 
Take any 3 or more classes and receive $10 off the price of each!
*IFP Certification available.
Introduction to Video Production – Learning the Techniques*
Instructor: Jon Springer
7 sessions: Wednesdays, October 6–November 17, 6:30–9:30pm
Reg. deadline: September 29
Tuition: $310/$265 members
Max. enrollment: 8 students
This course is designed for all skill and interest levels - beginners, video enthusiasts, and more experienced students needing a refresher course. Students will gain hands-on production experience using digital video by participating in the scripting and shooting of a short in-class film project. The instruction will focus on the basics of good cinematography (including HD), lighting techniques, continuity, directing, and sound recording. The language of film will be explored through a combination of screenings, discussions, and the in-class project. There will be only a minimal amount of hands-on editing during the course. Tuition includes one camera rental for use outside of class.
DSLR Filmmaking Overview
Instructor: Jesse Roesler
2 sessions: Mondays, November 22–29, 7–9pm
Reg. deadline: November 15
Tuition: $95/$70 members
Max. enrollment: 10 students
Digital SLRs are revolutionizing the digital filmmaking world now that it is possible to capture 1080p footage through camera bodies that previously shot only still images. Moving images that cameras like the Canon 5D Mark II capture are breathtaking, and when captured and graded correctly, can rival that of cameras ten times the cost.
This workshop will look at the world of DSLR filmmaking through the lens of the Canon 5D Mark II and its DSLR video-capable companions. We’ll discuss and sample production techniques and accessories and discover the best ways to shoot video with a DSLR (lens choice, audio, monitors, and more). We’ll also take an in-depth look at the best post-production practices for DLSR footage with respect to intake, compression, editing, and color grading. Students who own video-capable DSLRs are encouraged to bring them to the workshop.
Visions of Sound: The Art of the Music Video
Instructor: Justin Staggs
4 sessions: Saturdays–Sundays, October 16, 17, 23, & 24, 10am–5pm
Reg. deadline: October 9
Tuition: $315/$265 members
Max. enrollment: 8 students
Make a cutting-edge music video with The Current-featured band The Arms Akimbo to be shot at Nye’s Polonaise Room! Along the way you’ll learn:
- The history and appreciation of the music video art form
- How to create a professional music video treatment
- How to script and storyboard a video concept
- Basic production design and art department
- Basic frame composition, 3-point lighting, and cinematography styles
- How to use Final Cut Pro editing software and editing with style
- Basic keyframe animation, green screen processes, and video coloring
- To develop your own music video concepts in creating a professional presentation
Basics of HDV Cinematography
Instructor: Jon Springer
2 sessions: Saturday–Sunday, November 13–14, 10am–4pm
Reg. deadline: November 6
Tuition: $215/$185 members
Max. enrollment: 12 students
Good cinematography is much more than just getting access to the right equipment. The camera is a tool, and learning how to use this tool is an essential part of creating effective, professional looking shots. This workshop will cover the basic principles of achieving excellent HDV cinematography through an in-depth examination of composition, lighting, depth-of-field, and continuity. Each class session will be divided into discussion and hands-on camera/lighting exercises. The workshop will also provide a technical overview of the Panasonic AG-HVX200 P2, Canon XH-A1, and JVC GY-HD110 camcorders. There will be a lunch break each session.
Basic Lighting & Grip Workshop
Instructor: Dan Miller
2 sessions: Saturday–Sunday, December 4–5, 10am–4pm
Reg. deadline: November 29
Tuition: $215/$185 members
Max. enrollment: 15 students
Hosted by Lights On Minneapolis, this workshop is for anyone working with film or video that wants to use lighting to affect the mood of a shot.
Session 1 at IFP will cover the lighting basics, starting with an introduction to lighting techniques and the vocabulary used to describe lighting a shot. Participants will learn how to use lighting equipment in single- and multiple-point lighting setups. A demonstration of the lighting instruments and how to operate and manipulate them will take place. Participants should bring a DVD containing a scene that will be discussed in class. This scene can be from a movie they like or a scene from something that they did themselves.
