Editing Room

XML EXPORTS FOR COLORGRADING

Samu Kuukka
Image Editing 10:00 - 14:30

Participants: AMPI Third Generation

COLORGRADING SESSIONS

Hannu Käki
Colorgrading 09:00 - 16:00

Participants: AMPI Third Generation

Art Lab

SOUND EDITING SESSIONS

Kirsi Korhonen
Sound Editing 09:00 - 16:00

Participants: AMPI Third Generation

PRE-MIX WITH Toni Teivaala

09:00 - 16:00

Participants: AMPI Third Generation

FINAL MIX WITH Ville Kuukka

09:00 - 16:00

Participants: AMPI Third Generation

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FESTIVALS & DISTRIBUTION

Mete Sasioglu + visiting lecturer Christina Demetriou
09:00 - 12:00

EVALUATION OF THE MONTH

14.00-16.00

Participants: AMPI Third Generation

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SOUND EDITING

Short feedback sessions with Kirsi Korhonen
Sound Editing 10:00 - 13:30

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Jerem Tonteri
Creative Editing 09:00 - 17:30

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Jerem Tonteri
Creative Editing 09:00 - 15:30

Participants: AMPI Third Generation

Cultural Center Caisa

WATCHING SECOND CUTS

09:00 - 16:00

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Jerem Tonteri
Creative Editing 09:00 - 17:30

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Jerem Tonteri
Creative Editing 09:00 - 15:30

Participants: AMPI Third Generation

Cultural Center CAISA

WATCHING LOCKED CUTS

09:00 - 16:00

Participants: AMPI Third Generation

YLE

GRANTS & FESTIVALS & NETWORKING SESSION

Mete Sasioglu, Erol Mintas
Visit to YLE 10:30 - 12:00

Participants: AMPI Third Generation

ART LAB

SOUND EDITING

Kirsi Korhonen
Introduction to Sound Editing 09:00 - 16:00

Participants: AMPI Third Generation

Outdoors

SOUND AMBIENCE AND EFFECTS RECORDING

Kirsi Korhonen
Introduction to Sound Editing 09:00 - 16:00

Participants: AMPI Third Generation

Editing Room

SOUND EDITING

Kirsi Korhonen
Introduction to Sound Editing 09:00 - 15:30

Participants: AMPI Third Generation

Editing Room

SOUND EDITING

Kirsi Korhonen
Introduction to Sound Editing 09:00 - 15:30

Participants: AMPI Third Generation

HELEA STUDIO

FOLEY WORKSHOP

Kirsi Korhonen
Sound Editing 09:00 - 16:00

Participants: AMPI Third Generation

Zoom

Color Correction

Hannu Käki
Introduction to Color Correction 13:00 - 16:00

Participants: AMPI Third Generation

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AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

13:00 - 14:00

Participants: AMPI Third Generation

Finnish Film Foundation

POST-PRODUCTION

Samu Kuukka, Jerem Tonteri, Hannu Käki, Kirsi Korhonen, Toni Teivaala, Ville Kuukka
Introduction to Post-Production 09:00 - 16:00

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Samu Kuukka
Intro to Editing 09:00 - 17:30

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Samu Kuukka
Intro to Editing 09:00 - 15:30

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Samu Kuukka
Intro to Editing 09:00 - 15:30

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Samu Kuukka
Intro to Editing 09:00 - 17:30

Participants: AMPI Third Generation

Cultural Center CAISA

GRANTS & FESTIVALS & NETWORKING SESSION

Mete Sasioglu & Erol Mintas with representatives from SES and AVEK
09:00 - 12:00

EFM Fiction ToolBox Presentation

by Jelica Jerinic
13:00 - 16:00

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Jerem Tonteri
Creative Editing 09:00 - 17:30

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Jerem Tonteri
Creative Editing 09:00 - 15:30

Participants: AMPI Third Generation

Kino13

Work In Progress Pitching Session

Mete Sasioglu, Erol Mintas
Pitching Session 09:00 - 16:00

Participants: AMPI Third Generation

Cultural Center CAISA

WATCHING ROUGH CUTS

09:00 - 16:00

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Jerem Tonteri
Creative Editing 09:00 - 17:30

Participants: AMPI Third Generation

Editing Room

IMAGE EDITING

Jerem Tonteri
Creative Editing 09:00 - 15:30

Participants: AMPI Third Generation

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AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

14:30 - 16:00

Participants: AMPI Third Generation

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IMAGE EDITING

Short feedback sessions with Jerem Tonteri
Image Editing 10:00 - 13:30

Participants: AMPI Third Generation

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IMAGE EDITING

Short feedback sessions with Samu Kuukka
Image Editing 10:00 - 13:30

Participants: AMPI Third Generation

The encounter of Minh, the lost soul of a boy who died 8 years ago, and Trang, an orphan, and their journey to find her long missing mom.

Four friends pass by a store to buy some things for a fun day at the park. Inside the store a racist something happen that will change the entire dynamic and mood of the group, bringing up unsolved issues in between the group.

