News

3D Camera Intensive Series

in partnership with Emily Carr University of Art + Design

Featuring the Kernercam KC7000 3D stereoscopic camera rig

October 21 – 23 | $200.00 *includes registration for the 3D Exploratory Workshop

Canwest Centre for Theatre and Film, University of Winnipeg, 400 Colony Street

*Registration deadline – October 18th

Participants will learn how to build, maintain and change configurations of the Kernercam 3D Rig.  The rig is an over/under front-surface mirror design utilizing two Sony HDC-P1 cameras; each mounted with matching fujinon 18×7.6 c-series zooms. All the functions of the cameras, such as focus, zoom, aperture, etc., are operated by motorized wireless controls.

The workshop will begin with a general overview of the Kernercam camera rig, including how to assemble the rig; set it to zero and check the alignment; basic care and mirror cleaning, and how to dismantle and pack the rig in cases. After the general overview, participants will have the opportunity to transport the rig in its case, to get a feel for how it travels.

After a mid-day break, participants will return to the workshop and begin to assemble the rig. They will review the full rig alignment procedure, including the alignment environment, tools and monitors; solid rig mounting; and test charts and target lights. Participants will assemble the cameras to sleds, mount lenses, adjust zoom tracking, preset the rig adjustments and mount the cameras.

The Kernercam has been used on a number of feature films including 3D elements for Avatar and Pirates of the Caribbean IV and more recently action miniatures on Transformers III.

Note: Participants of this workshop series will work with Marty Brenneis and Sean Arden to operate the Kernercam 3D Rig as part of the 3D Exploratory Workshop.

3D Exploratory Workshop

in partnership with Emily Carr University of Art + Design

With Karl Herrmann, Marty Brenneis, John Reeve, Alan Goldman, Sean Arden and Denise Quesnel

Featuring the Kernercam KC7000 3D stereoscopic camera rig with two Sony HDC-P1 cameras, and the Genus Hurricane 3D Camera Rig with two SI-2K cameras

October 22 & 23 | $175.00 (Registration deadline – October 18^th)

Canwest Centre for Theatre and Film, University of Winnipeg, 400 Colony Street

*registration for this workshop will include registration to the 3D Filmmaking Symposium on Friday, October 21.

This is a two-day interactive workshop where participants will experience the nuances on set between 2D and 3D using the latest stereoscopic image capture tools. As a participant of this workshop, you will learn how production and post-production workflow is changing and how the new technology changes how the industry produces, directs and budgets for 3D. Participants will watch the playback live on a large 3D-screen monitor and projected in 3D on a big screen.

This workshop will begin with a basic introduction to 3D filmmaking. You will be taught composition, and the different types of shots and blocking used exclusively in 3D filmmaking, as well as how important your lighting choices are when working in 3D. The instructors will review camera movements, how to adjust convergence, as well as pulling focus and zooming. The instructors will also deliver instruction on 3D camera rig types and working examples, and participants will be shown how a Stereo Image Processor can save valuable time by allowing you to converge in post-production.

This is an excellent opportunity for the local film and television industry to engage with experienced instructors in the field of 3D filmmaking. Both the Kernercam KC7000 3D stereoscopic camera rig and the Genus Hurricane 3D Camera Rig have never been seen in Winnipeg until this event.

3D Filmmaking Symposium

with Stereographer John Reeve

This event is brought to you in partnership with On Screen Manitoba

October 21^st | 1:15 pm – 3 pm | $25 (*RSVP required)

Empire Grant Park 8 Cinemas – 1120 Grant Avenue, Grant Park Shopping Centre

Are you thinking about making a 3D project? Do you want your company to make the move into 3D but you don’t know where to start? Are you simply curious about 3D? Join Stereographer John Reeves as he guides the participants of this symposium through an audio-visual 3D presentation. By the time you leave this event, you will be equipped with a thorough understanding of the differences between shooting in 2D and 3D.

During this session, John will explain what tools are needed to film a project in 3D, and what personnel you will need to operate the equipment and execute your project successfully. Reeve will also offer a detailed explanation on the differences between shooting in 2D vs. 3D, and how to identify if 3D is the right choice for your project. There will be a segment on how to avoid the high costs of unchartered territory, and tips will be given on how to plan a 3D production from start to finish.

This symposium is designed for industry professionals. Filmmakers and crewmembers are encouraged to attend for a more in-depth look at the differences between 2D and 3D technologies.

