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Ctrl Alt Cinema

Posted: May 9, 2019 by Amit Sharma in Workshop
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Ctrl Alt Cinema is now in its 3rd Year!

Announcing our annual course 2019 dates: June 16th – July 3rd.

Ours is an intensive, 18 days residential course on the art of cinema.

Register Here: https://www.ctrlaltcinema.com/apply
Our People: https://www.ctrlaltcinema.com/love-cinema
Our Course: https://www.ctrlaltcinema.com/learn-cinema-1
Our Gallery: https://www.ctrlaltcinema.com/live-cinema

We are a group of people with a wealth of experience in film-making and teaching cinema.

Students are drawn to the course because of the prospect of direct engagement with, and guidance from, the best in the industry.

Teachers come to us because they believe in our open and inclusive philosophy:

WE HAVE A PURPOSE, NOT A SYLLABUS.

Screenplays form the starting point for most great dramatic films. This shapes the perspective from which all other filmmaking flows. All of the tender romance, terrifying action and memorable lines begin at the screenwriter’s desk. Would you want to learn the craft from a master craftsman?

Screenwriting structure:
Find out whether you should go with a simple ‘beginning-middle-end’? Or would you rather play with multiple timelines?

Synopsis and log-lines:
Learn how to write a logline apt for conveying the entire essence of your screenplay, and how long or short it should be.

Plot:
Essence of your story relies on how well you organize its core events. Learn how to manage the heart of your screenplay from someone who has been there and done that.

Formula:
Find out how do the experts write their way to successful stories. Learn the mantra of the industry professionals.

Plot Twists:
Could your plot-twist be abstract, and still be plausible? Learn how to make your plot twist impactful.

Dialogue Writing:
Know the dos and don’ts of writing dialogues, and how to make them believable and compelling.

Storyboard:
How to begin about converting your words into visual language? Learn the basics for crisp storyboarding.

About the Facilitator
A former reporter, Mumbai based columnist and screenwriter, Mayank Tewari rose to fame with Newton, his second feature as a screenwriter following his debut Ragini MMS in 2011. If you are an avid film buff, you may have read that Newton is India’s official entry to the Oscars in 2018.

Venue
The District – Bungalow No. 96
Jankidevi School Rd, Versova, Andheri West, Mumbai, Maharashtra 400061, India

Booking
on Insider.in

“NARI TERI YAHI KAHANI TO #BoreMatKarYaar”

A SCREENWRITING WORKSHOP BY PAROMITA VOHRA ON GENDER SENSITISATION

Feminist ideas always show up as an exception in Hindi films – or most films for that matter. It is crisis, revolution, morality play around themes of rape, dowry, divorce, revenge, victimhood or heroism. But does a feminist film always come waving a flag? Or can we imagine it more interestingly, more true to life, more humorous and sexy with more smarts and heart? Could Hindi Masala RomCom be more feminist than a film about feminism? Are songs and beauty, love and interiority full of feminist possibility (Yes!)? Can we write different female characters without writing different male characters? Can we re-conceptualise ‘issue-based films’? In other words – can we imagine an effortless feminism? One that is part of every kind of film?

Paromita Vohra is a writer & a filmmaker whose work mixes fiction and non-fiction to explore themes of urban life, popular culture, love, desire and gender. Her films as writer include the internationally released feature Khamosh Pani/Silent Waters and as well as the play Ishqiya Dharavi Ishtyle. She is the founder and Creative Director of Agents of Ishq (a unique digital project about sex & love in India)

Date: November 15th, 2018 (Thursday) Time: 05:30 PM

Venue: SWA Office, 201 – 204, Richa Building, Plot No. B – 29, Off New Link Road, Opposite Citi Mall, Andheri (West) Mumbai

NOTE: Only for SWA members. To attend, RSVP by sending an email to contact@swaindia.org Limited seats (for first 45 members only – On ‘First Come, First Served’ basis).

