIJ MEJ
MIIKE SNOW: BURIAL
LEON SOMOV AND JAZZU: FREE
NASA Feat. Kool Keith and Tom Waits: Spacious thoughts
Daniel Wirtberg/Jonas Rudström (Daemon Film) Sweden, 3m09s
Ronaldas Buozis (Gerifilmai) Lithuania, 4m15s
Daniel Wirtberg/Jonas Rudström (Daemon Film) Sweden/UK, 3m45s
Fluorescent Hill (Fluorescent Hill) Canada, 4m32s
FAITHLESS: NOT GOING HOME
MR FOGG: MOVING PARTS
THE THOMAS OLIVER BAND: GOIN’ HOME
The Ganzfeld Procedure
DAN MANGAN: ROAD REGRETS
THAY KHAY: SO CLOSE TO THE SUN
MIE (MIE) UK, 3m10s
Jennifer Quinlin (Independent) New Zealand, 3m51s
Jon Busby (Blatant Studios) Canada, 4m42s
Hiro Murai (Partizan) US, 4m11s
Scubaboy (Scubaboy) UK, 4m13s
Keith McCarthy (Colonel Blimp) UK, 6m23s
Pablo Tufaro (Laposta Cine) Argentina 3m14s
Music Video Category
DIE ANTWOORD: ZEF SIDE
JARMEAN?: BAD PENNY
REX THE DOG: BUBBLICIOUS
MIA DOI TODD: OPEN YOUR HEART
PLAN B: SHE SAID
FRANZ FERDINAND: ULYSSES
Sean Metelerkamp (Harry and Co) South Africa, 2m25s
Alex Sufit (Lexitricity Productions) UK, 3m33s
Geoffroy De Crecy (Partizan) UK, 3m16s
Michel Gondry (Partizan) US, 3m40s
Daniel Wolfe (Partizan) UK, 3m52s
thirtytwo (Pulse Films) UK, 3m13s
MONKEYJourney to the west: pigsy in space
KID BRITISH: OUR HOUSE IS DADLESS
LAURA MARLING: RAMBLING MAN
BLURRED VISION: ANOTHER BRICK IN THE WALL
Emil Nava (Between the Eyes) UK, 2m55s
Sam Pilling/Chris Lee/Mel Hsieh/Anastasia Afonina UK, 2m16s Fred and Nick (Pulse Films) UK, 3m14s
Babak Payami (Payam Films) Canada, 4m6s
JJ DALY: PLAYING THE GAME
WHO MADE WHO: KEEP ME IN MY PLANE
WHITE PONY: FALLING
Thomas Hefferon & Kay Madsen (Warrior Films) Ireland, 4m6s
William Stahl (Good Boy! Creative) Denmark, 3m11s
William Stahl (Good Boy! Creative) Denmark, 3m 9s
Jamie Hewlett (Zombie Flesh Eaters/ Passion Pictures/HSI) UK/US, 5m
THE MUSIC VIDEO CATEGORY (2 Hours)
Showcasing music promos (under 12 minutes) created by new and established talent from around the world. Quote ‘Festival Filmmaker and Friend’ offer to get your tickets for £5 each. (Offer not available online) Buy tickets online www.ica.org.uk or call 020 7930 3647 Official Screening Date Time Venue Price Information Fri.23 Sun.25
Booking Required;P Booking Required;P 33
Understanding Stereo 3D
igital stereoscopic 3D has moved from concept to reality in a breathtakingly short time. Concentration has also shifted from the production of content for IMAX screens to digital cinema to 3D TV. 3D TV is arriving, not just as feature films via Blu-ray or as live sports, but as a new production and delivery format impacting all programme genres. Final channel output may be limited on launch but consumer electronics manufacturers, professional equipment vendors, movies studios and pay-TV broadcasters are betting that 3D is the next step in home entertainment. Content – critically ‘good 3D’ content - is vital to the success of these businesses but while pressure to create quality 3D content grows there is also a critical and widespread gap in understanding the technology, techniques and investments required. “That’s where we can play a leading role,” says Ascent 142, Chief Technology Officer, Adrian Bull. “Post houses are in prime position to share knowledge of how to create quality stereoscopic content. It is in the long term interests of the whole industry to ensure we create good stereo 3D and not material that causes the viewer any physical discomfort. “Stereo 3D doesn’t impact one particular area, its impact is felt right across our business,” adds Bull. “It impacts on requests for handling 3D digital dailies, through to post production. It is already driving demand for consumer 3D Blu-ray packaged media, it will impact final programme transmission and all the asset management tasks in between.” 34
With an unrivalled depth of in-house talent, comprehensive service offer and international network, Ascent Media is well placed to accommodate all aspects of stereo 3D post production and distribution. “We are adding a 3D layer to our existing services,” says Bull. “For example we can provide a 3D DVD mastering facility to add to the Blu-ray discs we already service. The incremental work required for 3D transmission is, as BSkyB has shown, very straightforward.” Ascent Media Group has created 3D DCP masters for d-cinema distribution (NAME 2 FEATURE TITLES), and the group’s LA-based DI specialist Company3 graded Tim Burton’s acclaimed stereo feature Alice in Wonderland. “We are working closely with our US sister sites to create a robust suite of stereoscopic services and we routinely exchange lessons learned on new projects,” reveals Rushes, Business Development Manager, Carl Grinter. Stereo 3D productions can cost up to 50% more than 2D HD creations but the premium is largely built into acquiring 3D content at source. Remarkably, current high-end post production equipment are capable of handling the dual streams necessary for playback and processing. Tools such as Avid DS Nitris, Nucoda Film Master, Blackmagic Da Vinci Resolve and The Foundry’s Nuke are core elements of Ascent 142 and Rushes existing editing, grading and compositing pipeline and all are adapted to 3D workflows. Monitoring for TV or theatrical release is possible via 46-inch professional JVC displays or the Dolby 3D projection system installed in Ascent’s DI theatre. www.sohoshorts.com
Understanding Stereo 3D “Because the technology is changing on almost a daily basis we are constantly reviewing everything,” says Grinter. “We will assess each piece of equipment on its merits and apprise our clients of what will work best for them.” The area fraught with most complexity is 2D to 3D conversion, also known as dimensionalisation or stereo synthesis. Essentially this takes 2D footage and passes it through a piece of software to create a ‘virtual’ second eye view. Conversion can be automated in real time or treated as part of the creative, involving rotoscoping techniques, artistic interventions, and arguably higher quality results. Ascent Media intends to offer both approaches. “We’ve undertaken a lot of work on the manual VFX method and performed a large number of tests including some for feature releases ranging from live action to science fiction and animation,” reveals Grinter. It is using JVC’s real time 2D 3D box as the basis for automated dimensionalisation and fielding four new requests a week. In the absence of any 3D stereo broadcast standards, facilities are in the front line when it comes to analyzing the quality of 3D content.
“We spend several hours with each client going through the dimensionalisation process, showing them what’s possible and alerting them to the stringent QC procedures we believe will be necessary to ensure that poor quality 3D doesn’t damage this emerging market,” says Bull. With precious few producers, directors or broadcasters aware of the techniques, technologies and budgets required to produce in the format - yet with a business to be made by those who get it right – the next step is to learn the practicalities of exactly how to go about creating 3D stereoscopic content. “You can get away with tremendous extremes in terms of the convergence that the brain can resolve – but that doesn’t mean its right to do so,” warns Bull. “Whether the content is native 3D or converted, there’s usually considerable work needed in post to optimize the stereo image and ensure that the depth is consistent from frame to frame and cut to cut. It means applying sensitivity to the work and appreciating that 3D is creatively different.” The facility is establishing a special 3D group comprising around a dozen key staff and led by Rushes Head of Animation Jonathan Privet. “This is not a 3D division separated from the rest of the business but a collection of key individuals spanning dailies and editing to VFX and grading to asset management who will share knowledge and input expertise for any 3D project that comes to us,” explains Privet. “The fact is, we’ve got 3D in our lives from movies to TV and even mobile devices with glasses-free displays providing a one-to-one experience,” says Bull. “There’s no doubt there’s enough weight behind this movement for everyone to take it seriously.”
Broadcast Design Category HOW SNOW IS MADE
Amael Isnard/ Thomas Castellani (Picasso Pictures) UK, 48s
Smith/Foulkes (Nexus) UK, 60s
IOC ‘ALL TOGETHER NOW’
LAUNCH - DAVE
Smith/Foulkes (Nexus) UK, 30s
Fx & Mat (Nexus) UK, 1m 13s
OLEG:LIFE OF A WEIGHT LIFTER
CTCA - MARIE
CTCA - RAY
CTCA - TROY
Suzanne Deakin (Slinky) UK, 60s
Suzanne Deakin (Slinky) UK, 60s
Fx/Mat (NexuS) UK, 60s
Mario Zozin (Flynn Productions/Erste Liebe Film) Germany, 1m 32s
Suzanne Deakin (Slinky) UK, 60s
VIDEO BUSINESS CARD
Lorenzo Fabrizi/Robin King /Eirini Konstantinidou (Independent) UK, 1m
SHANGHAI EXPO 2010
VELUX GROUP; MODEL HOME 2020
Jason Stander (TFTB Prod Ltd) UK, 51s Squint/Opera (Squint/Opera) UK, 2m 17s MISFITS (TITLES)
Miki Kato (Momoco) UK, 40 s
HOW MANY JAFFA ORANGES DO YOU NEED TO CHARGE AN IPHONE?