Genus Hurricane 3D Camera Rig Equipment Demonstration

Brought to you in partnership with Amaya Foto, a Division of Amplis Foto and featuring two SI-2K cameras and 2 Canon video dslr’s

October 21| 7 pm – 9 pm | FREE (*limited space, please RSVP)

Canwest Centre for Theatre and Film, University of Winnipeg, 400 Colony Street

The Genus Hurricane Rig offers incredible performance, professional features, and a lightweight flexible design that rivals that of the S3D beam splitter rigs.

A demonstration of the Genus Hurricane 3D Camera Rig will be given by Ron Steinberg, Brand Manager at Amaya Foto (a Division of Amplis Foto). During this demo you will see how easy it is to operate the rig through the manual control of camera alignment and camera adjustment; how to assemble the rig; and how to set up the auxiliary equipment and maintenance. The demo will be followed by a Q & A period.

The rig is already finding a home in stereoscopic Movie and Commercial production around the world. Genus Hurricane 3D rigs were recently used to shoot the movie Night of the Living Dead 3D: ReAnimation, and Inside the line: the Indy 500, a 3D documentary produced by New Wave Entertainment. The Genus Hurricane 3D Camera Rig has won the prestigious DV Black Diamond Award for Best of Show NAB 2011. The DV Black Diamond Awards recognize outstanding achievement in the advancement of the art and science of video technology.

http://www.hurricane-rig.com/

Ultra high def, 3-D images.  22.2-channel, digital surround audio.  8K resolution digital intermediate conversions.

The high-tech wizardry that brandishes our multiplexes nowadays can be jaw-dropping.  However, much of the filmmaking industry’s adoption of cutting-edge innovation has often remained the domain of the “hardware”-based departments, including camera, sound, and post-production.

But there is another department, one that doesn’t get to directly enjoy the glitz of the big screen that is now also benefitting greatly from the advent of the digital age.  Often known as the “department of one”, the continuity department is solely comprised of a film’s script supervisor, who works closely with other departments, meticulously recording a multitude of shooting details and ensuring consistency from take to take.  And now thanks to software programs developed specifically for continuity, script supervisors will find themselves full-bore into a digitally organized system that catalogs, tracks, and reports all the information they previously had to manage by pen and (copious amounts of) paper.

The idea is to take full advantage of the data management and manipulation capabilities that a specialized computer program can provide.  With the proper training and implementation, the efficiency and productivity of a script supervisor’s job becomes greatly streamlined.  And one of the leading continuity software packages is ScriptE, developed by Hollywood script supervisor Tony Pettine and software designer Bob McFarlane.

In late May, Film Training Manitoba brought Pettine to Winnipeg for a one-day primer workshop on the integration of ScriptE into the workflow of a continuity department.  In addition to local script supervisors, this “crash course” was also attended by participants who were keen on potentially transitioning into continuity work within the Manitoba screen-based industry.

Pettine, who most recently script supervised the Oscar-nominated films Black Swan and The Wrestler, focused primarily on the setup and workflow of the software, showing participants how each component directly corresponds with the numerous daily tasks of the job itself.

Released in its first iteration for the Mac operating system in the summer of 2007, ScriptE is currently available for the Windows platform as well, and there is now even a slick companion iPad app.  And while Pettine mentioned that some “heavy hitters” in the industry’s continuity field had been initially resistant to this technological update in their field, many have since come around.  In the beginning, ScriptE was utilized predominantly on non-union productions, as well as independent films and television series, but is now being adopted more and more for use on big budget productions.

For the more seasoned script supervisors attending the workshop, this introduction to the “computerization” of their department sparked an immediate interest in the significant ways their jobs could be better organized and streamlined.

In particular, Tanya Mazur, who has worked as the script supervisor on the locally-shot series Todd and the Book of Pure Evil and Cashing In, recalls how before the widespread availability of digital still cameras, there was a sole reliance on the other means of capturing immediate images: the Polaroid picture.  Stacks upon stacks of these “instant photo reminders” would clutter a script supervisor’s workspace.

Digital stills certainly relieved some of this burden, but still involved the concerted effort of pulling out a digital camera and stealthily snapping the crucial photos.  And even then, you would still need to “flip” sequentially through the slew of digital photographs to find any particular one.  With ScriptE, not only are you able to log photos and digitally attach them to specific scene records, you also have the incredibly convenient option of grabbing still frames directly from the on-set video tap that comes live off of the actual film cameras.

But even for Mazur, she is pragmatic about the time and effort she would need to invest in order to learn this enhanced way of doing her job on local shows.