Two sisters Aava and Eevi reunite to mend their broken relationship of past traumas as they spend a seemingly normal and relaxing weekend at their family’s summer cottage. During their stay an escalation of odd and eerie occurrences happen, which leads to one sister’s disappearance. The lone sister must find the courage and strength to find her missing sibling and take on the demon encompassing the forest and her mind.

A fluid and invisible creature from another world, Observer, walks on Earth, collects its stories, listens to the talks, and witnesses its history passing by. In the sunny forest, Observer meets Four Sisters, who share their thoughts about violence, representation in art, and exploitation of Earth for commercial value. They dance with each other, listen and support each other, read poetry and discuss art. After this meeting, Observer is ready to return back and tell the story of Earth.

Kardo Shiwan's short film SINIVUOKKO is a story about a mother and her adopted son. The family faces a crisis that transports the viewer to different times in the life of the mother and son; from the first memory to the last.

The story follows a skein of birds from their migratory journey, longing for freedom.

"Footnotes of An Arranged Meeting" is a short film about Daneen, a Pakistani woman artist based in Finland who navigates through a meeting with Ifran, an engineer from Pakistan who also lives in Finland for a potential arranged marriage.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

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INDIVIDUAL EVALUATION MEETING WITH EACH PARTICIPANT

09:00 - 13:30

Participants: AMPI Third Generation

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Iiris Juutilainen had a lecture for AMPI participants that focused on the role of the 1st Assistant Director in film productions. Juutilainen emphasised on the 1st Asistant Director’s job as being the glue holding together creative vision, production and it’s cast and crew. She underlined the importance of handling everyone respectfully, making the working environment safe, respecting the working hours and the importance of the role of 1st Assistant Director to make those tasks happen.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

Stadin Vocational and Adult Education Center: Make-up Department

Collaboration Visit

Jani Kylmälä
Make-up in Film 13.00-15.00

Participants: AMPI Third Generation

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FINAL PRODUCTION PRESENTATIONS

12:30 - 16:00

Participants: AMPI Third Generation

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FINAL PRODUCTION PRESENTATIONS

09:00 - 14:00

Participants: AMPI Third Generation

Caisa Auditorium

CASE STUDY: AMPI FILM

09:00 - 12:00

Participants: AMPI Third Generation

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AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

13:00 - 15:30

Participants: AMPI Third Generation

Sibelius Academy

Collaboration Visit

Matti Strahlendorff
Music in Film 13.00-15.00

Participants: AMPI Third Generation

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FIRST PRODUCTION PRESENTATIONS

09:00 - 16:00

Participants: AMPI Third Generation

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FIRST PRODUCTION PRESENTATIONS

09:00 - 16:00

Participants: AMPI Third Generation

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Filmmaker and AMPI directing lecturer Jonas Rothlaender and intimacy coordinator Sara-Maria Heinonen having a lecture focussed on the collaboration between intimacy coordinator and director. They presented a case study about their recent collaboration, where they talked in detail about all the different aspects of working with intimate scenes and scenes with nudity in a film.

In his workshop, Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

Iiris Juutilainen had a lecture for AMPI participants that focused on the role of the 1st Assistant Director in film productions. Juutilainen emphasised on the 1st Asistant Director’s job as being the glue holding together creative vision, production and it’s cast and crew. She underlined the importance of handling everyone respectfully, making the working environment safe, respecting the working hours and the importance of the role of 1st Assistant Director to make those tasks happen.

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AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

13:00 - 15:30

Participants: AMPI Third Generation

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Needs for Production Presentations

Mete Sasioglu & Erol Mintas
Producing 13.00-16.00

Participants: AMPI Third Generation

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Intro to Project Pitchings

Mete Sasioglu & Erol Mintas

Producing 10.00-12.00

Participants: AMPI Third Generation

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Project Pitchings Rehearsal

Mete Sasioglu
Producing 10.00-16.00

Participants: AMPI Third Generation

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Project Pitching Session

Mete Sasioglu & Erol Mintas & The Jury: Outi Rehn (HiFF) , Petri Kemppinen (Aurora Studios), Max Malka (Endelmol Shine)
Producing 10.00-16.00

Participants: AMPI Third Generation

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Introduction to Collaboration: Stadin Vocational and Adult Education Center: Make-up Department

Jani Kylmälä & Erol Mintas
Introductions of students and projects 10.00-12.00

Participants: AMPI Third Generation

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Introduction to Collaboration: Sibelius Academy

Päivi Takala
Film Scoring 10:00 - 12:00

Matti Strahlendorff & Erol Mintas
Introductions of the students and projects 13:00 - 16:00

Participants: AMPI Third Generation

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AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

13:00 - 15:30

Participants: AMPI Third Generation

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Needs for Production Presentations

Mete Sasioglu & Erol Mintas

Producing 13.00-16.00

Participants: AMPI Third Generation

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Goethe Institut

INTRODUCTION TO EDITING

Jerem Tonteri
Editing 09:00 - 16:00

Participants: AMPI Third Generation

Finnish Film Foundation

INTRODUCTION TO EDITING

Jerem Tonteri
Editing 09:00 - 16:00

Participants: AMPI Third Generation

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

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AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