Paul Kelly (Imperial Leisure Ltd) UK, 1m 28s 36
Tom/Mark (Nexus) UK, 30s
Squint/Opera (Squint/Opera) UK, 3m 43s
END CYBER BULLYING: WATERBOMB/HELD DOWN
Susannah Hayes (COI) UK, 1m
WHAT WILL YOU FIGHT FOR?
Yunus Akseki (Imperial Leisure) UK, 2m
Broadcast Design Category MYSPACE ‘GET REAL CLOSE’
Brian Williams (Bang/Big Fish Film) Ireland, 10 seconds
Brian Williams (Bang/Big Fish Film) Ireland, 10s
nA Coigne TITLE SEQUENCE
Brian Williams (Bang/Big Fish Film) Ireland, 10s
D.A.R.Y.L (Pulse Films) UK n/a
Brian Williams (Bang/Big Fish Film) Ireland, 10s
Brian Williams (Bang/ROSG) Ireland, 60s
VIRGIN MEDIA SHORTS 2010
RUSSELL HOWARD’S GOOD NEWS
ABSOLUTE RADIO – DOMESTIC HARMONY
MCDONALD’S LITTLE TASTERS
HARMONIX ‘THE BEATLES:
COKE – DO YOU SPEAK COKE
SING UP – CAN’T GET IN
Andy Martin (Strange Beast) UK, 1m
James Price (Strange Beast/ Transistor Studios) UK/US, 1m
Blac Ionica (Another Film Company) International, 30s
Blac Ionica (Devilfish) UK, 30s
Blac Ionica (Another Film Company) UK, 25s
Blac Ionica (Another Film Company) UK, 1m13s
ROCK BAND’ INTRO CINEMATIC
Blac Ionica (Another Film Company) UK, 30s
Pete Candeland (Passion Pictures) UK, 2m5s
Alex Turvey (Strange Beast) UK, 2m6s
Dave waters (Watermill) UK, 1m20s
Fri.23 Mon.26 Tues.27 Tues.27
13:30 20:45 14:30 20:45
Tenderpixel G. Soho Film Lab Curzon Soho Soho Film Lab
Free Free Free Free
Booking Required Booking Required 37
Broadcast Design Category END IDLING
Philip Kates (Joe Media Group Inc) Canada,30s
Marc Craste (Studio Aka) UK, 40s
PUMA MIHARA: PUMANEKO
CADBURY’S – GALA PREMIERE
EVIAN – SKATING BABIES
ORBIT–CLEAN MOUTH CLEAN WORLD
PEUGOT - ALCHEMY
THE WRONG WAY
BRITSPOTTING FESTIVAL TRAILER
Andy Cronk/ Deborah Hogan (Teleworks) UK, 1m5s
Andy Cronk/Deborah Hogan (Lonely Goat) UK, 43s
BEN & JERRY’S LIGHTER COWS
Eric Lerner (Partizan) UK, 1m47s
Michael Gracey (Partizan) UK / France, 1m2s
Ace Nortan (Partizan LA) Los Angeles, 1m15s Alon Ziv (th1ng) UK, 50s
Dom del Torto (Tomboy Films/ Big Animal) UK, 2m8s RUBBER BAND FILM
Garrick Hamm/Sam Lachlan (Prime Focus) UK, 1m32s THE FA CUP
Victor Martinez (Liquid TV) UK, 50s
WINTER OLYMPICS TITLE SEQUENCE
Chris Cairns (Partizan) UK, 22s
Seamus Masterson (Animation Supervisor Ken Turner) (Maverick Media) UK, 1m Michael Gracey (Partizan Paris) France, 1m10s
Alon Ziv/Shay Hamias (th1ng) Sweden, 1m
Liam O (Agile Films) UK, n/a CANNON
Jonathan Dennis (C/o Serious Pictures) (The Bank) UK, 30s THE BROADCAST DESIGN CATEGORY (1hr 15m) Showcasing work, under 5 minutes in length, including branded content, commercial sequences, spots, title sequences, Idents, digital posters and work specifically designed for multiplatform distribution including the internet and mobile networks by filmmakers from around the world. Book tickets (Free) sohoshorts.com www.sohoshorts.com
LESBIAN VAMPIRE KILLERS
CLASH OF THE DINOSAURS
Slumdog Demons Millionaire Identity
St TrinianĂ†s DoriaN Dead Gray
The Eagle of the Ninth
prologue to epic productions 39
International Category TERROR ON THE NORTHSIDE Venetia Taylor/Aaron Dries (Rag & Bone Productions with Human Productions) Australia, 12m
When Annabel takes her Muslim fiancé to meet her North Shore parents she expects the worst. 8 Acim Vasic (Turbulence Films) Switzerland, 10m 16s
In an unknown country, in an unknown war, two soldiers from opposing lead each other through a cat and mouse struggle. ONCE FOR THE MONEY Razvan Muraru (Sandrew) Romania, 13m 1s
Four friends decide to steal an ATM machine from the industrial estate they used to work at. JESUSITO DE MI VIDA Jesús Pérez-Miranda (Jesús Pérez-Miranda) Spain, 9m
A child’s fear of darkness and hope that God can deliver a miracle. HOPE Roman Jirnih (Independent) Russia, 4m 32s
An old Russian woman waits for her family and friends to return from war. WEST OF THE MOON Brent Bonacorso (Joyrider) USA, 10m
An old man with a grenade for a heart seeks redemption, with a decrepit robot and a wayward monkey. The International Category (2 Hours)
Showcasing fictional, live action work (under 12 minutes) created by new and established, international filmmakers. Quote ‘Festival Filmmaker and Friend’ offer to get your tickets for £5 each. (Offer not available online) Buy tickets online www.ica.org.uk or call 020 7930 3647
International Category THE POOL Thomas Hefferon (Warrior Films & Jumper Productions) Ireland, 11m
Teenage boys break into their school swimming pool late one night, with tragic consequences. LOVE CHILD Daniel Wirtberg (Daemon Film) Sweden, 6m 30s
A girl enjoys being the only child, when one day a new family member arrives. COLD TURKEY Gavin Keane (Parallel Films) Ireland, 11m 6s
Misadventures of a frustrated Foley artist, curious children and petrified poultry. PASSION Natalya Lobko (HCS&D) Russia, 2m 49s
You never know who you are having phone sex with.
FEEDBACK (LARSEN) Carlo De Rosa (Imago Films) Switzerland, 14m
When Zora’s lover Gerard leaves his wife and moves in with her, she starts having doubts. VIVA LAS POSSUM Marcus Hamill (Howl) Australia, 7m 10s
A home is plagued by a nocturnal pest far worse than any possum... Elvis. Official Screening
Booking Required Booking Required
ing grad X VF CGI & tv film ic video musion GFX mot
ts effec isual 676 v s e 8 rush 7437 (0) +44 .co.uk s h s ru e
Longform Category Programme One
Bro Chris Dundon (Screen East) UK, 18m
Simon feels his inability to lead a normal teenage life is due to his brother’s disability. CANARY Oli Hudson (Great Monday Films) UK, 17m
Ernest mayo is attempting to break the world breath-holding record. SMALL-Time REVOLuTIONARY Miikka Leskinen (65 Wilding Films) UK, 18m 6s
Russell is the newest recruit of an anti-establishment collective, The Kants. HOTEL 66 Anthony Chen (National Film and Television School) UK, 15m
Uncanny rendezvous in Hotel 66 during the World Cup Season 2002. WISH 143 Ian Barnes (Union/Swing and Shift) UK, 22m 53s
What would you wish for if you were 15 years old and discovered you were dying. Yes, Virginia Pete Circuitt/ Bistate (The Ebeling Group) USA, 25m 04s
The true story of eight-year-old Virginia O’Hanlon who, in 1897, asked the question “Is there a Santa Claus?”
Thurs.22 Sat.24 Mon.26
20:45 17:00 18:15
ICA ICA Soho Film Lab
£5 £5 £5
Booking Required Booking Required Booking Required www.sohoshorts.com
Longform Category Programme Two
KODA Frederick Sandy (Silica Films) UK, 17m
Communicating with your family can be hard. Mark is C.O.D.A., Child of Deaf Adults, and recently lost his mother. LAUNDRY Nicole Volavka (The London Film School) UK/Croatia, 21m 30s
Lucija visits her Croatian mother who is still under the influence of Balkans’ War. FUSE Benjamin Barfoot (Copper Circle) UK/ 28m 40s
A dark and epic tale of one man’s panicked awakening to an empty city he can’t remember. I DON’T CARE Harry Wootliff (IWC) UK, 25m
Luka is trying to live his whole childhood in one day.
THE ROAD HOME Rahul Gandotra (London Film School/Nomadosphere) UK, 21m
Ten-year old Pico escapes from a boarding school in the Himalayas to get back to his home in England.
The Long Form Category (2 x 2 Hour Programmes) Showcasing fictional, live action and animated work (under 30 minutes) created by new and established filmmakers from around the world. Quote ‘Festival Filmmaker and Friend’ offer to get your tickets for £5 each. (Offer not available online) Buy tickets online www.ica.org.uk or call 020 7930 3647 Official Screening
Sun.25 Tues.27 Weds.28
15:00 18:15 21:00
ICA Soho Film Lab ICA
£5 £5 £5
Booking Required Booking Required Booking Required 45
WE’RE GIVING 12 NEW FILM MAKERS THE CHANCE TO SHOW THEIR WORK ON 214 CINEMA SCREENS NATIONWIDE. PLUS WIN £30,000 FILM FUNDING. To view the entries, rate your favourites and win prizes, visit virginmediashorts.co.uk Plus, you can vote for the People’s Choice from 31st August.