Mazur explains, “It is one thing to work on a feature in New York doing 5 to 10 setups a day, and to have all the time in the world to do paperwork…(I)t is entirely another thing to work on a low budget show, forty below, working in a tent with no heater, and doing 60 setups, let alone (having) a station for my laptop and (running) a cable into a camera.  It is not that I’m resistant…I want to make my job easier…but I am realistic about shooting conditions in Winnipeg.”

Another veteran participant is very eager to “test out” the ScriptE software on a show that she is booked to script supervise this summer.  It’s also her plan on this upcoming show to train two of the participants that she just met at the workshop who are aspiring to become script supervisors themselves.

One of these trainees, Sandra McEwing, is currently a stage manager for Rainbow Stage in Winnipeg and new to the world of film continuity.  McEwing admitted that she was primarily interested in meeting established script supervisors during the workshop but she also wanted to explore supervising film continuity as a new career direction.  Learning the fundamentals of the ScriptE software was eye opening for her, and having now been exposed to these new tools being implemented in this field, McEwing recognizes their value.

“I believe that most industries will require a greater degree of computer and software-familiar employees, and those who don’t learn (might) be left behind,” relates McEwing.

In the end, the workshop not only imparted existing crew with knowledge of the latest skills and technology being employed in their industry, but was also able to bring together veterans and up-and-comers, hatching further training opportunities that could ultimately strengthen local continuity departments with newly skilled crew members.

- Written by Benjamin Aytona

A partnership between Film Training Manitoba and Red River College

FTM is pleased to announce that we have once again partnered with Red River College to bring you Film Crew Supervisory Skills Certificate. The FCSSC was designed to aid those wishing to develop their human resource and supervisory skills for work in the film and television industry.

To obtain a Film Crew Supervisory Skills certificate, participants will need to complete the following:

1. Two FTM workshops: Money Matters and Supervisory Skills
2. Four Red River College business seminars and/or workshops

Participants who have completed either the Money Matters and/or Supervisory Skills* workshop are eligible to receive a 50% discount on a maximum of four RRC business seminars and/or workshops. Participants must attend at least one of the FTM workshops before being eligible for the discount on their Red River College registration. Reimbursement on a Red River College busine ss seminar and/or workshop will be processed after attending the RRC seminar/workshop and upon submission of an official receipt.

* Money Matters and/or Supervisory Skills will be offered a minimum of once a year, through Film Training Manitoba.

Participants have up to two years to complete all the requirements for the Film Crew Supervisory Skills certificate. If a participant successfully completes all six courses (two FTM workshops and four RRC seminar/workshops) within the two-year period, FTM will present them with a $100 credit towards any Film Training Manitoba seminar or workshop.

The following is a list of recommended courses being offered through Red River College’s Continuing Studies Program: Business Seminars and Workshops (Summer and Fall terms):

1. Communicating in Conflict
2. 360 Evaluation Process
3. Interviewing Skills-Employers
4. Team Building
5. Conflict Resolution*
6. Managing Young Workers*
7. Negotiating Skills*
8. Stress Management*
9. Workday Management Tools*
10. Critical thinking**
11. Effective Listening techniques**

*Offered in class and via distance learning (self-directed).

** These courses are offered through Distance Education only.

In addition to this list, Red River College offers a variety of business-oriented workshops and seminars, all designed to develop a person’s ability to deal effectively with a wide range of work-related situations. Participants interested in registering for a course that is not shown on this list are asked to contact Film Training Manitoba directly to discuss the course eligibility.

Contact:

Film Training Manitoba

100 – 62 Albert Street

P: 204.989.9669

E: info@filmtraining.mb.ca

www.filmtraining.mb.ca

Stereoscopic. The word, when applied to 3D, literally means to film two offsetting images in order to manipulate the eye into believing that it’s seeing real objects. We all have our favourite screen-jutting moments, whether from 3D films that first ran in the mid-50s (House of Wax; Dial ‘M’ for Murder), or the early 1980s (Jaws 3-D). Now 3D is back with a vengeance, taking over cinema screens faster than ever before and now there’s even the preponderance of 3D televisions to aid in the format’s ever-expanding availability.

With technological leaps and bounds established in recent years, 3D is a vastly different animal than the previous style parodied so well in SCTV’s Dr. Tongue sketches. It’s much more sophisticated – and as Avatar demonstrated irrevocably, looks far better than it’s ever looked before.