14:30 - 16:30

Participants: AMPI Third Generation

Mete takes the participants’ own short films as case studies to teach them script breakdown, budgeting, the roles of the production crew, location scouting, set etiquette, production documents and contracts. They also learn about the industry in general. What is the production landscape in Finland and in Europe? How to approach producers with your project? How to create a package to finance and sell your film? How to pitch it? In what way do the distribution scene and the festival circuit work? We also deal with self-employment and learn the basics of entrepreneurship and visit some key institutions of the industry

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

Mete takes the participants’ own short films as case studies to teach them script breakdown, budgeting, the roles of the production crew, location scouting, set etiquette, production documents and contracts. They also learn about the industry in general. What is the production landscape in Finland and in Europe? How to approach producers with your project? How to create a package to finance and sell your film? How to pitch it? In what way do the distribution scene and the festival circuit work? We also deal with self-employment and learn the basics of entrepreneurship and visit some key institutions of the industry.

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

The acting classes led by Jaakko Kiljunen will take inspiration from various methods and approaches such as Stanislavsky, the Suzuki-method and the Viewpoints-technique. Jaakko uses physical ensemble based exercises to bring the group together as well as exercises to open, tune and relax the body and the mind. The participants also study ways to approach presence, listening and awareness.

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AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

14:30 - 16:30

Participants: AMPI Third Generation

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

The acting classes led by Jaakko Kiljunen will take inspiration from various methods and approaches such as Stanislavsky, the Suzuki-method and the Viewpoints-technique. Jaakko uses physical ensemble based exercises to bring the group together as well as exercises to open, tune and relax the body and the mind. The participants also study ways to approach presence, listening and awareness.

The acting classes led by Jaakko Kiljunen will take inspiration from various methods and approaches such as Stanislavsky, the Suzuki-method and the Viewpoints-technique. Jaakko uses physical ensemble based exercises to bring the group together as well as exercises to open, tune and relax the body and the mind. The participants also study ways to approach presence, listening and awareness.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Mete takes the participants’ own short films as case studies to teach them script breakdown, budgeting, the roles of the production crew, location scouting, set etiquette, production documents and contracts. They also learn about the industry in general. What is the production landscape in Finland and in Europe? How to approach producers with your project? How to create a package to finance and sell your film? How to pitch it? In what way do the distribution scene and the festival circuit work? We also deal with self-employment and learn the basics of entrepreneurship and visit some key institutions of the industry.

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Mete takes the participants’ own short films as case studies to teach them script breakdown, budgeting, the roles of the production crew, location scouting, set etiquette, production documents and contracts. They also learn about the industry in general. What is the production landscape in Finland and in Europe? How to approach producers with your project? How to create a package to finance and sell your film? How to pitch it? In what way do the distribution scene and the festival circuit work? We also deal with self-employment and learn the basics of entrepreneurship and visit some key institutions of the industry.

Mete takes the participants’ own short films as case studies to teach them script breakdown, budgeting, the roles of the production crew, location scouting, set etiquette, production documents and contracts. They also learn about the industry in general. What is the production landscape in Finland and in Europe? How to approach producers with your project? How to create a package to finance and sell your film? How to pitch it? In what way do the distribution scene and the festival circuit work? We also deal with self-employment and learn the basics of entrepreneurship and visit some key institutions of the industry.

zoom

AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

14:30 - 16:30

Participants: AMPI Third Generation

Cultural Center Caisa

AMPI GRADUATION SCREENING

16:30 - 00:30

Participants: AMPI Second Generation

Caisa

WATCHING FIRST CUTS

Participants: AMPI Second Generation

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

Caisa

WATCHING SECOND CUTS

Participants: AMPI Second Generation

Caisa

WATCHING LOCKED PICTURE

Participants: AMPI Second Generation

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

In Salla’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Caisa

WORK in PROGRESS PITCHING SESSION

Mete Sasioglu, Erol Mintas
Pitching Session 10:00 - 16:00

Participants: AMPI Second Generation

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

zoom

AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

14:30 - 16:30

Participants: AMPI Third Generation

Museum of Impossible Forms

POST-PRODUCTION

Niina Vornanen, Kirsi Korhonen, Hannu Käki, Toni Teivaala
Introduction to Post-Production 10:00 - 16:00

Participants: AMPI Second Generation

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Maryan Abdulkarim discusses critical race//gender//decolonial theories and their application in audiovisual presentations today and in the past, along with modern activist//social media language and the histories and meanings behind them. The goal of the course is to create, together with participants, tools to analyse contexts in which stories are set and as filmmakers to be conscious of choices and what informs them.

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

Kone Kamari

GRANTS & FESTIVALS & NETWORKING SESSION

Mete Sasioglu & Erol Mintaş
09:00 - 16:00

Participants: AMPI Second Generation

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

This directing class focuses on visual storytelling. How does a director use the elements of cinema to tell their story; how is a specific film’s style created; what is one’s own directorial handprint? Building on dramaturgy, we the tools available for a director, and learn how to approach them directorially.