Wednesday 21 July Time
18:00 Opening Night Film The Kid
18:15 Official Screening: Short Film
Booking Required; P20
20:45 Official Screening: International
Booking Required; P40
The Opening Evening! We have a great feature film by Nick Moran, The Kid, it comes fresh from competition at the Edinburgh International Film Festival and as we go to press we’ve heard its just been accepted at the New York Film Festival - fantastic news! Nick has starred in and directed many short films (rumour has it over 30) and we honoured to have him help us celebrate our opening night. We’ve also two competition screenings at the ICA, so if you are all about shorts come along and join us in celebrating the first night of our festival.
OPENING NIGHT fILM the kid 18:00 / Apollo Cinema / Free / RSVP on www.sohoshorts.com
THE KID Directed by Nick Moran Produced by Judith Hunt UK (2010) 100 min. Kevin Lewis never had a chance. Growing up on a poverty-stricken London council estate, beaten and starved by his parents, bullied at school and abandoned by social services, his life was never his own. Even after he was put into care, he found himself out on the streets caught up in a criminal underworld that knew him as ‘The Kid’. Yet Kevin survived to make a better life for himself. This international bestseller by Kevin Lewis published in 2003 is his heartbreaking and inspiring story. After the critical success of his 2008 directorial debut Telstar, Nick Moran continues on a biographical theme with this inspirational biopic. With an all-star cast led by Rupert Friend The Kid is a moving depiction of a young man’s escape from his brutal upbringing, to his emergence as a bestselling author of crime fiction.
Kevin Lewis . . . . . . . . . . RUPERT FRIEND Gloria Lewis . . . NATASCHA MCELHONE Jackie . . . . . . . . . . . . Jodie Whittaker Colin Smith . . . . . . . . Ioan Gruffudd Terry . . . . . . . . . . . . . . . . David O’Hara Lee . . . . . . . . . . . . . . . Johnny Palmier Paul . . . . . . . . . . . . . . . . . Sid Mitchell Alan . . . . . . . . . . . . . . . . . . . . James Fox Uncle David . . . . . . . . . . Bernard Hill Dennis Lewis . . . . . . . . . . . Con O’Neill
Gordon Peters . . . . . . . Ralph Brown Madeline . . . . . . . . . . . . Kate Ashfield Mr. Hayes . . . . . . . . . . . . . . Tom Burke Teen Kevin . . . . . . . . .Augustus Prew Dominic . . . . . . . . . . . . . . . . Alfie Allen Penfold . . . . . . . . . . . Oliver Milburn 1980 School Nurse . . . . Niamh Cusack Clare . . . . . . . . . . . . . . Alison Carroll Margaret . . . . . . . . Shirley Anne Field Mandy . . . Lucinda Rhodes-Flaherty
Thursday 22 July SFL Seminar: Pitching 10:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com In association with Vision Pictures
Looking to refine the art of ‘pitching’? Join us to watch filmmakers pitching their ideas to a panel of judges. With funding increasingly scarce it has become even more essential that filmmakers deliver the perfect pitch. In association with Vision Pictures, this event will give an in-depth look at the pitching process with filmmakers pitching their ideas to a panel of judges in front of you, the audience. www.visionpictures.org
SFL Seminar: short shots - festivals, sales & Distribution 13:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com Hosted by Film London Get expert tips on making the most of attending your film festival; successful networking, marketing your film and how to promote yourself to an international audience, find that elusive sale and get distribution . We will be joined on stage by experts from British Council, Shorts Distributors and experienced film-makers who can all share their perspectives on these topics and more. This session will also highlight what support is available from public funds including Film London and the British Council. www.filmlondon.org.uk
Future of Advertising 17:00 / Apple Store / Free / Pop in and have a look!
Hosted by the Advertising Producers Association With guests including VBS.TV and the Viral Agency. We’ll consider the everchanging nature of the new media landscape and how it is essential for advertisers to stay ahead of the curve. With virals and internet-based campaigns now par-for-the-course, advertisers need to find new and inventive ways to engage and excite consumers. And with the economy in its current state, these imperatives have taken on a broader significance. How can advertisers make the most of the opportunities on offer? How can planners and creatives better anticipate market trends? This panel looks at these and other issues, and offers clues as to what to expect from advertisers in the future. www.a-p-a.net www.vbs.tv http://viralagency.com/
Thursday 22 July Time
10:00 11:00 12:00 13:00 13:00 13:00 14:00 15:00 15:30 16:00 17:00 17:00 18:15 19:00 19:00 20:45
SFL Seminar: Pitching Hollyshorts (USA) Brighton Uni SFL Seminar: Short Shots Experimental Programme Next Generation (Germany) SHORTS Film Fest (Australia) Bornshorts (Denmark) Official Screening: Animation Dazzle Films Future of Advertising Experimental Programme Official Screening: Documentary MAC Cosmetics VIP Reception Fashion Popcorn Official Screening: Long Form1
Soho Film Lab Free Tenderpixel G. Free Curzon Soho Free Soho Film Lab Free Tenderpixel G. Free Tenderproduct B. Free Curzon Soho Free Tenderpixel G. Free ICA £5 Curzon Soho Free Apple Store Free Tenderpixel G. Free ICA £5 MAC Free College of Fashion Free ICA £5
Information Booking Required Details P75 Details P72 Booking Required Details P54 Details P76 Details P71 Details P73 Booking Required; P28 Details P75 Details P54 Booking Required; P24 Invite Only Booking Required Booking Required; P44
Fashion Popcorn 19:00 / London College of Fashion / Free / RSVP on www.sohoshorts.com Hosted by Featherhouse
Since pictures could move, fashion and film have formed a natural partnership. The advent of the digital landscape offers new opportunities to harness technologies to create, communicate and engage. Showcasing innovative fashion films and pervasive media concepts, fashion popcorn invites film-makers, fashion designers and digital media practitioners to learn and debate the issues around fashion, film and digital media. A fashion film showcase - with an interactive, digital twist - is followed by a panel discussion, with guests encouraged to pose questions and contribute their viewpoints. Fashion popcorn seeks to demystify digital, social and pervasive media, debunk the geek myths, and encourage the use of new technologies for creative expression and communication. A networking session follows the showcase and panel discussion, with the aim of fostering collaboration between the fashion, film, brands and digital industries. Fashion popcorn is produced by featherhouse in association with Shooting People. www.fashionpopcorn.com
The first full day of the festival! We’ll be based in the Mezzanine Lounge at Curzon Soho from 12-6pm each day, come and say ‘hi’ and we can answer questions you may have. Most guest screenings are free to attend and you don’t need to book in advance - same goes for the Applestore Seminars. You can reserve your tickets for SFL events through the website. 51
Friday 23 July SFL Seminar: Pitching 10:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com In association with Vision pictures
Looking to refine the art of ‘pitching’? Join us for our second morning watching filmmakers pitching their ideas to a panel of judges. With funding increasingly scarce it has become even more essential that filmmakers deliver the perfect pitch. In association with Vision Pictures, this event will give an in-depth look at the pitching process with filmmakers pitching their ideas to a panel of judges in front of you, the audience. www.visionpictures.org
SFL Seminar: Sound Production 13:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com Hosted by Ascent Media
Planning a project or production? It’s always worth giving the post production house a call to check things out. Sound designers, editors and mixers will always give you a few minutes to guide you through foreseeable issues. Planning your approach to sound, from the outset, is essential if you are going to maximise your possibilities and keep your budget down. Meet the people who’ll make your sound happen and deliver some key pointers in delivering your production. www.ascent142.co.uk
Electricity & Ghosts 17:00 / Apple Store / Free / Come along and check it out.
Presented by ArtHertz Artistic collaborators ArtHertz stage a preview performance of Electricity and Ghosts – a major new project centred on Battersea Power Station. In a story-telling event involving music, film and sound, ‘Electricity and Ghost’ will address themes of electricity, memory, power and….ghosts! It features work by ArtHertz collaborator Sarah Angliss and her band Spacedog alongside visuals by Roger Spy and Dennis Da Silva. It will begin with a quiet ‘calling piece’ set against a multi screen backdrop of visuals designed to be performed later this year inside the turbine halls of Battersea Power Station. This will be followed by Spacedog’s signature reworkings of Kurt Weill and dark European folk songs, mixing Sarah’s sister, Jenny’s ethereal vocals with theremin, saw, a robotic bell rig and other oddities. It promises to be a truly remarkable performance. www.ArtHertz.com
Friday 23 July Time
10:00 11:00 12:00 13:00 13:00 13:30 13:00 14:00 15:00 15:30 16:00 17:00 17:00 18:15 20:45
SFL Seminar: Pitching Experimental Programme Renderyard Animation SFL Seminar: Sound Production Dorset Cereals Shorts Official Screening: Broadcast Design Best of Boroughs Shorts Aesthetica Magazine Shorts Experimental Programme Official Screening: Newcomer Kerry Film Festival (Ireland) Electricity & Ghosts Fuji Film Awards Shortlist Official Screening: Music Video straight 8
Soho Film Lab Free Tenderpixel G. Free Curzon Soho Free Soho Film Lab Free Tenderpixel G. Free Tenderpixel G. Free Tenderproduct B. Free Curzon Soho Free Tenderpixel G. Free ICA £5 Curzon Soho Free Apple Store Free Tenderpixel G. Free ICA £5 ICA £9
Information Booking Required Details P54 Details P77 Booking Required Details P75 Details P36 Details P73 Details P77 Details P54 Booking Required; P16 Details P73 Details P76 Booking Required; P32 Booking Required
The Electricity & Ghosts and straight 8 events promise to be amazing events. If you are quick you can also squeeze in the Music Videos selected for competition - screening at 6.15pm. Also dont forget to check if there are any tickets left for the day at BAFTA on Sunday; If it’s sold out you can always pop along to the free screenings in the Run Run Shaw.