Keeping this in mind, Film Training Manitoba partnered with Mid Canada Production Services in March for a crash-course study that delved both into the practical application of 3D and the abundant theories that surround the process. In addition to stereoscopic, Reid Robertson, Supervisor of Panasonic Tech Support & Product Services, answered questions about Panasonic’s 3D camera package; the 3DA1, which was covered extensively on day one.

Helping to elaborate on stereoscopic for day two were Mark Bone, a Toronto-based filmmaker with Olympic games and the TIFF-presented short Escarpment Surfers, and John Reeve, a Digital Imaging Technician and Stereographer on over twenty-five 3D productions.

Bone explains what the course touched upon, “We covered a whole variety of topics. We showed 3D examples on the high-end and then opened it up to stereoscopic theory and how the eye sees 3D. (We also covered) how binocular vision works with stereoscopic vision and how to approach the camera. Then there are all of the issues and disparities that we run into, and how to correct them. There’s also the difference between rigs, and whether to converge in-camera or post. Basically, how we acquire 3D and interpret… not just shooting (3D), but really inquiring into the image and what occurs in the ocular muscles.”

As can be pretty much inferred from watching a 3D film, the making-of is a labour-heavy process, but Bone and Reeve helped demystify what we commonly believe to be necessary to shoot in the format.

How did Bone himself become interested in 3D?

“I began shooting 3D stills out of pure interest. I was a college intern at a research center when I took on the job of 3D post-production out of this established interest. I learned a great deal in three ways: shooting it myself and making mistakes, using two identical TV cameras through my research center, and partnering with Tim Dashwood on the Final Cut Pro 3D software.”

Winnipeg-based camera department professional Ryan McGregor, no stranger to Film Training Manitoba’s abundant training support, took the course because he feels it’s “inevitable” that a 3D production will come to town.

“I think there are some 3D movies that leave something to be desired – including Avatar, story-wise. But it’s safe to say it’s sticking around for a bit. There’s no way of getting around it and I want to be on one of those shows. Obviously, it’ll be a bigger challenge for everyone involved, but I wanted to get a head start for this (potential) production.”

What did McGregor take away from the two days?

“It gave me an intro to the concepts of 3D. It was great to have an overall general thing for producers, directors and everyone else that came in, but eventually we’ll need a 3D camera rig to come to town and spend a few days with that. (As it stands), this was great as an introduction. I don’t know if it changed my (perceptions of how to view 3D), but it provided me with more information on how to actually do it… and how to manipulate the space. I understood the whole 2-eyes convergence, but it was a good opportunity to see how you can play with the depth and how to control it.”

Asked for examples of recent successful 3D films, McGregor reached back a couple of years.

“Piranha 3D achieved what it was going for… campy, shock entertainment. But the first one that sticks in my mind was My Bloody Valentine 3D. It was the first of the new wave 3D movie that I saw that stuck out – and it was (entirely different) from all of the 3D animation I’d been exposed to at Disney World or Universal Studios or wherever. This was real life.”

Local filmmaker Mike Maryniuk took the course, being no stranger to 3D himself.

“I decided to take it because I had made a short independently in the past and was interested to learn more about the process. (I wanted to find out) whether what I was doing was completely wrong or not. I made Dead Ringer last year with two 3D rigs – two DSLR Cameras and shot it animation-style.”

Maryniuk took away some big lessons from the class.

“One, it justified what I was doing before as they (Bone and Reeve) agreed with my research and it was revealed to me that the manuscript that I based my research on – Lenny Lipton’s Foundations of the Stereoscopic Cinema – was the same one they were basing their teachings on. In a way, my experiments were justified by them agreeing with this line of thinking. That was really important to me.

“It was also great to experiment in class and ask questions to someone who had answers. It certainly rekindled that flame of shooting 3D last year.”

Does Maryniuk think he’ll shoot in 3D in the future?

“Sure. But (the course) also justified my opinion that 3D isn’t for everything. It’s for some things and not others. It’s like when the Red River Ex is in town… it’s a great event when it’s here in June, but if it were here year round, (Winnipeggers) would tire of it pretty quickly.”

In the end, Bone views the weekend as a success.

“It went great. There’s only so much you can teach in 2 days to a new crowd, and often you’re only teaching specifically to editors or cinematographers or whoever… (but here) we fielded questions from everybody, and I really welcomed (the opportunity) to be able to do that.”