The acting classes led by Jaakko Kiljunen will take inspiration from various methods and approaches such as Stanislavsky, the Suzuki-method and the Viewpoints-technique. Jaakko uses physical ensemble based exercises to bring the group together as well as exercises to open, tune and relax the body and the mind. The participants also study ways to approach presence, listening and awareness.

Location TBC

GRANTS & FESTIVALS & NETWORKING SESSION

Mete Sasioglu & Erol Mintaş
09:00 - 16:00

Participants: AMPI Second Generation

The acting classes led by Jaakko Kiljunen will take inspiration from various methods and approaches such as Stanislavsky, the Suzuki-method and the Viewpoints-technique. Jaakko uses physical ensemble based exercises to bring the group together as well as exercises to open, tune and relax the body and the mind. The participants also study ways to approach presence, listening and awareness.

Maryan Abdulkarim discusses critical race//gender//decolonial theories and their application in audiovisual presentations today and in the past, along with modern activist//social media language and the histories and meanings behind them. The goal of the course is to create, together with participants, tools to analyse contexts in which stories are set and as filmmakers to be conscious of choices and what informs them.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Zoom

GRANTS & FESTIVALS & NETWORKING SESSION

Mete Sasioglu & Erol Mintaş with representatives from YLE, SES and AVEK
09:00 - 16:00

Participants: AMPI Second Generation

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

Kone Kamari

AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

14:30 - 16:30

Participants: AMPI Third Generation

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Maryan Abdulkarim discusses critical race//gender//decolonial theories and their application in audiovisual presentations today and in the past, along with modern activist//social media language and the histories and meanings behind them. The goal of the course is to create, together with participants, tools to analyse contexts in which stories are set and as filmmakers to be conscious of choices and what informs them.

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

zoom & Kone Kamari

AMPI LECTURERS & PARTICIPANTS EVALUATION MEETING

14:30 - 16:30

Participants: AMPI Third Generation

A Cyberpunk Cyborg superhero descends to teach glitch to a commoner in Oceania, a city built-in 1984. Glitch is a technology that erases the ever-encroaching pervasive surveillance apparatus. Can the commoner find stealth, eros and liberation using Glitch in time, changing the very nature of deep surveillance?

Two individuals from two different nations, sharing their story in their own language, defining the meaning of sound.

In a world where astrology is more institutionally accepted, a student filmmaker visits her father’s hometown in Russia to learn the time of his birth and finally complete his astrological chart. She is guided by a local astrological researcher, who has her own agenda.

Stuck in a sketch-like world labeled by post-it notes, a couple tries to communicate.

Mirage is a film about how an encounter between two strangers leads Rinah, our protagonist, to examine their inner world. The beauty that they see in this stranger moves her, it is something she admires and yearns for. It is through her own internal journey that she discovers that the beauty she sees in this stranger is a reflection of the beauty within herself.

A young person feeling tired and frustrated with life goes to an apple garden to reflect on their thoughts. As they are consumed with their emotions, they get invited to enter a space full of mirrors and other symbolic elements. They explore this space and realize that there are some elements that they are not doing what they are supposed to do. These symbolic elements can represent many things, you can interpret them as a blocked part of their mind or a desire that is not fulfilled yet. In the end, what matters is imagining a “new reality”.

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Maryan Abdulkarim discusses critical race//gender//decolonial theories and their application in audiovisual presentations today and in the past, along with modern activist//social media language and the histories and meanings behind them. The goal of the course is to create, together with participants, tools to analyse contexts in which stories are set and as filmmakers to be conscious of choices and what informs them.

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

Aino Suni teaches screenwriting and focuses on basic story elements such as theme, character development and scene structure. Suni also guides you to write effectively in script format, form a synopsis and other text formats. Suni emphasises that to endure sometimes tedious process of writing you need to allow yourself fail but not give up.

Maryan Abdulkarim discusses critical race//gender//decolonial theories and their application in audiovisual presentations today and in the past, along with modern activist//social media language and the histories and meanings behind them. The goal of the course is to create, together with participants, tools to analyse contexts in which stories are set and as filmmakers to be conscious of choices and what informs them.

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Maryan Abdulkarim discusses critical race//gender//decolonial theories and their application in audiovisual presentations today and in the past, along with modern activist//social media language and the histories and meanings behind them. The goal of the course is to create, together with participants, tools to analyse contexts in which stories are set and as filmmakers to be conscious of choices and what informs them.

Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Maryan Abdulkarim discusses critical race//gender//decolonial theories and their application in audiovisual presentations today and in the past, along with modern activist//social media language and the histories and meanings behind them. The goal of the course is to create, together with participants, tools to analyse contexts in which stories are set and as filmmakers to be conscious of choices and what informs them.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Maryan Abdulkarim discusses critical race//gender//decolonial theories and their application in audiovisual presentations today and in the past, along with modern activist//social media language and the histories and meanings behind them. The goal of the course is to create, together with participants, tools to analyse contexts in which stories are set and as filmmakers to be conscious of choices and what informs them.

Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

Vaasa

16 MM WORKSHOP

AMPI & Filmverkstaden

Participants: AMPI Second Generation

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

Jan Forsström teaches screenwriting by focusing mostly on narrative, the story form; what are the elements of a story, and how to tell a story as effectively as possible? Also keeping in mind that story is only a part of a film, and not necessarily the most interesting part; sometimes the story is there to give shape to the time of the film, but the essential lies somewhere else (in a character, a performance, a world view, a political statement etc.).

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Alejandro Pedregal introduces critical theoretical approaches of cinema and their relationship with counterhegemonic cultural practices. How has cinema been thought and imagined for social change and in relation to other practices? How has cinema contributed to and participated in broader cultural and social revolutionary projects?

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

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INTRODUCTION TO EDITING

Niina Vornanen & Jerem Tonteri
Introduction to Editing 10:30 - 12:00

Participants: AMPI Second Generation

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

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INTRODUCTION TO COLOR GRADING

Hannu Kaki
Introduction to Color Grading 09:00 - 13:00

Participants: AMPI Second Generation

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

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FIRST PRODUCTION PRESENTATIONS

Mete Sasioglu, Erol Mintas, Chris Thomas, Kirsi Korhonen, Sherwan Haji
10:00 - 16:00

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FIRST PRODUCTION PRESENTATIONS

Mete Sasioglu, Erol Mintas, Chris Thomas, Kirsi Korhonen, Sherwan Haji
10:00 - 15:00

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DIRECTING WORKSHOP

Salla Sorri
Directing Workshop 09:00 - 14:00

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

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PROJECT PITCHINGS

Erol Mintas, Mete Sasioglu
Project Pitchings 10:00 - 12:00

Kino 13 - Finnish Film Foundation

PROJECT PITCHINGS

Erol Mintas, Mete Sasioglu
Project Pitchings Rehearsal Day 10:00 -14:00

Kino 13 - Finnish Film Foundation

PROJECT PITCHINGS

Erol Mintas, Mete Sasioglu
Project Pitchings 10:00 - 15:00

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

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PRODUCING WORKSHOP

Mete Sasioglu
Producing Workshop 10:00 - 15:00

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PRODUCING WORKSHOP

Mete Sasioglu
Producing Workshop 10:00 - 12:00

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CASE STUDY

Erol Mintas, Mete Sasioglu, Christ Thomas
Love and Anarchy Shorts Trailer 10:00 - 13:00

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PRODUCING WORKSHOP

Mete Sasioglu, Erol Mintas
Producing Workshop 10:00 - 14:00

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

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DIRECTING WORKSHOP

Alli Haapasalo
Directing Workshop 09:00 - 13:00

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

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DIRECTING WORKSHOP

Salla Sorri
09:00 - 14:00

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DIRECTING WORKSHOP

Salla Sorri
Directing Workshop 09:00 -14:00

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

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AMPI PARTICIPANTS EVALUATION MEETING / AMPI LECTURERS EVALUATION MEETING

The acting classes led by Jaakko Kiljunen will take inspiration from various methods and approaches such as Stanislavsky, the Suzuki-method and the Viewpoints-technique. Jaakko uses physical ensemble based exercises to bring the group together as well as exercises to open, tune and relax the body and the mind. The participants also study ways to approach presence, listening and awareness.

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

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DIRECTING WORKSHOP

Alli Haapasalo
09:00 - 14:00

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PRODUCING WORKSHOP

Mete Sasioglu
09:00 - 14:00

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DIRECTING WORKSHOP

Alli Haapasalo
009:00 - 14:00

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

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DIRECTING WORKSHOP

Alli Haapasalo
09:00 - 14:00

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DIRECTING WORKSHOP

Alli Haapasalo
09:00 - 14:00

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DIRECTING WORKSHOP

Alli Haapasalo
09:00 - 14:00

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FILM SCORING

Pessi Levanto
13:00 - 15:00

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

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AMPI PARTICIPANTS EVALUATION MEETING / AMPI LECTURERS EVALUATION MEETING

In Salls’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

In Salls’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

In Salls’s workshops, the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

In Salls’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

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AMPI LECTURERS EVALUATION MEETING

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

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THEORY WORKSHOP / EDITING WORKSHOP

Alejandro Pedregal
Theory Workshop 09:00 -12:00

Niina Varnanen
Editing Workshop 13:00 -16:00

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Final Mix with Toni Teivaala

Colorgrading with Hannu Kaki

 Bio Rex Helsinki

Academy of Moving People & Images Graduate Screening

Kulttuurikeskus Caisa

Film & Critical Theory

Alejandro Pedregal

9:00 - 16:00

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Final Mix with Toni Teivaala

A joint session with all participants to go through the following:

Post production technical specs and workflow in Premiere
-creating a project
-importing
-organizing and file naming -editing: settings, timeline, adjustments, commands and tools, maintaining sync
-editing sound: layers, tracks, volume, pan, fades
-editing flow and the order of things

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

One on one editing sessions, working on AMPI's editing station at Poimu with Inka Lahti

Saara: 9:00-11:00
Camille: 11:30- 13:30
Shahi: 14:00-16:00
Roxana: 16:00-18:00
Uzair: 18:30-20:30

Mariangela: 9:00-11:00
Aishe: 11:30- 13:30
Helen: 14:00-16:00
Tais: 16:00-18:00
Fiona: 18:30-20:30

Watching the first cuts and receiving feedback with AMPI's creative team and the lecturers.