Straight 8 Retrospective Special 20:45 / ICA / £9, (£8 Conc) , (£7 ICA Members)
straight 8 retrospective of a decade of their best films. There are so many they will be showing two at a time with audio for each on switchable headsets it’ll be a unique audio-visual double trouble feast! Proving to be one of Rushes’ most popular screenings, filmmakers have been challenged to shoot on one three-minute, twenty-second cartridge of super 8mm film. No editing is allowed - they simply shoot each shot in order! Come see the amazing results from previous years. If you want to see brand new work check out the guest programme information on page 72. www.straight8.net
Tenderpixel Gallery Tenderpixel is pleased to present T E N D E R F L I X : A week of experimental film screenings. From July 22nd – July 20th Tenderpixel is, for the third year running, collaborating with Rushes Soho Shorts, providing visitors with an opportunity to view some of the most intriguing contemporary experimental films from all over the world. There are multiple creative ventures occurring in the gallery and on Cecil Court throughout the festival, so be sure to stop by to catch a flick from talented emerging short filmmakers.
Tenderpixel Gallery / Free /
24th July / Tenderpixel Gallery / Free /
TENDERFLIX: Experimental Premiere and DVD Launch July 24th 5-8pm For its third year running Tenderpixel has commissioned and selected the experimental category of Rushes Soho Shorts: TENDERFLIX. This year’s selected films will be screened daily and the premiere DVD launch of the TENDERFLIX compilation will be on the 24th July from 5-8pm July 22 13:00, 17:00 July 23 11:00, 15:00 July 27 13:00, 17:00 July 28 11:00, 15:00 July 29 13:00, 17:00
Guest Lectures & Special Performances:
GUEST LECTURES 24th July / Tenderpixel Gallery / Free /
Dr. Simon Brown lectures on Flicker Alley and the early days of British Film - 2pm Author of the most recent in-depth study of ‘Flicker Alley’, Dr. Simon Brown sheds light on Cecil Court’s early history as the hub of the British film industry. 54
Gary Lachman lectures on Aleister Crowley – 5pm Writer and musician Gary Lachman discusses the influence of legendary occultist Aleister Crowley, including his work with the notorious filmmaker Kenneth Anger. Early Film Screenings and the Musical Musings of John Sweeney featuring the original Alice in Wonderland (Hepworth, 1903, 8 mins) – 1-2pm and 3-4pm The Tenderpixel Gallery will be screening a selection of showreels of classic early films, including Cecil Hepworth’s ‘Alice in Wonderland’. Accompanying these will be live music from pianist John Sweeney, recreating the experience of early film screenings. T EN D E R P I X E L: AN INNOVATIVE EXHIBITION SPACE FOR EMERGING ARTISTS 10 CECIL COURT LONDON WC2N 4HE 0 2 0 7 3 7 9 6 4 6 7 W W W.T E N D E R P I X E L . C O M
Saturday 24 July Time
11:00 11:00 12:00 14:00 16:00 17:00 18:15 19:30 20:45
Flicker Alley Street Party Brighton Uni Fuji Film Next Generation (Germany) Hollyshorts (USA) Official Screening: Long Form1 Official Screening: Newcomer Official Screening: International Official Screening: Short Film
Cecil Court Tenderproduct B. Curzon Soho Curzon Soho Curzon Soho ICA ICA ICA ICA
Free Free Free Free Free £5 £5 £5 £5
Information Details P72 Details P76 Details P76 Details P75 Booking Required; P44 Booking Required; P16 Booking Required; P40 Booking Required; P20
Today is a relaxing day. There’s a great range of activities and events happening at the ‘Flicker Alley Street Party’ with some events still being confirmed - check out the Tenderpixel website for the latest news. You can also relax in the bar at Curzon Soho, watching some wonderful work from the USA and Germany or go an vote for your favourite films screening ‘in competition’ at the ICA!
Flicker Alley Street Party 11:00 / Cecil Court / Free / Stroll along and see what it’s all about.
Come and help us celebrate British film history with a journey down ‘Flicker T EN D E R P I X E L Alley’. Over a century ago, Cecil Court was home to the early British film industry with dozens of film-related companies plying their trade along its cobbled streets, hence earning it the nickname of ‘Flicker Alley’. Today, Cecil Court is known worldwide for its independent, experienced and knowledgeable shop owners. As part of the Cecil Court Summer Festival, many of these shops will be adorning their windows with displays invoking its cinematic past, including a series of Blue Historical Plaques signposting local film hotspots. There will be lectures from prominent film historian Dr. Simon Brown and writer and musician Gary Lachman, as well as a recreation of an early film screening with live musical accompaniment from pianist John Sweeney. Throughout the day there will also be screenings of a jury selected series of experimental short films from this year’s festival, providing audiences with a sample of some the brightest emerging talent. www.tenderpixel.com
Short Filmmakers Market Time
10.00 11.00 13.00 13.45 15.45 16:00
Short Filmmakers Market Brunch Finance Your Film The Landscape & Players Take your film from Script To Budget Branding Charity Market & Distribute Your Film
BAFTA BAFTA BAFTA BAFTA BAFTA BAFTA
Free & £5 £5 £5 £5 £5 £5
Booking Required Booking Required Booking Required Booking Required Booking Required
There’s a lot happening today. You can book in to individual events at BAFTA. Each event is £5 and you book through the BAFTA website: www.bafta.org You’ll also be able to get a special festival rate brunch and lunch in their dining area. If all the events are sold out you can still pop along to the free screenings in the Run Run Shaw, seats for these are on a first come first serve basis. There’ll also be a great collection of films at Curzon Soho and the competition screenings at the ICA. See you there!
Brands on film FROM 10:00 / BAFTA / £5 & Various free screenings Book through BAFTA Full details on www.sohshorts.com SHOOTING PEOPLE in association with PROTEIN presents: BRANDS ON FILM, A symposium and networking opportunity
An interactive afternoon featuring new content exhibition and networking opportunities for filmmakers, featuring representatives from brands, their agencies and the third sector, produced by Shooting People in association with cutting edge brand development agency Protein Networks and national homeless film club network Open Cinema.
The LAndscape & Players: Meet the Facilitators & Brands
13:00 / BAFTA / £5 BOOK THROUGH BAFTA
Studies into a number of brands and organisations facilitating the relationship between brands, agencies and filmmakers. Companies will be presenting on their relationship with filmmakers, media and film distribution. Topics will include what brands are currently looking for and the numerous distribution and exhibition models being created challenging the filmmaker to inspire the public. This is an opportunity for filmmakers to keep abreast of trends and developments in this rapidly evolving landscape, to meet brands, agencies, and filmas-marketing facilitators.
15:45 / BAFTA / £5 Book through BAFTA
Open Cinema,with a number of NGO’s discuss how charities, socially driven organisations and ethical businesses are engaging film-as-marketing initiatives and increasingly turning to filmmakers to help to spread and enhance their messaging and brands. The event will culminate with the big screen premiere of short films made by the Open Cinema clients, who were mentored by professional filmmakers including Asif Kapadia, Penny Woolcock, Marc Evans and Kim Longinotto. A Q&A with the filmmakers and their mentors will follow the films. www.opencinema.ca
Sunday 25 July Time
10:00 11:00 12:00 12:30 13:30 14:00 15:00 15:00 15:30 15:30 16:00 17:45 18:15
Dorset Cereals Shorts Hollyshorts (USA) Best of Boroughs Shorts Brighton Uni SHORTS Film Festival Bornshorts (Denmark) Official Screening: Long Form2 Virgin Media Shorts Official Screening: Documentary Next Generation (Germany) Dazzle Fims Official Screening: Music Video Official Screening: Animation
BAFTA BAFTA Curzon Soho BAFTA BAFTA Curzon Soho ICA BAFTA ICA BAFTA Curzon Soho ICA ICA
Free Free Free Free Free Free £5 Free £5 Free Free £5 £5
Details P77 Details P75 Details P73 Details P72 Details P71 Details P73 Booking Required;P45 Details P75 Booking Required;P24 Details P76 Details P75 Booking Required;P32 Booking Required;P28
LFA presents PRODUCTION ‘HOW TO’ HOW TO FINANCE YOUR FILM
HOW TO TAKE YOUR FILM FROM SCRIPT TO BUDGET
HOW To MARKET & DISTRIBUTE YOUR FILM
(FINANCE, CO-PRODUCTIONS, TAX CREDITS)11:00 / BAFTA / £5 Book through BAFTA
13:45 / BAFTA / £5 Book through BAFTA
16:00 / BAFTA / £5 Book through BAFTA
Financing is essential for any filmmaker who wants to take a film from an initial idea to the cinema. This session examines where to look for money in a changing market and the different types of finance available as well as offering tips on how not to get ripped off by the financiers. Presented in partnership with Own-it, Alan Moss, senior associate in the Film and Television Group of Harbottle & Lewis LLP and Christina Slater co-producer of BAFTAnominated documentary ‘Taking Liberties’ (dir Chris Atkins), and producer of ‘Starsuckers’ which premiered at the London Film Festival in 2009.
Demystifying the route from Script to Budget. An introduction to the fundamental principles of translating creative writing into useable budgeting. This will not cover hands on use of any proprietary software but will be an opportunity to examine best practices when approaching the twin challenges of scheduling and budgeting a script for the independent sector.