Details: www.swaindia.org/blog/gender-sensitisation-workshop-by-paromita-vohra/

About
On public demand, Tilt Shift Labs is organising a certified workshop with National Film Award winning director Kamal Swaroop on film writing and direction.

The workshop, titled ‘Grammar of Film Making’, is a three day long (long weekend) intensive workshop for amateur, semi-pro filmmakers or even students of cinema who are looking towards making a career as a filmmaker. This three day filmmaking workshop is the most intensive, instructional program in filmmaking that can be found at any film school. In three days, students are instructed in the basics of writing, directing, camera.

Your film begins here.

What you learn
Basics of Film-Making with focus upon camera angles, composition, cutting,
continuity, constructing a screenplay, and creating a shot breakdown.

Brief
Kamal Swaroop is a dual National Award- and Filmfare Award-winning film,
television and radio director and screenwriter. In 1974 he graduated from the Film and
Television Institute of India, and even his student works met with unusual international
acclaim. He continued with postgraduate studies at the Institute. He assisted the director
Richard Attenborough in the filming of Gandhi (1982). He made documentary as well as
feature films. He is currently working on a full-length documentary titled The Battle of
Benaras, produced by Medient. Famously banned, a formal experimenter, Om-Dar-Ba-
Dar is his master work.

Kamal Swaroop was born in Kashmir. The family then moved to Ajmer, where he graduated
in biology, before moving to Pune to study film direction. He had a brief stint at ISRO,
where he used Russian fairytales to teach science to kids, and then took filmmaking
classes in a remote village of Maharashtra.

Below are the details
Workshop topics
Day 1
Camera angles
Scene, shot, & sequence
Types of camera angles
(objective, subjective, and PoV)
Subject size, angle, and camera height
Extreme long shot
Long shot
Medium shot
Two shot
Close up
Inserts
Descriptive shots
Subject angle
Came height
Level angle
High angle
Low angle
Angle plus angle
Tilt dutch angles
Employing camera angles
Area
Viewpoint
Selection of area and viewpoint
Depicting the action
Change camera angle, lens or both
Scene requirements
Aesthetic factors
Technical factors
Psychological factors
Dramatic factors
Editorial factors
Natural factors
Physical factors
Camera angles on signs and printed matter
Problem camera angles
Conclusion
Continuity
Cinematic time & space
Time & space continuity
Time continuity
Space continuity
Filming the action
Types of action
(controlled action, uncontrolled action)
Filming techniques
(master scene, triple take)
How to use master scene technique
Advantages of filming master scenes
Disadvantages of filming master scenes
Triple take technique
How to use triple take technique
Advantages of triple take technique
Disadvantages of triple take technique
Master scene vs triple-take technique
Directional continuity
Importance of establishing direction
Screen direction
Dynamic screen direction
Use neutral shots
Action axis
How camera set-ups can be used to establish & maintain proper screen direction on moving player or vehicle
Action axis on curves
Action axis on corners
Action axis through doorways
Cheating the action axis
Entrances and exits
Reaction close-up for switching screen direction
Reversing screen direction
Map direction
Location interiors
Planned screen travel
Static screen direction
Matching the look
Look on both sides of lens
Neutral look
Matching look on moving players
Matching look on master scene cut in shots
Matching look with single player
Matching looks on speaker & audience
Action axis for 3 players
Matching looks on group seated around a table
Re-positioning action axis for background cheat
Matching look on stock shots & production scenes
Reverse shots

Day 2
Types of film editing
Continuity cutting
Compilation cutting
Cross cutting
Cutting on activity
Cutting and composition
Moving shots and static shots
Timing moving shots
Loose camera shots
Protection shots
Dissolves
Sound editing problems
Sound flow
Editorial requirements
(aesthetic, technical, and esthetic)
Narrative factors