  Poimu: Feminist Antiracist Studio Space

Editing as a Process of Rewriting

Alejandro Pedregal
14:00 - 18:00 

Shahi:11:00-13:00
Roxana: 13:30-15:30
Uzair: 15:30-17:30
Mariangela: 17:30-19:30

Aishe: 11:00-13:00
Helen: 13:30-15:30
Tais: 15:30-17:30
Fiona: 17:30-19:30

Aishe: 11:00-13:00
Helen: 13:30-15:30
Tais: 15:30-17:30
Fiona: 17:30-19:30

Saara: 10:00-12:00
Camille: 13:00-15:00
Shahi: 15:00-17:00
Roxana: 17:30-19:30
Uzair: 19:30-21:30

Mariangela: 9:00-11:00
Aishe: 11:30- 13:30
Helen: 14:00-16:00
Tais: 16:00-18:00
Fiona: 18:30-20:30

Watching the second cuts and receiving feedback with AMPI's creative team and lecturers.

Guests:
Sari Volanen (YLE)
Amir Eskandari(director and actor)
Sanna Kultanen (producer)
Leena Kemppi (YLE, dramaturg)

A young and enthusiastic dog sitter comes to work where she discovers that the dog is dead, and the dog's owner has a list of weird requests for her.

Flora, a woman battling with schizophrenia, is planning her birthday party. Her illness is manifested as the character Emma, who can be her best friend but also, at times her worst enemy. A visit from Flora's concerned sister leads to an altercation between the two of them but they quickly reconcile. The party is successful and Flora goes on trying to find a balance between her mental illness and normal life.

Pinay girl in her early 20s is a day away from now of the biggest tests of her life. To get through her fears and anxieties she turns to her close-knit group of friends.

Cana, a young Syrian woman wants to buy a fridge in Helsinki as a part of her settling-down process. To deliver the fridge home, she rides in a van with Ville and Rony where their three worlds intersect on themes of coldness, home and exile. Until they arrive, with the fridge, to Cana's own leftovers.

Arman returns home for his mother's funeral, only to discover his sister Kamilla has just cremated their mom thus taking his last chance to say a proper goodbye. Going along with Kamilla's new plan while barely getting along with her proves to be a challenge.

A Pakistani student in Helsinki studying game design starts working as a paperboy at night due to a financial situation. Over the course of his work, he develops deeper associations with the doors that he delivers papers to.

Leonarda, a vegan soap maker and serial killer from contemporary Helsinki. She makes soap out of the bodies of her victims. She would do anything to protect her favourite child: Giuseppe. Based on the case of Leonarda Cianciulli, a serial killer from southern Italy during the 30s. A mix between documentary-fiction-dance movie-digital-16mm analogue-among other frolicsomeness.

A Turkmen woman finds herself wrestling between an unsettling nightmare she had and the reality where she is spending a weekend with her Finn husband in a lake cottage. Reality and nightmare get merged into each other to the point it is impossible to separate the two from each other. They become one.

Nina is a young writer. She is offered to do a live translation for a sold-out theatre play. Everything seems to be going according to the schedule until a visitor from the past appears on stage. Unable to see the stage, Nina has to rely on her ears to understand what is actually happening inside the harrowing play.

Ann, a closeted queer girl dating the most out-and-proud bisexual of her high school, Collins, worries that her keeping their relationship a secret is putting a strain on it.

A father has lost his child. The film takes place in the present-day intercut with memories and dreams of the incident. One morning while cleaning up in the kitchen of his home, he is taken back to that moment. He does not know how his child went missing and that has haunted him for long. The memory follows the day when he went on a journey to find his child. After a long search, he sees an object peeking in the distance. He approaches it and finds that it is his child's boot. He understands now that the worst has probably happened. Then we return to his present day, cleaning up in the kitchen remembering the day he lost his child.

Editing lectures aim to give participants the basic artistic tools to understand ways of building and composing meaning out of their material. They learn to develop sufficient technical skills to work on a variety of equipment and formats in film. During the lectures, the participants watch samples, discuss the possibilities of editing and put it all into practice. We also focus on the technology present in the post-production: Post-workflow, formats and their effect and role in different phases of post-production and using the common software.

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

During the shootings of their films, Erol guides them to understand the hierarchy of a professional film set; learning the stages of shooting a films scene, the needs of orienting into the harsh working and living conditions, and to make the right concessions for their films.