Session 2 at Icehouse Studio (2540 Nicollet Ave, Minneapolis) will cover some basic grip gear and how to use it along with the light to achieve a desired effect, including tricks and tips to get your shoot moving on to the next setup. The day will conclude with the students lighting a set using the techniques discussed to achieve certain textures and moods.
There will be hands-on demonstrations for students to apply the techniques discussed in practical situations. Heavy leather, heat-resistant gloves are recommended. There will be a lunch break each session. Visit lightson.com for directions to Icehouse Studio.
Principles of Editing
Instructor: Christopher Mick
2 sessions: Saturday–Sunday, October 9–10, 10am–4pm
Reg. deadline: October 2
Tuition: $215/$185 members
Max. enrollment: 15 students
Why does 2001: A Space Odyssey have the greatest jump cut of all time? Why are “L” cuts a better option for your film than a straight cut? What is “fractured time” anyway? And can someone please explain “montage” to me? Many believe that editing is the singular aspect that makes film an art form distinct from any other.
This two-day immersion into the world of editing will provide an invaluable resource for both beginning and continuing filmmakers. We’ll examine editing strategies from pre-production through post. The use of sound design, camera blocking, and actor placement will be just a few of the elements that will be analyzed and broken down. The class will explore editing approaches based on subject matter, psychological conditions, thematic elements, and mood. We'll analyze specific films and directors for an understanding of a consistency of visual language and presentation.
Students are encouraged to bring in their current or future project ideas to help them develop a successful editing strategy. There will be a lunch break each session.
Introduction to Editing with Final Cut Pro 7*
Instructor: Eric Weidmann
Section 1: Saturday–Sunday, October 16–17, 10am–4pm
Section 2: Saturday–Sunday, November 20–21, 10am–4pm
Reg. deadlines: Sec. 1 - October 9; Sec. 2 - November 13
Tuition: $215/$185 members
Max. enrollment: 5 students each section
This course covers basic non-linear editing techniques with Final Cut Pro 7 software through demonstrations and hands-on instruction and footage provided by the instructor. Topics include using the interface to cut and rearrange media, organizing your browser, applying transitions, achieving a competent audio mix, titling, capturing/importing video and other media, exporting/compressing your project, setting scratch discs, and taking charge of media management. Previous Macintosh experience is required. There will be a lunch break each session. Space is limited – register early!
Final Cut Pro Refresher
Instructor: Paul Bernhardt
1 session: Saturday, October 30, 10am–4pm
Reg. deadline: October 23
Tuition: $150/$115 members
Max. enrollment: 5 students
Has it been a while since you've studied or used Final Cut Pro? This refresher course can help bring you back up to speed. This one-day, hands-on workshop will refresh your knowledge of the basics including: an orientation to the interface and basic functionality such as importing, organizing your material in the browser, cutting on the timeline versus marking in and out points in the viewer, common keyboard shortcuts for transitions, navigation and cursor states, a quick review of creating a competent basic audio mix, and exporting for common viewing formats including YouTube.
Intermediate Editing with Final Cut Pro 7
Instructor: Paul Bernhardt
Section 1: Saturday–Sunday, November 6–7, 10am–4pm
Section 2: Saturday–Sunday, December 4–5, 10am–4pm
Reg. deadlines: Sec. 1 - October 30; Sec. 2 - November 29
Tuition: $215/$185 members
Max. enrollment: 5 students each section
In this two-day workshop you'll continue to explore digital editing and learn some of the more advanced features of Final Cut Pro 7. Topics include animating stills by setting keyframes and creating motion paths, troubleshooting your audio mix, and color-correcting footage. Basic Final Cut Pro experience is required to attend this workshop. There will be a lunch break each session. Space is limited – register early!
Color Correction with After Effects 
Instructor: Michael Richmond
2 sessions: November 2–9, 6:30–9:30pm
Reg. deadline: October 26
Tuition: $150/$115 members
Max. enrollment: 5 students
Make your project look its best and most professional through color correction with Adobe After Effects CS5. This course will cover RGB, HSV, vignettes, windows, rotoscoping and masking, histograms, and contrast – all the tools needed to give your image a “Hollywood look.” Students should have introductory knowledge of Adobe After Effects or a similar compositing tool.