Topics will include: designing customised distribution strategy, implementing campaigns to create social impact, building a fan base to support future work, harnessing the web and social media to maximise audience participation, designing a festival strategy, making the most of your marketing materials, genre promotion, theatrical release DIY.
www.londonfilmacademy.com www.own-it.org www.harbottle.com www.dogwoof.com www.feref.com
Presented by Brian Donovan, Line Producer, previous credits include ‘Red Tails’, ‘The Last Station’, ‘Star Wars’, ‘Bridget Jones’s Diary’. Based in London but widely experienced in foreign location filming.
Chaired by Ben Falk writer and journalist (the author of the recently-released biography Robert Downey Jr.: ‘The Fall And Rise Of The Comeback Kid’), former chief of Press Association’s Hollywood Bureau. Panelists include Anna Godas, CEO and co-founder of Dogwoof, a leading UK film distributor (‘The Age of Stupid’, ‘Burma VJ’ and ‘Food, Inc.’) Christina Slater co-producer of BAFTAnominated documentary ‘Taking Liberties’ (dir Chris Atkins), and producer of ‘Starsuckers’ which premiered at the London Film Festival in 2009 Creative Director, FEREF, who provide strategic planning and fully integrated marketing communications management across all media.
Monday 26 July SFL Seminar: Satusfaction presents Editing: A Case Study
10:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com Hosted by Satusfaction
Rushes can be edited to produce any number of different outcomes, highlighting the importance of the editor in creating the finished article. This event investigates the decision-making process that leads to the final product. Satusfaction’s director Rob Gomez Martin (Hell To Pay, Sucker Punch) has directed a short film. The footage has then been passed to 3 different teams, one team made up of juniors, one from a promo background and the final group, an experienced drama team. This event will explore the choices made by those editors, and promises to give a valuable insight into the editing process. www.satusfaction.com
SFL Seminar: Mosaic London Recut 13:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com Hosted by Mosaic Films
Produced with support from Film London and the UK Film Council’s Digital Film Archive Fund, ‘London Recut’ presents an alternative view of the capital. By giving London’s citizens access to its extensive archive footage, ‘London Recut’ challenges them to produce their own short film responding to life in the city. The four best films, as voted for by the public and a special jury of Londoners, have been finished professionally and will premiere at Rushes Soho Shorts at a special event hosted by producer Mosaic Films. www.filmlondon.org.uk www.mosaicfilms.com www.ukfilmcouncil.org.uk
Future of Documentary 17:00 / Apple Store / Free / Pop along and listen in Hosted by the Documentary Filmmakers Group
Documentary filmmaking has seen an unprecedented rise in recent years, with both short and feature length documentaries drawing significant new audiences. Affordable, easy-to-use equipment has made it possible for almost anybody with a good story to tell to become a documentary filmmaker. The internet offers exciting new distribution opportunities and has made it easier to cultivate niche audiences. This panel, brought to you by the Documentary Filmmakers Group, looks at the changing landscape of documentary and the new opportunities this presents for filmmakers. www.thedfg.org
Short & Sweet
From 18:30 / Cafe 1001 / Free
On Monday evening we venture over to Brick Lane to screen a unique programme of work at Cafe 1001’s ‘Short & Sweet’ film night. As London’s only weekly short film festival, ‘Short and Sweet’ consistently screens some of the boldest and most inspiring short films, music videos and short animations from around the globe.” Short & Sweet, Cafe 1001, 91 Brick Lane. Doors open at 18:30, Films start at 19:30. www.shortandsweet.tv 58
Monday 26 July Time
10:00 12:00 13:00 14:00 15:30 16:00 17:00 18:15 19:00 19:00 20:45 21:15
SFL Seminar: Editing Dazzle Films SFL Seminar: London ReCut Renderyard Shorts Official Screening: Animation Renderyard Animation Future Of Documentary Official Screening: Long Form1 UK Screen: Grading Short & Sweet Official Screening: Broadcast Design straight 8
Venue Soho Film Lab Curzon Soho Soho Film Lab Curzon Soho Soho Film Lab Curzon Soho Apple Store Soho Film Lab Moving Picture Company Cafe 1001 Soho Film Lab Curzon Mayfair
Free Free Free Free £5 Free Free £5 Free Free Free TBC
Booking Required Details; P75 Booking Required Details; P77 Booking Required; P28 Details; P77 Booking Required; P44 Booking Required Booking Required; P36 Booking Required; P72
The Short & Sweet evening is free to attend and you can just pop along, so if everything else is booked up - come and say hello. The Official Competition Screenings are at Soho Film Lab today and tomorrow - the private cinema has 34 seats which you can book through the festival website. These will go very quickly so get in early if you want to see the competition films here.
UK Screen Onion Session: The Importance of Grading 19:00 / Moving Picture Company / Free / RSVP on www.sohoshorts.com
Hosted by UK Screen Association Grading is essential to create the right atmosphere, capture the essence and enhance each individual project. It’s the job of the Colourist to work creatively to ensure this fulfils the director’s vision for the production. During this session top Colourists from leading facilities will share their personal experiences and guide you through the creative and technical processes involved in creating a great grade, using case studies by way of illustration. Between them they will cover both long and short form projects and will delve in to the inspiration and thought process behind the looks they created. This will appeal to both aspiring Colourists and those working in production interested in finding out how they can utilise the skills of a good Colourist to help captivate an audience. The event forms part of Onion Training Sessions – a series of educational events created by UK Screen Association for members starting out their career in the industry. www.ukscreenassociation.co.uk
Tuesday 27 July SFL Seminar: Satusfaction presents Grading: A Case Study 10:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com Hosted by Satusfcation
Following on from the editing session (Monday 26), this event will look at the nature of the grading process. Rushes can be edited to produce any number of different outcomes, highlighting the importance of the editor in creating the finished article. This event investigates the decision-making process that leads to the final product. Satusfactionâ€™s director Rob Gomez Martin (Hell To Pay, Sucker Punch) has directed a short film. The footage has then been passed to 3 different teams, one team made up of juniors, one from a promo background and the final group, an experienced drama team. After the film had been edited, it was passed on to the colourists to grade. These colourists will describe the choices they made when grading the film. www.satusfaction.com
SFL Seminar: Lifesize Pictures present 13:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com Hosted by Lifesize Pictures
Virgin Media Shorts competition now in its 3rd year has gone from strength to strength. The 2008 winner, The Black Hole, has been selected for film festivals including the London Short Film Festival and the 2009 winner, Mix Tape, was nominated for a BAFTA. Lifesize Pictures curates the Virgin Media Shorts competition. In this session we will discuss why films were shortlisted and what makes a winner. Has being shortlisted benefited filmmakersâ€™ careers and what impact does winning have? www.virginmediashorts.co.uk www.ukfilmcouncil.co.uk
Future of Animation 17:00 / Apple Store / Free / Come and hear what they have to say.
Marion Edwards (Hit Entertainment) chairs this discussion with panelists including: Kieran Argo (Animation Programme Manager, Brief Encounters); Simon Robson aka Knife Party (Nexus); Pete Circuitt aka Bitstate (Ebeling Group NYC) Animation continues to make boundless strides, with improvements in new technology enabling even the most unskilled animators to produce sophisticated work. Its enduring popularity has also been matched with increasing recognition, indicating a bright future for the industry. But is there still a space for traditional techniques? Or, alternatively, have these attained a degree of authenticity due to the ubiquity of digital effects? And what does all this mean for the future of animation? This panel of industry experts will discuss all this and more. www.encounters-festival.org.uk www.nexusproductions.com www.hitentertainment.com theebelinggroup.com
Tuesday 27 July Time
10:00 11:00 12:00 13:00 13:00 13:00 14:00 14:30 15:00 15:30 16:00 17:00 17:00 18:15 19:00 20:45 21:15
SFL Seminar: Grading Next Generation (Germany) Renderyard Shorts SFL Seminar: Lifesize pictures Experimental Programme Kerry Film Festival (Ireland) Guest Programme: Dorset Cereal Official Screening: Broadcast Design Virgin Media Shorts Official Screening: Documentary SHORTS Film Fest (Australia) Future of Animation Experimental Programme Official Screening: Long Form2 Mosaic Networking Night Official Screening: Broadcast Design straight 8
Soho Film Lab Tenderpixel G. Curzon Soho Soho Film Lab Tenderpixel G. Tenderproduct B. Curzon Soho Curzon Soho Tenderpixel G. Soho Film Lab Curzon Soho Apple Store Tenderpixel G. Soho Film Lab Tattershall Castle Soho Film Lab Renoir
Free Free Free Free Free Free Free Free Free £5 Free Free Free £5 Free £5 TBC
Booking Required Details P76 Details P77 Booking Required Details P54 Details P73 Details P77 Details P36 Details P75 Booking Required; P24 Details P71 Details P54 Booking Required; P45 Booking Required Booking Required; P36 Booking Required; P72
Two days to go before the Awards Night! Dont forget to vote for your favourite films at the SFL and ICA screennings. We’ll be presenting the Audience Award along with our other 8 Awards on Thursday 29th July. You’ll be able to see the winners at screenings on Friday morning and lunchtime - book your (Free) tickets now as these will definitely sell out.