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Mete takes the participants’ own short films as case studies to teach them script breakdown, budgeting, the roles of the production crew, location scouting, set etiquette, production documents and contracts. They also learn about the industry in general. What is the production landscape in Finland and in Europe? How to approach producers with your project? How to create a package to finance and sell your film? How to pitch it? In what way do the distribution scene and the festival circuit work? We also deal with self-employment and learn the basics of entrepreneurship and visit some key institutions of the industry.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

Mete takes the participants’ own short films as case studies to teach them script breakdown, budgeting, the roles of the production crew, location scouting, set etiquette, production documents and contracts. They also learn about the industry in general. What is the production landscape in Finland and in Europe? How to approach producers with your project? How to create a package to finance and sell your film? How to pitch it? In what way do the distribution scene and the festival circuit work? We also deal with self-employment and learn the basics of entrepreneurship and visit some key institutions of the industry.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

Mete takes the participants’ own short films as case studies to teach them script breakdown, budgeting, the roles of the production crew, location scouting, set etiquette, production documents and contracts. They also learn about the industry in general. What is the production landscape in Finland and in Europe? How to approach producers with your project? How to create a package to finance and sell your film? How to pitch it? In what way do the distribution scene and the festival circuit work? We also deal with self-employment and learn the basics of entrepreneurship and visit some key institutions of the industry.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

Kirsi’s sound lectures cover the basics of film sound workflow from field recording to creating all layers of sound and mixing a total soundtrack. In order to awaken the ideas and the ears, there are discussions on film examples, but also listening rehearsals of our everyday surroundings. The basic understanding of sound waves, frequencies, dynamics and equipment gives us confidence on working with dialogue, but also room to experiment with atmosphere, rhythm, point of view, time, place, and the feelings that sound can bring into a film.

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

In Salls’s workshops, the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

In his workshop, Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

The scriptwriting class by Vilja explores the different stages of a screenplay such as a synopsis, treatment, script. She introduces some key tools that are important in writing and storytelling such as story, plot, drama, conflict and the turning point, character, theme and subject matter. How do we proceed from an idea in three sentences to 100 pages of dialogue and screen directions? How to find your own voice. How do you express it in the film – especially in writing, creating ideas, pitching, developing, etc.?

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities?

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical,

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc. During the shootings of their films, Erol guides them to understand the hierarchy of a professional film set; learning the stages of shooting a films scene, the needs of orienting into the harsh working and living conditions, and to make the right concessions for their films.

Study trip to Filmverkstaden in Vaasa

During this trip, the participants learn about the process of working with analogue film at the Filmverkstaden’s residency. The program focuses on the production of analogue film-based works with equipment and facilities to which the artist would not have access in their local region.

The trip is generously supported by Filmverkstaden and Goethe-Institut Finnland.

The scriptwriting class by Vilja explores the different stages of a screenplay such as a synopsis, treatment, script. She introduces some key tools that are important in writing and storytelling such as story, plot, drama, conflict and the turning point, character, theme and subject matter. How do we proceed from an idea in three sentences to 100 pages of dialogue and screen directions? How to find your own voice. How do you express it in the film – especially in writing, creating ideas, pitching, developing, etc.?

In Salls’s workshops, the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

In his workshop, Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Editing lectures aim to give participants the basic artistic tools to understand ways of building and composing meaning out of their material. They learn to develop sufficient technical skills to work on a variety of equipment and formats in film. During the lectures, the participants watch samples, discuss the possibilities of editing and put it all into practice. We also focus on the technology present in the post-production:

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

During the shootings of their films, Erol guides them to understand the hierarchy of a professional film set; learning the stages of shooting a films scene, the needs of orienting into the harsh working and living conditions, and to make the right concessions for their films.

The scriptwriting class by Vilja explores the different stages of a screenplay such as a synopsis, treatment, script. She introduces some key tools that are important in writing and storytelling such as story, plot, drama, conflict and the turning point, character, theme and subject matter. How do we proceed from an idea in three sentences to 100 pages of dialogue and screen directions? How to find your own voice. How do you express it in the film – especially in writing, creating ideas, pitching, developing, etc.?

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

The acting classes led by Jaakko Kiljunen will take inspiration from various methods and approaches such as Stanislavsky, the Suzuki-method and the Viewpoints-technique. Jaakko uses physical ensemble based exercises to bring the group together as well as exercises to open, tune and relax the body and the mind. The participants also study ways to approach presence, listening and awareness.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

In his workshop, Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

Editing lectures aim to give participants the basic artistic tools to understand ways of building and composing meaning out of their material. They learn to develop sufficient technical skills to work on a variety of equipment and formats in film. During the lectures, the participants watch samples, discuss the possibilities of editing and put it all into practice. We also focus on the technology present in the post-production: Post-workflow, formats and their effect and role in different phases of post-production and using the common software.

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

In his workshop, Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Sherwan’s workshops help the participants channel their efforts and work towards one main goal which is achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. They learn about developing and harmonizing between the two to enhance the quality of their performances.