Michael Richmond has over seven years professional experience in film, TV, commercials, and Web content, with the last four dedicated to animation and visual FX. His credits include Up In The Air, The Book of Eli, and The Curious Case of Benjamin Button. He is currently directing animation under his own company, Dizilu (dizilu.com), with offices in Minneapolis.
Pre-production & Development
Instructor: Christopher Mick
2 sessions: Saturday–Sunday, November 6–7, 10am–4pm
Reg. deadline: October 30
Tuition: $215/$185 members
Max. enrollment: 20 students
So you’ve got a great story to shoot? Don’t botch it up with poor planning! This course will provide both beginning and established filmmakers, videographers, and producers the tools needed to run professional level productions. Topics include individual and ensemble casting needs; how to schedule and run casting calls and call-backs; “previz” development, revision and uses; script development and revision; location scouting and planning; “backwards” planning and scheduling; and hiring department heads. Test footage, gear selection and budget planning will round out the course. There will be a lunch break each session.
Producing the Short Film
Instructor: Dain Ingebretson
4 sessions: Mondays, October 18–November 8, 6:30–9:30pm
Reg. deadline: October 11
Tuition: $215/$185 members
Max. enrollment: 8 students
You want to produce a short. You've got your script. You've got your budget (more or less). Now what? Employing the skills and techniques of production managers and assistant directors, you'll organize your project into a smooth operating machine so you can focus on directing once the camera rolls or use the knowledge gained to firm up grant proposals.
In session 1 we cover the technical basics of directing, including scope assessment and full breakdowns, with overheads, stripboards, and scheduling. Session 2 is about the producing tasks of coordinating money and people using the breakdowns of session 1 and covers the basics of building a production book. Sessions 3 and 4 are for review and practicum where we prepare your own projects for production.
Directing the Actor: A View from Both Sides of the Lens
Instructor: Nick Sadler
2 sessions: Tuesdays, October 19–26, 6:30–9:30pm
Reg. deadline: October 12
Tuition: $150/$115 members
Max. enrollment: 8 students
This workshop welcomes narrative film directors of all experience levels. We’ll explore and analyze techniques of successfully communicating with your actors, keeping it simple, vivid, and inspiring.
Session 1: We’ll examine the crucial role pre-production rehearsal plays, and the importance of establishing the pace and tone once you’re on the set – always with a keen eye toward capturing what you need for when you reach the editing room. We’ll also discuss the fundamentals of rehearsing, camera blocking, and adjusting for shot selection.
Session 2: Using two actors, text, and camera, we’ll work through a scene from selected prepared material from the course participants. Directors who are also writers are encouraged to bring 2 to 3 pages of their own material. Otherwise, students may bring a scene from previously unfilmed material or work with a scene provided by the instructor. You’ll leave the workshop with tools for communicating your vision and inspiring your actors.
A Juilliard-trained actor and Sundance Lab participant, Nick Sadler offers a unique perspective on directing from both sides of the camera. He has worked with directors such as the Coen brothers (True Grit), Doug Liman (Fair Game), Barry Levinson, and Martin Brest, and as a director has worked with actors such as Ray Romano, Steve Hytner (Seinfeld, Hung), Amy Landecker (A Serious Man), Matt Servitto (The Sopranos), and Andrew Hawkes (24).
Film Directing – Blocking Your Shots
Instructor: Beth Smith
1 session: Saturday, October 30, 1–5pm
Reg. deadline: October 23
Tuition: $95/$70 members
Max. enrollment: 30 students
This workshop is a must for beginning and intermediate filmmakers! When you write a screenplay, you have a vision of how you want your movie to look. Now you need to translate your vision from paper to the screen. If you are tight on budget and short on time, you need to have a clear understanding of which shots are going to sell each scene.
Whether you only have four hours to shoot a one-page scene in the Minneapolis Library or have three night scenes to shoot before the sun comes up, good planning makes the difference between getting the coverage you need or coming up short and having to schedule a re-shoot. We’ll discuss real-life production issues and why it’s important to have a clear idea of camera movement before filming begins. Topics covered include storyboards, blocking, coverage, continuity, and screen direction/shot progression.
