Most of our courses are "hands on", the tutors are all working professionals with impressive credits.

1) DIRECTING ACTION SEQUENCES - £ 116.32

2) LIGHTING LOW BUDGET FILM + VIDEO – £ 252.04

3) PD150 HANDS ON WORKSHOP – £ 116.32

4) PD150 1 day course – £ 72.32

5) STEADICAM WORKSHOP - £ 452.38

6) STUNT WORKSHOP - £ 323.13

7) SOUND RECORDING - £ 163.35

8) SCREENWRITING ACTION MOVIES - £ 90.48

9) EXTREME FILMING: SURVIVAL WORKSHOP - £ 193.88

10)UNDERWATER FILM+VIDEO-one to one course - £ 715.28

(All prices include VAT)

All courses are 2 days long (unless stated otherwise), usually a weekend, once a month (depending on tutors availability). All equipment and material are provided. Well known guest speakers will be present occasionally for a Q&A session.

For information contact zero-g on 020 7561 0404 or you can email: courses@zero-gfilms.com

Course

ACTION DEFINITIONS

What defines an action sequence: what is adrenaline.

Samples and types of action. Too much chocolate and the joys of sex. Speed as an element for dynamism.

Action on set: advantages and disadvantages. Directing and blocking the set.

Action on location: Directing the army.

Action types: from John Woo to Hitchcock. Action for comedy or drama. Action as function: what action stands for.

Action in practice. Set protocol and crew safety.

MAXIMIZING THE ACTION The Actor. Murphy' s law. All actors are brilliant at horse riding. RED MIST and expendable extras.

Making it look bigger: how to cheat it and survive.

ANGLES OF ENTRY The camera can't see: positioning the camera to get it in the can. Location: recce and planning.

Multiple cameras: the nightmare of action.

Lenses: how to make the most out of optics. Shooting handheld or shaking it: saving the private.

ACTION CAMERAS The camera as PoV: Eyemos and crash housings.

Mounts design: cars, motorbikes, horses and killer bees.

Steadicam: the human tripod.

The viewpoint: put them in the driving seat. Bullit and French Connection. Action vehicles and action extras: never mix please.

GETTING YOUR HANDS DIRTY How to ride the action: the comfort of the monitor. Creating a buzz: adrenaline and the art of staying focused. Handling the actors: when you hear action... pyrotechnics and deafness.

WORKING WITH STUNTS Stunt performers: Who are they? Robocop and the daredevil. Myths and reality.Can we go again? Repeatability versus one off. Titanic and Demolition Man

SAFETY It's only film; let me say that once more. Precautions to take to avoid the action becoming the killer. The banana skin.

Directing on set: creating the sequence. Students will have a scene to recreate from a reference of their choice.

Controlling the action: the problem of a moving train at 80mph.

NB: On Day 1, after an introduction, some sample of action scenes will be screened, revealing the problems directing them and keeping everything under control. Towards the end of the day there will be some practical exercises using minicams and miniature cars within a small set.

On Day 2 each student will have to direct a scene chosen by the tutor as well as to solve problems caused by a sudden change of situation. Light refreshments will be provided.

Course

NATURE OF LIGHT Basics and characteristics: what is light.

White light, light and shade. Intensity and brightness.

Colour: tristimulus primaries, colour balance, colour terms.

Hard and soft light: advantages and disadvantages.

Light direction: the camera viewpoint.

Lighting styles: Vermeer, Caravaggio, Mantegna and more masters of light. Lighting for comedy or drama.

Light functions: key light, fill light, backlight and background light. Shadows formation: single shadows, multiple shadows, shadow free. Lighting terms. Set protocol and crew.

MEASURING LIGHT The meter. Footcandles and the reciprocity law.

Incident and reflected light. The grey scale. Spot meter and contrast viewing glass. Depth of field and lens aperture.

Black and white and colour emulsions.

AVAILABLE LIGHT Sunlight: sun position, magic hour, dawn, moonlight.Location lighting: recce and planning.

Practicals: how to make the most out of existing fixtures.