Film Training Manitoba develops workshops like Stereoscopic 3D Production and Theory to ensure that Manitoba’s film industry has qualified, highly-trained crew members in all craft areas. Among the goals of the Workshop Training Program is to provide training to emerging and established crewmembers to expand the crew base of the local film industry.

For more information on FTM’s upcoming workshops, please contact us or visit our website (www.filmtraining.mb.ca).

Written by Aaron Graham, for FTM

Red River College delivers Film Crew Training: Introduction (PDEV-1017)

For over two years, Film Training Manitoba has collaborated with Red River College to deliver the Intro to Film Crew Course through the Continuing Education Department. This year the course has been renamed Film Crew Training: Introduction and is being delivered in-class beginning Monday, April 11th.

This course explores the many department and equipment requirements for full film productions, and develops skills and attitudes required to be successful on a set.  Participants will be introduced to film production culture and organizational hierarchy, and will discover how to effectively communicate on set, how to self-manage in a changing work environment, and how to build a film career.

This course is offered in conjunction with Film Training Manitoba, IATSE 856 and DGC Manitoba Council. For more information please contact Red River College’s School of Continuing and Distance Education (http://www.rrc.mb.ca/)

Film Training Manitoba’s Executive Director Nominated as Woman of Distinction

Winnipeg – Film Training Manitoba is thrilled to announce the nomination of our Executive Director, Neila Benson, for the YMCA-YWCA Women of Distinction Awards.

Neila has a distinguished background as a picture editor for the NFB (among others), animator and film professional.  She served as Film Training Manitoba’s Work Experience Coordinator until 2007, when she was appointed Executive Director. As the ED of Film Training Manitoba, she has brought her wealth of experience and her inside knowledge of Manitoba’s vibrant film industry to all of FTM’s training and outreach programs. Through her leadership and outstanding community involvement, FTM has become a nationally recognized training organization for the screen-based industry.

Throughout her career, Neila has assisted hundreds of members of Manitoba’s film and television industry further their careers behind, and in front of, the camera. She is a dedicated community leader whose vision of a relevant training organization has helped create one of the strongest training sectors in Manitoba. You would be hard pressed to find someone in the Manitoba film industry that has not been directly affected by her contributions.

“Her dedication and vision have contributed hugely to the success of Manitoba’s filmmaking art and achievements. For her bravery in taking on such a huge task, and her contributions to training Manitoba’s future generation of film artists and craftspeople, she deserves this recognition of her importance to the province,” Vonnie Von Helmolt, Producer and Chair, FTM Board of Directors.

Neila has been nominated in the Education, Training & Mentorship category. The Women of Distinction awards are being held on May 4, 2011. The award honours, encourages and recognizes women whose outstanding activities and achievements contribute to the health and future of the community.

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For more information please contact:

Dawn Bourbonnais, Communications Coordinator

Film Training Manitoba

Ph: (204) 989.9668 or E: dawn@filmtraining.mb.ca

Considering that Career Focus intern Dustin Courchene picked up Set PA gigs on two high-profile film productions, just weeks after his on-the-job training with Film Training Manitoba, it’s easy to proclaim him a qualified success story.

Established in 2006, the Career Focus Internship Program allows for under-30, post-secondary graduates to gain experience on an actual film set, equipment house or production facility.  FTM partners with production companies to assess which departments are able to comfortably take on paid interns, allowing for positions to be filled in such varied areas as the costume department, lighting, or — as in Dustin’s case — the AD (Assistant Director) department, not to mention several others.

“I was looking for different opportunities online, so I went to the (FTM) website and saw the listing. I quickly became interested after reading up on it, so I made a phone-call. I spoke to (FTM Training Coordinator) Allison Bile, and she gave me all of the info about the program. Shortly after that, I came in for an interview and was placed with (APTN series) ‘Cashing In’, then in its third season,” says Courchene, 29.

What was it like for Dustin, a graduate of the University of Manitoba and a past participant of NSI’s New Voices, to join an already established television series?

“It was awesome. The crew had done two other seasons, so they were all basically a family, but they still welcomed me with open arms. It was a great experience.”

Dustin found that the production was increasingly able to give him more responsibilities as time wore on.

“Initially, it was baby steps, but that was just until they got comfortable with me. I started in pre-production, so that meant putting the paperwork together: daily time sheets, weekly time sheets, deal memos, both corporate and employee. After that, I helped set up the AD offices for when filming began. Once production was underway, I mostly helped with background (performers), signing them in and out. And there’s a lot of paperwork involved with that. I also wrangled and placed the performers, and ushered the main cast to where they needed to go.”