Composition
Still v/s motion picture composition
Compositional rules
Compositional language
(lines, forms, masses, & movements)
Balance
(formal and informal)
Centre of interest
Lighting, tonal values, & colors
Selective focusing
Eye scan
Image placement
Image size
Integration with angles
Linear and aerial perspective
Background
Framing
Dynamic composition
Suspense composition
Catalog pictures
Compose in depth

Day 3
Process of writing
Discussing individual scripts
Story boarding process
Production planning
The need for story-telling
Visualization strategies
Dramatic strategies
Characterization strategies
Dialogue strategies
Melodrama, docudrama, hyper-drama
The experimental narrative

Venue
The District – Bungalow No. 96
Jankidevi School Rd, Versova, Andheri West, Mumbai, Maharashtra 400061, India

Date and Time
19-20-21st October (10 AM Onwards Daily)
Duration of the event: 3 Days

More Details
https://insider.in/grammar-of-film-making-by-kamal-swaroop-oct19-21-2018/event
Ticket inclusions: Workshop Kit, Mentoring by Kamal Swaroop, Lunch, and Notes.

Tilt Shift Labs is organising its first ever certified workshop with National film award winning director Kamal Swaroop. The workshop titled ‘Grammar of Film Direction’ is a two-weekend intensive workshop for amateurs/students of cinema who are looking towards making a career in films.

– In two short weekends, students will be instructed on the basics of writing, directing, camera, and each student will write a short film project which will be guided and mentored by Kamal Swaroop.

– About the director:
Swaroop is a well acclaimed filmmaker and screenwriter. He graduated from Film and Television Institute of India in 1974, and later on did his postgraduate studies at the Institute. In 1982, he assisted Sir Richard Attenborough in the filming of Gandhi. His feature, Om-Dar-B- Dar (1988) is still considered a path breaking film, and it has a massive cult following among cinephiles.
Swaroop’s career, spanning 42 years, covers a broad range of films, channel promos for Channel V India, ads and Radio Spots. In 2014, he directed The Battle of Benaras, produced by Medient, and went on to release Tracing Phalke in 2015 for Films Division of India. Later on, he made Pushkar Puran (2016), and Atul (2016), based on the world renowned Dadaist artist Atul Dodiya.
Battle for Benaras premiered at Cinema Du Reel, Paris, while Atul premiered at the Cochin Biennale. He is currently working on a musical, Miss Palmolive All Night Cabaret and The Third Police Man, a metaphysical murder mystery.

Weekend I 

Session I
Camera Angles
Scene, Shot & Sequence
Types Of Camera Angles: Objective, Subjective, Point-Of-View
Objective Camera Angles
Subjective Camera Angles
Subject Size
Subject Angle
Camera Height
Extreme Long Shot
Long Shot
Medium Shot
Typical Two Shots
Close-Up
Inserts
Descriptive Shots
High Angle
Low Angle
Angle Plus Angle
Dutch Angle
Selecting Area And Viewpoint
Other Angles

Weekend I

Session II
Continuity
Cinematic Time And Space
Filming The Action (Controlled And Uncontrolled)
Filming Techniques (Master Scene And Triple Take)
Screen Direction (Dynamic And Static)
Neutral Shots
Reverse Shots
Screen Travel
Pictorial Transitions (Fades, Dissolves And, Wipes)
Sound Transitions

Weekend II

Session I
Process Of Writing
Back Story
Internal Need
Inciting Incident
External Goal
Preparation
Opposition
Self Revelation
Obsession
Battle
Resolution

Weekend II

Session II
Process Of Writing
Discussing Individual Scripts
Story Boarding Process
Production Planning
The Need For Story-Telling
Visualization Strategies
Dramatic Strategies
Characterization Strategies
Dialogue Strategies
Melodrama, Docudrama, Hyperdrama
The Experimental Narrative

Dates : July 29 – 30 | Aug 5 – 6 |

Time : 10AM-5pm

Seats : Only 15

Venue : Lowfundwala Productions, Andheri (West)
Bungalow No.96, SVP Nagar, MHADA, 4 Bungalows,Andheri West, Mumbai, Maharashtra 400053

Fees : Rs 8470

– For further details, and to book your seat, click here.