Etiquette on the Set!
Instructor: Dan Miller
1 session: Saturday, December 18, 10am–2pm
Reg. deadline: December 11
Tuition: $95/$70 members
Max. enrollment: 30 students
Whether it’s a commercial or low-budget indie film shoot, the production set is active, fast-paced, and highly collaborative. Like any busy workplace, safety is key, but on a set it must be a top priority. Combining electricity, rigging, camera, and audio can spell trouble if people don’t communicate effectively and follow certain universal procedures. In this workshop you’ll learn about various crew positions and responsibilities, and important rules of set etiquette guaranteed to help any crew have a successful shoot.
Documentary Nuts & Bolts
Instructor: Dawn Mikkelson
2 sessions: Saturday–Sunday, October 16–17, 1–5pm
Reg. deadline: October 9
Tuition: $150/$115 members
Max. enrollment: 15 students
How do you make a documentary film, let alone one that people will line up to see (besides your family)? Documentary Nuts & Bolts covers all the basics, plus you’ll receive insider tips for creating a compelling documentary. This workshop will cover:
- Getting started even if you don’t have funding
- Storytelling techniques
- Identifying documentary styles and developing your own
- Shot lists, b-roll, and "flat art" options
- Strategies for getting a compelling interview
- Hands-on experience with camera and lighting equipment, including a lighting demonstration by cinematographer Jon Springer
- Final Cut Pro editing demonstration
- Research (content, stock music and footage)
- Overcoming the biggest hurdle every project faces (hint: it’s not funding!)
- Connecting with the local documentary filmmaking community
If you are new to documentary filmmaking, this is the workshop for you!
AUDIO
Principles of Film Sound Design
Instructor: Dawn Schot Klotzbach
1 session: Saturday, October 23, 10am–5pm
Reg. deadline: October 16
Tuition: $150/$115 members
Max. enrollment: 20 students
How did they create that laser sound for Star Wars? How can you mix sound for a battle scene without it becoming a mess? How can music and sound effects work together at the same time without masking each other? And what is the “Wilhelm Scream” anyway? Starting with Walter Murch, the first credited sound designer, you’ll learn how sound designers have long been creating the magic that tricks our minds into believing what we see and hear on the screen is real.
The first half of the day will focus on history and practice of sound for film. We’ll study sound design in movies such as George Lucas’ THX 1138, The Conversation, Apocalypse Now, and Lord of the Rings: The Two Towers. After a lunch break we’ll cover the facilities and equipment used for sound, and sound sources. We’ll watch documentaries on some of the great sound designers, such as Randy Thom, Ben Burtt, and Skip Lievsay, and learn about their strategies and tips. You'll leave with insights and inspiration for creating your own sound for film. There will be a lunch break.
Location Audio
Instructor: Dawn Schot Klotzbach
1 session: Saturday, November 20, 10am–5pm
Reg. deadline: November 13
Tuition: $150/$115 members
Max. enrollment: 10 students
This course will cover the basics of optimal location audio recording and mixing. You’ll learn how to operate a Tascam flash recorder, boom, and portable mixer, how to recognize and use various types of microphones and audio cables, and how to listen for clean sound when recording. You’ll also learn basic troubleshooting techniques for recording in noisy environments. There will also be some discussion of post-production audio. This course is ideal for anyone interested in learning how to be a sound mixer or boom operator, or for producers/directors who want to have a better understanding of this critical element of any production. There will be a lunch break.
The Voice in Film
Instructors: Sarah Jones-Larson & Paul Bernhardt
2 sessions: Saturday–Sunday, November 20–21, 10am–4pm
Reg. deadline: November 13
Tuition: $245/$205 members
Max. enrollment: 12 students
This hands-on workshop will consider the narrator's role and explore the use of voice in film. We will begin by examining the mode of address employed in a selection of films and television productions. Students will narrate real copy under the direction of experienced voice talent, then hear and see it as part of a sample film project. The instructors will also demonstrate how to get good sound with basic gear in home recording environments. There will be a lunch break each session.
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