Although it wasn’t Dustin’s first time on a film set, the FTM program proved to be an exceptional way of being thrust into such a demanding environment.

“It’s actually a little intimidating trying to get (on a set), as a lot of the business is networking and if you don’t already know people, you’re not really going to be getting calls. FTM helps open that door so that you’re out there meeting the people who will become friends and who will be able to recommend you in the future.”

As Dustin discovered, collaboration is crucial.

“Teamwork and putting in hard work each day allows for everything to gel. On a film, there are 100 people working towards a common goal, all led by the director. And your attitude is important – you’ve got to push aside any negativity and be professional.  Otherwise, everyone else’s day is going to be miserable.”

Following his positive experience on ‘Cashing In’, Courchene subsequently found positions on two major fall productions.

“In my case, (3^rd A.D.) Megan Heke got me onto (feature films) ‘ATM’ and ‘Goon’”, says Courchene. “Without FTM, I wouldn’t have met Megan. So they act as a great stepping stone to get your foot in the door.”

What should prospective interns anticipate if they’re chosen for the program?

“Expect not to know anything, even if you assume that you have an idea of what a film set is like. Being an intern, people are more aware that you’re just starting to learn – that you’re green, but you should try to be as proficient in your duties as possible.”

“Also, expect long hours. As an intern, I was only able to work 12 hours (each day), but once you’re on a film set as (a regular employee), be prepared for 15 hour days.”

In the end, Dustin says he’d recommend the Career Focus Internship Program wholeheartedly, and hopes he one day reaches the professional level that enables him to contribute to this FTM initiative.

“I hope to one day reach that point. Mentorships are a great way of giving back.”

For more information on the Career Focus Program, please contact FTM or visit our website (www.filmtraining.mb.ca).

~ Written by Aaron Graham for FTM

Join celebrated Winnipeg filmmaker Guy Maddin as he takes you on a journey of music and movies, and explores how classical music is used in Hollywood’s famous films such as: The Incredibles, 2001: A Space Odyssey, Amadeus, Apocalypse Now, Austin Powers, The Shining, Blues Brothers, Manhattan, Platoon, 10, Excalibur and Fantasia.

Guy Maddin’s most distinctive quality is his fondness for recreating the look and style of silent or early sound era films. His award-winning feature films include Tales from the Gimli Hospital, The Saddest Music in the World, Brand Upon the Brain, and My Winnipeg, to name a few.
Along with resident conductor Richard Lee, you will be surprised and mesmerized by how classical music is interwoven into popular culture.

Tickets available at the Winnipeg Symphony Orchestra and all Ticketmaster outlets.

WSO Box Office: 204.949.3999

Ticketmaster: 204.780.3333

Please visit www.wso.ca for more details.

FTM Congratulates the Transmedia Production Lab Participants!

Film Training Manitoba gathered together a group of talented trainees and mentors for a weeklong production experiment designed to help participants explore the creative challenges of developing a multi-platform project from start to finish.

The FTM Transmedia Production Lab saw participants split into two groups, and guided by two new media experts, Tony Walsh and Ryan FitzGerald. Each group consisted of both mentors and trainees working in tandem to produce several short form transmedia project prototypes.

“One of the main goals of the lab is to help producers and crewmembers to better understand digital media platforms. I think this training model opens up a world of digital possibilities”, says Neila Benson, Executive Director of Film Training Manitoba.

This lab was specifically designed for the trainee participants to pair up with mentors in their chosen discipline. Teams worked collaboratively during pre and post-production, providing mentors the opportunity for one-on-one consultations with their trainees.  The following people were chosen after an extensive application process:

The Mentor Team
Derek Luis – Producer
John Barnard  – Director / Editor
Sarah Constible  – Writer
Andrew Forbes  – DP/Cinematographer
Gord Tanner, Ross McMillan – Actors
Scott Gillam – Graphic Designer / Artist
Darren Mak – Programmer

The Trainee Team

Jim Agapito – Producer
Quinn Merkeley – Director / Editor
Conrad Sweatman – Writer
Devon Unrau – DP/Cinematographer
Ali Tataryn, Dean Harder – Actors
Adrian Shum - Graphic Designer / Artist
Dylan Fries – Programmer

The final projects will be screened at the end of the week for members of the local film and television industry.

FTM would like to thank the following organizations for their generous support of this training event;

New Media Manitoba

William F. Whites

MidCan Production Services

Farpoint Films

City of Winnipeg’s Film and Special Events Office