The scriptwriting class by Vilja explores the different stages of a screenplay such as a synopsis, treatment, script. She introduces some key tools that are important in writing and storytelling such as story, plot, drama, conflict and the turning point, character, theme and subject matter. How do we proceed from an idea in three sentences to 100 pages of dialogue and screen directions? How to find your own voice. How do you express it in the film ?

In Salls’s workshops, the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

The scriptwriting class by Vilja explores the different stages of a screenplay such as a synopsis, treatment, script. She introduces some key tools that are important in writing and storytelling such as story, plot, drama, conflict and the turning point, character, theme and subject matter. How do we proceed from an idea in three sentences to 100 pages of dialogue and screen directions? How to find your own voice. How do you express it in the film – especially in writing, creating ideas, pitching, developing, etc.?

In his workshop, Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

In Salls’s workshops, the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

In Salls’s workshops, the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Erol supports the participants during the development stage, pre-production, production and editing. The aim is to experience the transitive process of writing and directing. During this process, participants are guided to develop and form their ideas to a script. They work and act as a director to be able to understand a script; the purpose, the intention, the themes, story points and the character development; the development and objectives of the characters in the script, etc.

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

The scriptwriting class by Vilja explores the different stages of a screenplay such as a synopsis, treatment, script. She introduces some key tools that are important in writing and storytelling such as story, plot, drama, conflict and the turning point, character, theme and subject matter. How do we proceed from an idea in three sentences to 100 pages of dialogue and screen directions? How to find your own voice. How do you express it in the film – especially in writing, creating ideas, pitching, developing, etc.?

In Salls’s workshops, the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers.

The acting classes led by Jaakko Kiljunen will take inspiration from various methods and approaches such as Stanislavsky, the Suzuki-method and the Viewpoints-technique. Jaakko uses physical ensemble based exercises to bring the group together as well as exercises to open, tune and relax the body and the mind. The participants also study ways to approach presence, listening and awareness.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Mete takes the participants’ own short films as case studies to teach them script breakdown, budgeting, the roles of the production crew, location scouting, set etiquette, production documents and contracts. They also learn about the industry in general. What is the production landscape in Finland and in Europe? How to approach producers with your project? How to create a package to finance and sell your film? How to pitch it? In what way do the distribution scene and the festival circuit work? We also deal with self-employment and learn the basics of entrepreneurship and visit some key institutions of the industry.

Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

In Salls’s workshops the participants absorb the director’s role, skills and tools. They get familiar with the basics of creating and maintaining trust with the crew and with the performers. The main part of the workshops consists of theory and exercises about how to think, approach and lead people as performers. The participants also learn about making the directing plan according to the locked script and how to prepare to work with the performers on the set.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Sherwan’s workshops help the participants channel their efforts and work towards one main goal - achieving full control through full understanding. Actors' main artistic instruments are their physical and emotional capacity. Their capability of developing and harmonizing between the two determines the quality of the performance.

The cinematography lectures will focus on the use of compositions in storytelling and practical lighting techniques with an emphasis on the manipulation of natural light sources. During the lectures, the participants watch films which illustrate key techniques as well as take part in exercises both inside and outside the lecture rooms. As the participants in the programme draw closer to shooting their short films, the lectures will become less theoretical and more practical, ensuring that the participants become adept at using the camera and lighting equipment, as well as understanding on-set etiquette and safety.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

The scriptwriting class by Vilja explores the different stages of a screenplay such as a synopsis, treatment, script. She introduces some key tools that are important in writing and storytelling such as story, plot, drama, conflict and the turning point, character, theme and subject matter. How do we proceed from an idea in three sentences to 100 pages of dialogue and screen directions? How to find your own voice. How do you express it in the film – especially in writing, creating ideas, pitching, developing, etc.?

In his workshop, Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Sezgin Boynik Introduces general historical developments of cinema from the entertainment industry to the independent artistic expression. What sort of forms of representation cinema sought to introduce that other artistic expressions were lacking? How did cinema teach us to see things differently, what has cinema contributed to the development of modern thought?

In his workshop, Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.

Mikko’s scriptwriting workshop looks closely into everyone’s projects. The students try to employ the new tools they’ve acquired and use them to develop their core ideas. Together with the participants, they discuss what they want to express? How can they recognize what is important to them and how to nurture and develop it at the same time? How to tolerate the uncertainties and insecurities? How to contact others? How to proceed and get paid? Writing together – a threat or a possibility?

Jemina Sillanpää will teach the basics of acting. She will concentrate on camera acting and will use different methods in her teaching, some of them quite physical. While teaching acting, she will also use some elements of music, directing, dance and writing.

In his workshop, Jonas focuses on the very foundation of cinema. Through analyzing examples and the work of the participants, we try to understand how we can express what we want to tell with moving images. The participants learn about preparing a shot list and découpage in general. The workshops are practice orientated and the participants work on many small exercises, which helps them in developing their own short film ideas and understanding the possibilities at hand.