Mosaic Networking Night 19:00 / Tattershall Castle Boat Party Free / (RSVP Essential) RSVP on www.sohoshorts.com
In association with Mosaic Productions, Directors Guild of Great Britain, Skillset, ThinkSync Music, WFTV, Lifesize Pictures, Brief Encounters, LFA, Fuji Film and many more bring you an evening of revelry on board the Tattershall Castle. With opportunities to meet new contacts, as well as catch up with old ones, this informal networking evening could help you get your next project up and running. Stands from key sectors of the industry will be offering essential advice and information on various aspects of filmmaking. Or, if you just want to relax and enjoy the view from the banks of the River Thames, you can do that too! www.mosaicnetworking.com www.wftv.org.uk www.fujifilm.co.uk www.thinksyncmusic.com www.ukfilmcouncil.org.uk www.skillset.org www.dggb.org
Wednesday 28 July SFL Seminar: BROADCAST VFX ‘CAN YOU STILL LOOK GREAT FOR LESS?’ 13:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com Hosted by Rushes A discussion on making amazing VFX on a TV budget. The expert panel will discuss, amongst other projects, the making of Can-Do productions “The First Men in The Moon” to explore how, and if, producing great VFX can be done with expert planning and tight collaboration. This event will give TV and advertising producers an insight into the minds and work of some of the leading exponents of TV VFX and how they create amazing images without busting the budget.
SFL Seminar: 3D, The current landscapE & The future 13:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com Hosted by Compendium
“3D is here and it’s here to stay” or at least that’s what some people think. Why has S3D come back and what’s different this time? Who will be broadcasting the work and who will be watching? This event gives producers an over view of the planning, shooting process/pitfalls of shooting and posting S3D with examples of work. Will the commercials landscape divide into two separate worlds -2D and S3D and if so who will be the winners and losers? www.compendium3d.com
Future of Short Film 17:00 / Apple Store / Free / RSVP on www.sohoshorts.com Hosted by Directors UK
With advancements in digital technology and the explosion of the Internet, both making and watching short films is more popular than it’s been for decades. But what exactly is a short film? And what role does it play for filmmakers working today? This session examines what a short film looks like in 2010. The average length of a short film at Rushes is less than 12 minutes, at the Oscars it’s up to 40 minutes and at Sundance it can be up to 50 minutes. So just how short is a short? Do short filmmakers have greater freedom and flexibility over film length than before? Or does the attention-span of the ‘YouTube generation’ dictate? Is a short short a better calling card? Can a longer short be a way into television? And if short films are becoming longer, can they really be called short films at all? A panel of professionals brought together by Directors UK will discuss these questions and more. www.directors.uk.com The last night of Official Screenings and the last night of straight 8 premieres! The APA event is always very popular so RSVP early if you want to get in. Today is the last day to vote for you favourite film in the Short Film, Newcomer and Long Form Categories. If you are already decided on your favourite and you’ve seen all the films - you could check out some great work from London filmmakers at Rotoreliefs @ The Roxy Bar and Screen.
Wednesday 28 July Time
10:00 11:00 12:00 13:00 13:00 13:00 14:00 15:00 15:30 16:00 17:00 17:00 18:00 18:15 19:00 20:45 21:15
SFL Seminar: Broadcast VFX Experimental Programme SHORTS Film Fest (Australia) SFL Seminar: 3D, The Landscape Renderyard Animation Fuji Film Best of Boroughs Experimental Programme Official Screening: Short Film Virgin Media Shorts Future of Short Film Aesthetica Magazine Shorts APA Reception & Screening Official Screening: Newcomer Rotoreliefs Official Screening: Long Form2 straight 8
Venue Soho Film Lab Tenderpixel G. Curzon Soho Soho Film Lab Tenderpixel G. Tenderproduct B. Curzon Soho Tenderpixel G. ICA Curzon Soho Apple Store Tenderpixel G. Framestore ICA The Roxy ICA Curzon Mayfair
Free Free Free Free Free Free Free Free £5 Free Free Free Free £5 £3 £5 TBC
Booking Required Details P54 Details P71 Booking Required Details P77 Details P76 Details P73 Details P54 Booking Required; P20 Details P75 Details P77 Booking Required Booking Required; P16 Booking Required; P45 Booking Required; P72
APA Reception and Screening 18:00 / Framestore / Free / RSVP on www.sohoshorts.com
Hosted by the APA The Advertising Producers Association returns once again to Rushes to screen the CFPE/ shots Young Directors Award Programme. This Award offers outstanding new directors a significant boost to their careers. Entries come from all over the world and showcased directors are provided with an excellent promotional platform for their work. This is the first showing of the YDA following its premiere in Cannes Lions and is now an established and very popular part of Soho Shorts. www.a-p-a.net www.rushes.co.uk
Rotoreliefs 19:00 / The Roxy / £3 (Pay on the door)
Hosted by Rotoreliefs On Wednesday Rushes Soho Shorts will be joining forces with Rotoreliefs to screen a selection of the best work from London’s emerging filmmakers, many of whom will be on hand to discuss their experiences. Rotoreliefs is a monthly short film night held at the Roxy, intended to support and promote the independent film sector. www.rotoreliefs.com www.roxybarandscreen.com
“With Feathers” by Kellee Rich 64
Thursday 29 July Time
10:00 11:00 12:00 13:00 13:00 13:00 14:00 15:00 17:00 17:00 18:30 20:30
SFL Seminar: Actors & Directors Fuji Film Aesthetica Magazine SFL Seminar: RADA Shorts Experimental Programme Hollyshorts Kerry Film Festival Brighton Uni Future of Music Video Experimental Programme The Rushes Awards The Awards After Party
Venue Soho Film Lab Tenderpixel G. Curzon Soho Soho Film Lab Tenderpixel G. Tenderproduct B. Curzon Soho Tenderpixel G. Apple Store Tenderpixel G. Curzon Soho Teatro & Stanza
Free Free Free Free Free Free Free Free Free Free Free Free
Booking Required Details P76 Details P77 Booking Required Details P54 Details P75 Details P73 Details P72 Details P54 Invite Only Invite Only
SFL Seminar: RADA â€“ Actors and Directors Q & A
10:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com
The relationship between actor and director is of seminal importance in filmmaking, and can often determine the quality of the performance. This Q & A will look at both sides of the camera, touching on the critical areas where issues most frequently arise. In association with the Royal Academy of Dramatic Art, panelists Edward Hicks (Head of Film, TV & Radio - Royal Academy of Dramatic Art ) and Fenella Woolgar (Actress - Bright Young Things, Stage Beauty, Vera Drake, St Trinianâ€™s) will look at casting, problems an actor encounters on set and how best to solve them. www.rada.org
SFL Seminar: RADA - Shorts 13:00 / Soho Film Lab / Free / RSVP on www.sohoshorts.com
Presented by Edward Hicks (Head of Film, TV & Radio). A chance to see a selection of short films from new writers featuring the latest graduates from the prestigious Royal Academy of Dramatic Art. If you want to see some of the brightest emerging acting talent from the coming generation, this is the place to be. www.rada.org
Future of Music Video 17:00 / Apple Store / Free / Pop along and have a listen
Chaired by David Knight (Promo News) with panelists including Caroline Bottomley (RADAR Music) being joined by commissioners and record labels. While some may lament the passing of the overblown, overpriced music video, to others it represents the dawn of a more accessible era. The increasing affordability of digital technology has enabled directors to make striking videos on the hoof. But despite these developments, the straitened conditions of the record industry mean that the position of the music video looks somewhat uncertain. Do record labels commission videos anymore? Do they still work as a promotional tool? And where do they fit into the online world? We present representatives from both ends of the scale, from directors and commissioners working with chart names to representatives from major labels who deal with up-and-coming artists and non-mainstream acts. www.promonews.tv www.radarmusicvideos.com 65
S R E T O SHO
S E H S RU
congratulates all its members screening at
Rushes Soho Shorts Festival 2010 Shooting People is the international networking organisation dedicated to the support and promotion of independent filmmaking
Friday 30 July Time
11:00 12:00 13:00 14:00
SFL Screening: Winners Winners SFL Screening: Winners Winners
Venue Soho Film Lab Curzon Soho Soho Film Lab Curzon Soho
Free Free Free Free
Booking Required Booking Required
Soho Film Lab Screening: Winners 11:00 & 13.00/ Soho Film Lab / Free / RSVP on www.sohoshorts.com From the original 1000+ films submitted to the festival, 170 (showcasing 23 countries) were chosen for competition. These productions were then viewed and reviewed by over 80 judges who took in to consideration the originality of the work, production quality, success at communicating themes or story lines and the entertainment value (to point put just a few of the areas we ask out judges to consider.) Here you have a chance to see the work that received the most acclaim through that judging process, the winners of the Rushes Soho Shorts Festival 2010.