Shooting without lights. LIGHTING FIXTURES Tungsten lamps, PAR, tungsten-halogen lamps, quartz lights, carbon arcs, HMI, fluorescents. Lamps lens design: fresnel, open fronted, internal reflectors.Camera lights. Lamp supports: stands, booms, clamps.

MANIPULATING LIGHT Basic light control: flags, scrims, gels, and textiles. Creating patterns: cookies and gobos.

Light intensity: ND gels and dimmers. EFFECTS LIGHTING

Firelight, shafts of light, passing light, strobe lights, lightning, projected patterns, water ripples, rain, mist, fog and smoke. SAFETY Hot surfaces, cables, handling lamps

Lighting the set: creating mood: students will light a scene recreated from a reference of their choice.

Lighting the action: the problem of a moving subject.

NB: On Day 1, after an introduction, a show reel of the tutor's work will be screened.

Slide projection will follow of Old Masters Paintings (Caravaggio, Monet, Vermeer, etc.) together with the tutor's relative photographic recreation of the light in the painted example.

On Day 2 each student will take meter readings of the scene they have to light as well as solve problems caused by a sudden change of situation.

Light refreshments and drinks will be provided as well as glossary of lighting terms, a bibliography and the course tutor's notes will be given to the students.

workshop

PRINCIPAL OF DIGITAL ACQUISITION Basics and characteristics: what is digital. Digital versus film, the nonsense debate.

Lighting styles: DV, Digibeta, Beta and HD.

SONY PD150 Overall and in depth vew.

CANON XL1 Overall view comparing to the PD150

MAKING THE MOST OF DIGITAL CAMERAS

Light functions: key light, fill light, backlight and background light. Shadows formation: single shadows, multiple shadows, shadow free. Sunlight: sun position, magic hour, dawn, moonlight. Location lighting: recce and planning.

Practicals: how to make the most out of existing fixtures. Shooting without lights. High Gain.

LIGHTING FIXTURES

Tungsten lamps, fluorescents. Lamps lens design: fresnel, open fronted, internal reflectors. Camera lights.

Lamp supports: stands, booms, clamps. MANIPULATING LIGHT

Basic light control: flags, scrims, gels, textiles.

Creating patterns: cookies and gobos. Light intensity: ND gels and dimmers.

EFFECTS LIGHTING

Firelight, shafts of light, passing light, strobe lights, lightning, projected patterns, water ripples, rain, mist, fog and smoke. SAFETY Hot surfaces, cables, handling lamps

Lighting the set, creating mood: students will light a scene recreated from a reference of their choice, using a SONY PD150.

Lighting the action: the problem of a moving subject.

NB: On Day 1, after an introduction, a show reel of the tutor’s work will be screened, with pertinent examples of digital images shot at their best potential.

Slide projection will follow of lighting samples.

On Day 2 each student will shoot on digital the scene they have to light as well as solve problems caused by a sudden change of situation.

Light refreshments will be provided.

NATURE OF D25 (miniDV) Basics and charateristics: Digital versus film, the nonsense debate.

Overall view of PD150 functions. Pros and cons. The Canon XL1 and other competitors.

Operating and lighting for the digital format

Basic light control: creating patterns: cookies and gobos. Reflectors.

Light intensity: ND gels and dimmers.

Sound and Postproduction including transfer to film. Editing tools and colour grading.

Lighting the subject: creating mood, working with available light.

Lighting the action: the problem of a moving subject.

Using filters and choosing accessories. Tips and secrets of good operating techniques.

NB: On the day, after an introduction, a showreel of the tutor’s work will be screened.

A screening of shorts and promos shot on MiniDV will follow with explanation on how they were made.

Light refreshments will be provided.

WORKSHOP

HISTORY OF STEADICAM

Gareth Brown and a crazy idea.

WHEN TO USE STEADICAM

Geography.

Follow the action and operating technique

BALANCE

Balancing the rig

Adjusting the vest

CAMERAS AND LENS CONTROL SYSTEMS

Different types of cameras and adapters

Manual, mechanical hardwire and wireless.

Types of motors

MOUNTS AND RIGS

The Garfield

Rickshaw, horses helicopters.

PREPARATION FOR THE SHOT

Discussing the scene

Evaluating terrain

Choreography. Wind factor. Cable or signal clearance.