 

2wwi_swa_screenwriting_workshop

2016 can be called the year of the Indian screenwriter! With a slew of films powered by some scintillating scripts blazing new trails, the scramble for good scripts gets a shot in the arm. Writers’ visions seem to be driving storytelling in the Hindi film industry. Those who were part of this trail-blazing year are happy to share their knowledge, experience and guidance, via interactive masterclasses in the workshop!

With the aid of new examples, references and illustrations, the Workshop Instructor will cover all the useful principles of screenwriting, the navrasa theory, Indian mythology, copyright law, writers’ contracts, and offer professional guidance.

WORKSHOP INSTRUCTOR

Anjum Rajabali (Drohkaal, Ghulam, The Legend of Bhagat Singh, Raajneeti): Head of Screenwriting at Whistling Woods, erstwhile honorary head of Screenplay Writing at FTII, and an activist of SWA. Conducts workshops, script labs, seminars and fellowships for screenwriters in India and abroad.

Guest Speakers

Jaideep Sahni (Chak De India),  Shakun Batra (Kapoor & Sons), Nitesh Tiwari (Dangal) (TBC), Gauri Shinde (Dear Zindagi), Juhi Chaturvedi (Piku), Ashwiny Iyer Tiwari (Nil Battey Sannata), Sriram Raghavan (Badlapur), Shridhar Raghavan (Dum Maro Dum), Nikhil Mehrotra (Dangal), Shreyas Jain (Dangal)

FEE

For SWA members: Rs. 8500/- (Inclusive of taxes, tea/coffee and lunch on all days)

For non-SWA members: Rs. 11000/- (Inclusive of taxes, tea/coffee and lunch on all days)

*If you wish to become an SWA member, please visit www.fwa.co.in

VENUE

5th Veda Auditorium, Whistling Woods International, Film City, Goregaon East, Mumbai – 65

– For more information and to register for the workshop, please call 30916003 or email: kanchi.parikh@ whistlingwoods.net

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NFDC Screenwriters’ Lab, a 2-part workshop is designed to prepare screenwriters’ with original Indian stories for working with the international filmmaking market place. It aims at improving a completed screenplay in its final stages and to increase the international marketability of the same.

ELIGIBILITY
  • Open only for Indian citizens residing in India
  • Open only for feature length fiction films
HOW TO APPLY
  • Create a MyFilmBazaar Account.
  • Use this ID to access the online application form.
  • The Regular Deadline for applications is 3 March 2017 (6 pm IST).
  • The Extended Deadline for applications is 13 March 2017 (6 pm IST).
  • Applications will not be considered complete till the payment has been processed.
  • Email/hardcopy applications will not be accepted.
SUBMISSION REQUIREMENTS
Before you begin, please make sure you have the following:

  • Logline
  • Short Synopsis (500 – 600 words)
  • Writer’s Statement (500 words)
  • Updated Bio

In addition, you have the option of submitting either

  • Full Screenplay

OR

  • Story Synopsis (6 -10 pages | 12 point font, single spaced, 1” margin)
  • First 20 pages of the Screenplay ( in industry accepted format)

Shortlisted applicants will be called for an interview, either in person or on Skype (in the month of April)

DATES FOR THE LAB
  • Session 1 – end of May 2017
  • Session 2 – 6 weeks after Session 1 concludes
  • Session 3 – 8 weeks after Session 2 concludes
  • 20 – 24 Nov, 2017 – Film Bazaar
FEE
  • INR 3000 for applications submitted on or before the Regular Deadline, 3 March 2017 (6 PM IST).
  • INR 5000 for applications submitted after the Regular Deadline from 4 March to 13 March 2017 (6 PM IST).
CONTACT
  • For further clarifications, write to screenwriters-lab@filmbazaarindia.com.
  • For more details, and to apply, click here.