Though the festival maybe over for another year we’re currently planning some fun events for the autumn, both in London and much further afield! You can also pre-register for 2011 submissions, we’ll be accepting content from 1 January 2011 and the closing date will be 21 April 2011. Find out about all this and more on our website. If you’d like to help host a screening of work or if you would like to contact any of the filmmakers you’ve seen showcased at the festival, email us at: email@example.com A few dates for your diary: Open for 2011 Submissions Close for 2011 Submissions 2011 Festival Dates
1 January 2011 21 April 2011 20 - 29 July 2011
SLV are proud to support the Rushes Soho Shorts Festival 2010
Framestore is an Oscar-winning visual effects company and the UKâ€™s leading authority on Stereoscopic 3D. Framestore uses innovative talent and technology to create hi-end images for every platform - working for Hollywood studios, advertisers, ad agencies, production and gaming companies, Current film projects include: War Horse, The Invention of Hugo Cabret, Your Highness, Gravity, Salt, The Chronicles of Narnia: The Voyage of the Dawn Treader, and Harry Potter 7 Gravit Recent film projects include: Prince of Persia, Clash of the Titans, Avatar, Nanny McPhee & the Big Bang, Where the Wild Things Are and Sherlock Holmes Framestore will be hiring across all departments in 2010 To express an interest in current and upcoming opportunities please send your details to firstname.lastname@example.org Visit our careers website http://careers.framestore.com/
Congratulations to all films selected for Fujifilm Shorts 2010 THE BUSINESS TRIP – Best Film 2010 NATIVE SON – Best Cinematography 2010 BEHIND THE DOOR BEYOND THE WALL FANATIC FREEDOM DAY GIRL LIKE ME GOODBYE MR PINK JADE SURFERS AGAINST SEWAGE WHERE THE MONSTERS GO WHY DON’T YOU DANCE? For a copy of the limited edition Fujifilm Shorts 2010 DVD visit: www.fujifilmshorts.com Fujifilm Shorts 2011 will open for submissions in autumn 2010. To find out more about the fantastic prizes on offer visit: www.fujifilmshorts.com
Fujifilm Shorts Fujifilm Shorts is sponsored by:
Premiere Screening: Sunday 26 14.30 London Film Academy Weekday screenings: Monday 27 13.00 Stanza Tuesday 28 15.00 Stanza No Booking Thursday 30Required 15.00 Stanza Thursday 22 14:00 Curzon Soho Sunday 25 13:30 BAFTA Tuesday 27 16:00 Curzon Soho Wednesday 28 12:00 Curzon Soho All screenings are free last approx.90 min.
Shorts Film Festival stands alone as Australia’s only national film festival and competition entirely dedicated to championing the specialist art of storytelling through film. Founded by acclaimed Australian producer David Lightfoot, Shorts offers its filmmakers one of the country’s most lucrative and largest prize pools including a coveted first prize trip to Cannes Film Festival. Selected on the basis of outstanding storytelling in 20 minutes or less, this year’s program offers a showcase of the entries to the 2009 Shorts Film Festival. Previous Shorts winners have continued on to be awarded or nominated for the Australian Film Institute Awards and Cannes Film Festival’s Palme d’Or, among others, and have also gone on to work on Academy Award winning films. Shorts entries are judged by up to 50 respected practitioners across the film and media industries.
Jacob Dena Curtis (Darren Dale) 12m
The Cat Piano Eddie White & Ari Gibson (Jessica Brentnall) 8m
Work Ready Ross Guerin (Trent Byles) 14m
Four Erin White (Zyra McAuliffe) 18m
Reach Luke Randall 4m
My Uncle Bluey Britt Arthur (James Grandison) 17m
Gina, a young Aboriginal mother finds herself in a predicament when her husband Max returns home and learns the truth about baby Jacob.
Two couples with troubled marriages embark on a plan of enlivening their relationships and find that love doesn’t always work as it should. www.shortsfilmfestival.com
A city of singing cats is preyed upon by a shadowy figure intent on performing a twisted feline symphony.
A tiny robot is given the gift of life with only one limitation, the length of his power cable. When a curious bird appears at the workshop window, his lust to live outside of his reach may be his demise.
Intimidation, pressure and hard choices, Kylie, a young woman with Downs Syndrome faces them all.
‘My Uncle Bluey’ is a personal story about the things that tear families apart, what brings them back together, and how your family is your family. Always. 71
Guest Programmes straight8 Booking Required Friday 23 20:45 Monday 26 21:15 Tuesday 27 21:15 Wednesday 28 21:1
ICA Curzon Mayfair Renoir Curzon Mayfair
All screenings require booking.
Book online: www.curzoncinemas.com/whats_on Curzon Mayfair Box Office: 0871 7033 989 Renoir Box Office: 0871 7033 991
Sunusual traight 8, which has become one of Rushes’ most popular events, puts filmmakers into the position of seeing their own rushes at exactly the same time as the audience. In an event devised to get people to shoot films instead of just talking about it, directors are set an inventive and excuse-free challenge to create a mini-masterpiece. The brief is to shoot a three-minute twenty-second epic using super 8mm cine film. No editing is allowed, and the cartridge containing the film must be handed over exposed but undeveloped, along with a separate original soundtrack. Filmmakers do not see the film until it screens in front of a huge audience. “There are no other film screenings that I know of where the audience sits with the directors, actors and crew to watch their film for the first time” says straight 8 founder Ed Sayers. “Apart from looking at the film through a viewfinder they haven’t seen their work yet. Watching your film this way feels like both the fastest and slowest three minutes of your life at the same time. And it’s brilliant that Rushes share our whole enthusiasm for that rawness of approach: ironic and refreshing coming from an organisation that’s all about technically polishing film.” straight 8 is open to anyone anywhere – more details and past films are at: www.straight8.net email@example.com
Films screening in this programme are:
No Booking Required Thursday 22 12:00 Curzon Soho Saturday 24 11:00 Tenderproduct Basement Sunday 25 12:30 BAFTA Thursday 29 15:00 Tenderpixel Gallery All screenings are free last approx.45 min. For more information please visit: www.fujifilmshorts.com 72
A FORMAL FANCY Dir. Thomas Cattanach ANTON Dir. David Thomas DELIA Dir. Oliver Pothecary HOME Dir. Christopher Baron MEETING HOUSE LANE Dir. Skye McCann THE RUN AWAY Dir. Joshua Van Nes WALLOW Dir. Alasdair MacDonald
Guest Programmes BORNSHORTS
Best of Boroughs: Audience Award ---Film of London
TtionherunBestbyofFilm Boroughs is a film-making competiLondon, with support from the B ornshorts is a two-day International short film festival on the Bornholm Island in Denmark.
It is a showcase of the best new short films, animations and music videos from around the world and is produced with labour of love by a bunch of filmmakers who mainly work in commercials and music videos. Films screening in this programme are: BEST SHORT OVER 10 MINUTES : THE WHITE GOLD Dir. Peder Pedersen Denmark BEST MUSIC VIDEO : HIBI NO NEIRO - SOUR Dir. Masashi, Magiko, Masayoshi Nakamura & Hal Kirkland USA BEST ANIMATION : THE TERRIBLE THING OF ALPHA - 9 Dir. Jake Armstrong USA BEST SHORT UNDER 10 MINUTES : CLACSSON Dir. Tak Kuroha Italy BEST CINEMATOGRAPHY : SHOW ME YOURS Cinematography by actress Irina Brabrand Dir. Kasper Torsting Denmark SHORT OVER 10 MINUTES : DOLOR/HARMSAGA Dir. Valdimar Jóhannsson Iceland MUSIC VIDEO : NSM PSM/CLAP YOUR BRAINS OFF Dir. Frank Beltran Mexico SHORT UNDER 10 MINUTES: DIE SHNEIDER KRANKHEIT Dir. Javier Chillon Spain ANIMATION : TXT ISLAND Dir. Chris Gavin UK
For more information please visit: www.bornshorts.com
No Booking Required Thursday 22 15:00 Tenderpixel Gallery Sunday 25 14:00 Curzon Soho Friday30 13:00 Tenderproduct Basement All screenings are free & last approx.90 min.
Mayor of London, is an annual prize to find the best shorts produced through the London Borough Film Fund Challenge (LBFFC). Londoners have been given the opportunity to make a short film and now you have the opportunity to judge them! Every vote counts for this year’s Best of Borough Film Awards. www.filmlondon.org.uk
No Booking Required Friday 23 13:00 Tenderproduct Basement Sunday 25 12:00 Curzon Soho Wednesday 28 14:00 Curzon Soho All screenings are free & last approx.60 min.
KERRY FILM FESTIVAL
Tarehea arts really matter to us in Ireland; they big part of people’s lives, the country’s
single most popular pursuit. Our artists interpret our past, define who we are today, and imagine our future. We can all take pride in the enormous reputation our artists have earned around the world. The Kerry Film Festival promises a wealth of the best Irish and International Short Films and offer awards for Best Irish Short Film, The Audience Award, Best Animated Short, Best International Short and Best Documentary Short films and Best Film. www.kerryfilmfestival.com
No Booking Required Friday 23 16:00 Curzon Soho Tuesday 27 13:00 Tenderproduct Basment Thursday 29 14:00 Curzon Soho All screenings are free & last approx.90 min.
The ICA Cinemas at the Institute of Contemporary Arts Two independently-programmed screens dedicated to world cinema, repertory seasons, artists’ films and essential documentaries
Cinemas of discovery and distinction in the heart of central London
Ben Wheatley’s DOWN TERRACE Bong Joon-ho’s MOTHER Fritz Lang’s METROPOLIS Chris Smith’s COLLAPSE 74
Institute of Contemporary Arts The Mall, London SW1Y 5AH Box Office+44 (0)20 7930 3647 www.ica.org.uk
Guest Programmes HollyShorts
O n the heels of the most successful HollyShorts Film Festival to date and having honoured
VIRGIN MEDIA SHORTS
irgin Media Shorts is a short film competition that champions undiscovered talent. Whether you’re a film maker or a film lover, there are loads of ways to get involved. Here you can see a talented showcase programme of previous years finalists and winners. Read all about them on
acclaimed filmmakers David Lynch and Paul Haggis as well as showcasing short films from stars Josh Brolin, Jessica Biel and David Arquette, HollyShorts is now taking entries for the 5th Annual HollyShorts Film Festival (HSFF). Recently ranked by Moviemaker Magazine as “one of the top film festivals worth the entry fee,” HollyShorts www.virginmediashorts.co.uk will take place August 6-9, 2009 in Hollywood and feature a marquee opening night world premiere event, screenings, panels and exclusive parties. Prizes worth $40,000 including free camera No Booking Required rental packages. Sunday 25 15:00 BAFTA Tuesday 27 15:00 Tenderpixel Gallery Films screening in this programme are: Wednesday 28 16:00 Curzon Soho BEST NARRATIVE: MELTDOWN Dir. David Green BEST ANIMATION: MOUSE THAT SOARED Dir. Kyle Bell BEST DIRECTOR: TEN FOR GRANDPA Dir. Doug Karr BEST INTERNATIONAL: TERMINUS Dir. Trevor Cawood BEST STUDENT SHORT FILM: TURBO Dir. Jarrett Lee Conaway SPECIAL JURY PRIZE: WILLIAM’S CHRISTENING Dir. Joshua Hume
For more information please visit: www.hollyshorts.com
All screenings are free & last approx. 60 min.