SAFETY Quick release, water and difficult terrain.

Practical exercises where each student will try and practice the rig as well as executing a lengthy scene.

Light refreshments will be provided.

WORKSHOP

The workshop considers and offers advice on the different elements of the work of stunt co-ordinators and performers in film and television. The first day is predominantly orientated to Health and Safety within the potentially highly dangerous stunt environment. A primary issue in stunt and action sequences is determining what needs to be done to create a safe working environment and how to ensure it is effective. Working examples are largely used to demonstrate the techniques of how the illusion of danger and disaster can be created safely. The second day briefly outlines various methods and tools of trade providing an insight to how certain effects are achieved, the logistics, preparation and indeed the cost implications of using stunt people, equipment and effects.

The course is primarily aimed at Directors and Producers who are perhaps less experienced in working with stunt people and wish to get a feel for what's involved and avoid the pitfalls and worst case scenarios of working on a high action production. It is equally useful for people considering a career in stunt work or for that matter gaining further experience in an already developing stunt career, the emphasis being that it's not just about crashing cars and leaping from tall buildings.

Introduction

Course introduction and content. A brief introduction to the history of stuntwork in the UK and around the World, including Equity and the Stunt register - the daredevils of yesteryear relying on luck and resilience as opposed to today's highly trained, athletic technicians.

Health and Safety in the Stunt environment.

Brief Introduction to the Health and Safety at Work, etc Act 1974 and how it affects our Industry as a whole. The lack of understanding and arrogance in the film industry regarding the application of the Health and Safety. Different philosophies of what stunt work really is.

Avoiding incidents and accidents

Getting the right people and asking the right questions.

The role of the Stunt Co-ordinator, Supervisor or Fight director. The role of the Stunt performer. Qualifications, general and specific experience for the job in hand, physical ability, record. Can a stunt be performed twenty times, inch perfect? If not, is it too dangerous to attempt once?

The Planning factor.

The need to story board and avoid master shots. Planning for all scenarios and avoiding cutting corners and compromising safety; The equipment, the technicians, the safety team. Detail planning; shoot schedules and logistics.

The Time factor

Preventing time compromising safety. Snap decisions on the run.

The Human error factor

The five aspects of Human error; Lapse of attention; Mistaken actions, Miss-perception; Mistaken Priorities and Wilfulness - The Red mist factor.

Principle and purpose of Risk Assessment

An introduction to Risk Assessments, including a series of case studies representative of key areas of stunt work. Close proximity to Pyrotechnics and body burns.

General Vehicle Stunts Falling and working at height Fights with weapons

Stunts and working in or near water

Orient express is halted by landslide.

Achieving the effect

A selection of case studies again covering key areas of stuntwork. Highlighting the specialist techniques, equipment and safety measures required and how specific camera techniques, postproduction and careful editing can be used to fool the audience. The scenarios also present a very broad idea of the cost, preparation, rehearsal time and logistics involved in putting such action scenes together. (May feature some practical work e.g. fights and small falls.)

Pyrotechnics and explosions.

High (and low) falls. Vehicle crashes.

Fights and fight choreography. Rehearsals and preparation.

Light refreshments will be provided.

COURSE

The basics of sound recording for low budget film and video production.

Sound and Space: A brief introduction to acoustics.

Microphones: different types and their use in various situations. Types commonly used in film and video production. Examples include shotgun and radio microphones.

Connectors: Types of cables and plugs commonly used to carry audio signals.

Mixers: A look at the industry standard SQN 4 channel mixer and its many useful and easy-to-use features. Introducing the principles of attenuation and frequency manipulation, two features of the SQN that are essential in location sound recording. Reference tone and it's use in post-production audio.

Recorders: DAT (Digital Audio Tape) recorders and their features. Tape transport, sound level meters, sample rates and setting the IDs. Digital recording, the theoretical elimination of tape noise (hiss), and the problem of digital distortion.

NAGRAs and their use in film productions. An introduction to analogue recording, its differences compared with digital and analogue tape's handling of distortion.

Cameras and videotape. Recording straight to camera with and without the aid of a mixer. Different types of videotape and their different handling of audio. Setting the reference tone on a camera. Location Recording Correct use of the slate and the importance of logging. Differences between recording straight to the camera and using a separate recorder. Synchronisation of sound and image. Microphone placement and correct operation of the boom. Recording in a difficult environment.

Mono, stereo, binaural and surround sound. Choosing a film location with sound in mind. The importance of keeping continuity. Recording 'wildtracks' and 'atmos' tracks.

When good sound really is impossible to capture on set.

Finally a brief summary on sound post-production. The way that location sound is manipulated during editing and mixing. The importance of knowing what you can and can't get away with in post.

Looking and listening to location recordings in various films and documentaries including the tutor's work.

Exercises:

Recording a static conversation between two people indoors.

Recording a moving monologue outdoors.

Looking and listening back to the exercises with an analytical ear. Finding out what went wrong, why, and how it can be improved.

Light refreshments and drinks will be provided as well as the course tutor's notes will be given to the students.

Course

ACTION ON PAPER Action sequence: the pen is mightier than the sword. Except when it comes to screening it. Choices of tools.

Samples of good action writing. Shot flow and getting stuck.

Dramatizing the action: putting the viewer in the middle. Sorry, you have mud on your glasses. Getting out of trouble.

Action and words: describing the adrenaline rush.

Action types: what makes a good sequence for the right genre

Action problems: what gets in the way of a good scene (the camera). Narrative and build up: the explosive moment.

DESCRIBING THE ACTION The tension breaker: how to avoid loosing the plot. All characters at one time: Mad Max.

Keeping it simple: jet fighters and bomb runs.

Faster and harder: how to make a character indestructible. James Bond and John Woo

INSERTING ROMANCE Never a woman on a submarine: stereotypes and excuses for spectacular rescues: Romancing the stone, Indiana Jones and Shriek. The choice of place: the jungle of Predator and the maze of Alien. Tomb raider and the skirt: how to run fast with a 32DD ACTION GIMMICKS The PoV: how to describe what it feels. The missing catch: how to let go and survive.

Common mistakes: horses and cars.

The viewpoint: first person shooter and French connection. .

Train, planes and automobiles: dramatic wheelchair use.

GETTING IT RIGHT How to build the action: the art of slippery surfaces, cold hands and flat batteries.

Creating suspense: darkness and the unknown, less is more once more. Handling opposites: big and good, small and evil. From Diva to Nikita.

WORKING THE TENSION How to get there: the shortest distance between two evils. The ticking bomb and night vision: how to slow down to speed things up. YOU HAVE GOT 15 SECONDS

Time and deadlines: how to put pressure on the ordinary man. Motivation and Die Hard.

Writing the scene: after viewing a sequence students will have to write a one-page action sequence.

The best scene will be shot on video and analysed to see how the camera affects the paper.

Controlling the dialogue: dropping 20%

NB: On Day 1, after an introduction, some samples of action scenes will be read, trying to understand what makes good action writing.

On Day 2 each student will have to write a scene chosen by the tutor as well as to solve problems caused by a sudden change of situation. Light refreshments will be provided.

WORKSHOP

EXTREME DEFINITIONS

What defines extreme: what is danger.

Why jumping in? Think before you do it.

Preparation, preparation, preparation. You will not get a second chance. The macho approach.

MENS SANA IN CORPORE SANO Fitness: what your body can take.

Focusing the mind: what your mind cannot take.

Dietary requirements and suggestions; your body is not a temple, just flesh and blood.

SAFE POSITIONS The camera first: positioning the camera to get it first time (you might not get a second chance). Location: recce and planning. Specialist in their fields: before you act, listen to the experts. Lenses: how to make the most out of optics.

Shooting handheld or mounted.

CAMERAS The camera as PoV: crash housings and minicams.

Mounts design: cars, motorbikes, horses and ice.

The viewpoint: are you sure it should be you?

Vehicles: from motorbikes to speedboat, crashing snowmobiles.

DOES YOUR BUM HURT? How to stay comfortable: clothing, equipment and aspirin. This won't hurt a bit: the trust me syndrome.

WORKING WITH WILDLIFE Animals and crawling creatures: know your environment will keep you alive. The viewfinder makes you blind: look behind your shoulders all the time.

It's the shark that you don't see that will get you.