D azzle calls itself the UK’s hottest independent short film label, it handles the exclusive
distribution, exhibition and sales rights for a selective catalogue of award-winning, critically acclaimed UK and international titles. From 90-second, digital micro-movies to super35mm masterpieces, dazzle’s bijou short film collection is often provocative, always original and sure to inspire. www.dazzlefilms.co.uk
No Booking Required
No Booking Required
Thursday 22 Saturday 24 Sunday 25
Thursday 22 16:00 Curzon Soho Sunday 25 16:00 Curzon Soho Monday 26 12:00 Curzon Soho
11:00 Tenderpixel Gallery 16:00 Curzon Soho 11:00 BAFTA
All screenings are free & last approx. 90 min.
All screenings are free & last approx. 60 min. 75
Guest Programmes NEXT GENERATION Films screening in this programme are:
N ext Generation is the short film programme created by German Films in 1998. Under this banner, a selection of short films by students of German film schools is selected every year by an independent jury and premiered within the framework of the Cannes Film Festival. For more information please visit: www.german-films.de
No Booking Required Thursday 22 13:00 Tenderproduct Basement Saturday 24 14:00 Curzon Soho Sunday 25 15:30 BAFTA Tuesday 27 16:00 Curzon Soho Wednesday 28 12:00 Curzon Soho
BOB Dir. Jacob Frey, Harry Fast KLEINE BROETCHEN/HUMBLE PIE Dir. Marcus Zilz BOULE Dir. Bjoern Ullrich OH WEHE MIR Dir. Sermin Kaynak EGODYSTON Dir. Xenia Lesniewski CRONOLOGIA/CHRONOLOGY Dir. Rosana Cuellar OHNE ATEM/WITHOUT BREATH Dir. Fabio Stoll PARADISE LATER Dir. Ascan Breuer VON HOUSE TO HOUSE/FROM HOUSE TO HOUSE Dir. Friederike Guessefeld GELIEBTE/MISTRESS Dir. Ij Biermann ICH BIN’S. HELMUT/IT’S ME. HELMUT Dir. Helmut Nicolas Steiner HINTERHOF/BACKYARD Dir. Ana Felicia Scutelnicu
All screenings are free & last approx. 90 min.
FUJIFILM SHORTS No Booking Required Friday 23 17:00 Tenderpixel Gallery Saturday 24 12:00 Curzon Soho Wednesday 28 13:00 Tenderproduct Basement Thursday 29 11:00 Tenderpixel Gallery
N ow in its second year, Fujifilm Shorts 2010 showcases a selection of inspiring and
innovative UK made short films produced on Fujifilm Motion Picture film stock. Six short films from Fujifilm Shorts will be screened as part of the festival programme at Rushes Soho Shorts 2010. This includes 2010 Best Film ‘Business Trip’ and 2010 Best Cinematography ‘Native Son’, and four shorts selected from the final 12 nominated films. A host of fantastic prizes are on offer to the winners Fujifilm Shorts 2011. The competition opens for submissions in autumn 2010. Entry is free of charge and filmmakers can submit as many films as they wish. 76
All screenings are free & last approx.100 min.
Films screening in this programme are: THE BUSINESS TRIP Dir. Sean Ellis NATIVE SON Dir. Scott Graham SURFERS AGAINST SEWAGE Dir. Richard Stewart FREEDOM DAY Dir. Janis Nords FANATIC Dir. Paul Robinson BEHIND THE DOOR Dir. Des Hamilton
For more information please visit: www.fujifilmshorts.com
Guest Programmes RENDERYARD
The Cultural Arts Magazine
R enderyard is an International Digital Platform Aesthetica is a leading UK arts and culture operating as an International Film Festival and publication, providing insight into all the best an Independent Distribution Agency to provide filmmakers, musicians and visual artists with the chance to watch and distribute independent films and new music from around the world. Renderyard also provides a strong network facility for emerging new talent and dedicates an important part to work in partnership and build creative collaborations in Europe and abroad. www.renderyard.com
exhibitions, productions, music and writing releases of the coming months. Aesthetica is involved in all aspects of the arts and in a move to support and champion short film; this year sees the inauguration of the Aesthetica Short Film Competition. This programme showcases the winners of this yearâ€™s competition and is a celebration of international short film and creative talent. www.aestheticamagazine.com
No Booking Required
No Booking Required
Friday 23 12:00 Animation Curzon Soho Monday 26 14:00 Shorts Curzon Soho 16:00 Animation Curzon Soho Tuesday 27 12:00 Shorts Curzon Soho Wed. 28 13:00 Animation Tenderpixel Gallery Friday 30 13:00 Shorts Tenderpixel Gallery
Friday 23 Wednesday 28 Thursday 29
All screenings are free. Shorts last approx.75min. Animation program is approx.45 min.
14:00 Curzon Soho 17:00 Tenderpixel Gallery 12:00 Curzon Soho
All screenings are free & last approx. 60 min.
Dorset Cereals Simple Pleasures Film Festival 2010
A ward winning cereal maker Dorset Cereals created a web based film competition
encouraging people to create little films about a particular favourite simple pleasure in life. Expecting a small response they were inundated with entries with subject matter as wide ranging as ukulele playing to creating snow angels. The four winning films are shown as well as the companyâ€™s particular favourites. www.dorsetcereals.co.uk
No Booking Required Friday 23 13:00 Tenderpixel Gallery Sunday 25 10:00 BAFTA Tuesday 27 14:00 Curzon Soho All screenings are free & last approx. 30 min. 77
Venues & Ticket Information
Apple Store, Regent Street
Apollo Cinema 19 Lower Regent Street London SW1Y 4LR
Roxy Bar & Screen 128-132 Borough High St, London SE1 1LB
Apple Store 235 Regent Street, London W1B 2ET
Tenderpixel Gallery 10 Cecil Court, London WC2N 4HE
Framestore 19-23 Wells Street, London W1T 3PQ
Soho Film Lab 8-14 Meard Street, London W1F 0EQ
Stanza & Teatro 93-107 Shaftesbury Ave, London W1D 5DY
Moving Picture Company 127 Wardour Street London W1F 0NL
Box Offices CURZON Soho 99 Shaftesbury Avenue, London W1D 5DY
CURZON Soho Box Office: 0871 7033 988 (Opening Night)
CURZON Mayfair 38 Curzon Street, London W1J 7TY
CURZON Mayfair Box Office: 0871 7033 989 (straight 8)
CURZON Renoir Brunswick Centre, London WC1N 1AW
CURZON RENOIR Box Office: 0871 7033 991 (straight 8) Book online: www.curzoncinemas.com/whats_on
BAFTA 195 Piccadilly, London W1J 9LN
BAFTA Online Booking Only: www.bafta.org/whats-on (Short Filmmakers Market)
ICA The Mall, London SW1Y 5AH
ICA Box office: +44 (0)20 7930 3647 Open daily 12.00 to 20.00 Buy tickets online: www.ica.org.uk/rushes (Official Selection Programmes)
Soho Film Lab
Curzon Soho MPC War
. r St
Curzon Mayfair nt Street
Roxy Bar & Screen
Judges We’d like to send a huge ‘Thank You’ out to our fantastic team of judges, who have had the unenviable task of deciding this year’s winners…
Daisy Allsop Damian Spandley Dan Simmons Dan Jolin Dave Knight David Wilkinson David Pope Dawn Sharpless Dom Delaney Don Boyd Elliot Grove Garrick Webster Gary Davy
Harvey Somerfield Hayden Jones Ingrid Kopp Jake Bickerton James Rocarols James Wilkinson James Christopher Jamie Dolling Jamie Madge Jason Wood John Park John Hough Jonathan Privett
Julia Stephenson Julia Short Katie Metcalfe Kerry McLeod Lawerence Garwood Lee Mason Louise Hussey Lucy Doyle Maggie Ellis Mark Reid Mark Adams Mark Roalfe Matt Lawrence
Michael Bonner Mike Connaris Neil Bennett Nik Powell Patricia Dobson Paul Rothwell Phil Claydon Philip Ilson Remco Vlaanderen Roger White Sandra Hebron Sefton Woodhouse Simon Trewin
Simon Young Simone Pyne Stephen Woolley Steve Davies Susie Innes Tanya Franks Tim Dams Tim Redford Tim Goodchild Trevor Beattie Warwick Hewett
Thank You! 80
SCREEN ACTING SHORT COURSES from this autumn, RADA will be offering an exciting series of screen acting short courses to include: - workshops in screen acting using professional HD camera equipment - practical experience in shooting scenes and exercises - additional topics such as finding work and castings
To find out more please email: firstname.lastname@example.org
62-64 Gower Street London WC1E 6ED www.rada.org 81