WORKING IN WARZONES The gung-ho approach and the body count. Where's the blood man? Can I see some action? Frontline safety and commuting. Not like the movies: bullets and nasty infections. Sunglasses and the art of smiling. Weapons and cameras: snipers and cigarettes. Myths and reality. The listening approach. Languages and the body language.

SAFETY It's not just the equipment, it's the people: what the real danger is and how to team up.

How to survive in the field: students will have a problem to solve based on a real situation.

Controlling the environment: the 360º approach.

Practical session; are you ready to rock? A war zone scenario recreation or an extreme situation where you'll be the one who has to survive.

IMPORTANT NOTICE

The second day of the workshop is not suitable to people with a fragile constitution or a medical condition or people who can be easily impressed by strong pictures or language. To add realism there will be some practical scenarios where students will be subjected to verbal abuse or physical strain.

Please advise in advance if you do not want to take part in the practical session of Day 2.

Light refreshments will be provided.

the tutor is Franz Pagot GBCT MBKS (www.franzpagot.com)

PRINCIPLES OF UNDERWATER PHOTOGRAPHY

Introduction to the basics of the UW world. Different cameras for different situations. The Film versus Digital debate.

NATURE OF LIGHT

Basics and characteristics of light: what is light. Fresh water and sea water.

White light, light and shade. Intensity and brightness. Red loss.

Colour:, colour balance, colour shifts.

Hard and soft light: advantages and disvantages.

Light direction: the camera viewpoint in a zero-g environment.

Light functions: key light, fill light, backlight and background light. Shadows formation: single shadows, multiple shadows, shadow free. MEASURING LIGHT

The meter. Footcandles and the reciprocity law.

Incident and reflected light. The grey scale. Spot meter underwater and contrast viewing glass.

Depth of field and lens aperture. Differences between lenses on dry and underwater. The dome port.

Black and white and colour emulsions. What works best underwater. Tricks of the trade. AVAILABLE LIGHT Sunlight: sun position, magic hour, dawn, moonlight. The underwater window.

Location lighting: recce and planning. Underwater limitations. Weather at sea. Shooting without lights. Nightshoot.

LIGHTING FIXTURES Tungsten lamps, PAR, tungsten-halogen lamps, quartz lights, carbon arcs, HMI, fluorescents.

Lamps lens design: fresnel, open fronted, internal reflectors.

Camera lights. Flash and still work. Underwater fixtures: kinos and pars.

MANIPULATING LIGHT Basic light control: flags, scrims, gels, textiles, reflectors Creating patterns: cookies and gobos.

Light intensity: ND gels and other ways to control intensity

SAFETY AND DIVING AT WORK REGULATIONS

Hot surfaces, cables, handling lamps. The HSE regulations.

Risk assessment, diving supervisor and working with divers.

POOL SESSION (2 hours) with practical exercises using lights. Various lighting conditions will be recreated and the attendee will have the task to shoot with a digital camcorder underwater. The tape will be reviewed with the tutor. (the tape will remain with the attendee at the end, as a memento of the exercise).

For an extra symbolic fee (UKP 70 to pay cash directly to the performer) we can arrange for a model (male or female) to swim underwater as part of the exercise. Lighting the sea: practical exercises using reflectors. Lighting the pool: practical exercises using lights. The purpose of the pool session is also to refine your buoyancy skills as you operate with the camera. Several housings will be used as they involve different skills.

NB: On Day 1, after an introduction, a showreel of the tutor’s work will be screened. Slide projection or printed examples will follow together with the tutor’s explanation of the way the light in the example was achieved.

On Day 2 the attendee will take meter readings of the scene they have to light as well as solve problems caused by a sudden change of situation.

PLEASE NOTE:

Courses normally start at 10.00 and ends at 17.00 (please check)

Lunch break from 12.30 until 13.30

PLEASE NOTE THAT THE COURSES START ON TIME AND NO DELAYS WILL BE TOLERATED.

To confirm your place please send a cheque payable to Zero-g ltd for the full amount to:

Zero-g
118, Piccadilly
London WIJ 7NW

To pay by CREDIT CARD (MASTERCARD/VISA only) call 020 7561 0404