BAFTA

Director is one of the biggest roles on any film or TV programme. The person hired to deliver a vision, and get the best out of their cast and crew in order to bring the script to life. Working with actors and capturing performance is key; how does that change when your key performer is a clay sheep? Animation director Richard Starzak (Shaun The Sheep) sat down with live action TV director Richard Laxton (Him & Her, Burton and Taylor) to talk about capturing performance, onscreen storytelling and being worried you might get ‘caught out’.

Atonement, Steve Jobs + The Imitation Game make-up artist Ivana Primorac meets The Witch + The Levelling casting director Karmel Cochrane to ask, what is our job?

Bringing characters to life is key to creating engaging film and TV. Casting the perfect performer or working with an actor to create the look of their character are processes which are closely linked but casting directors + hair and make up designers never meet... until now!

Creating action to capture your audience is vital to film, TV and games; whether it’s a challenge which brings a gamer back to play, level after level, or a film action sequence that shoots adrenaline into the heart of a story. Games designer Catherine Woolley (Alien: Isolation, Harry Potter & The Deathly Hallows) and stunt coordinator Gary Powell (James Bond, Harry Potter, Bourne) discuss the creative crossover between their roles.

Explore more meetings across film, tv and games on guru.bafta.org

Watch https://www.youtube.com/watch?v=IMR5GlyyV-c

Director is one of the biggest roles on any film or TV programme. The person hired to deliver a vision, and get the best out of their cast and crew in order to bring the script to life. Working with actors and capturing performance is key; how does that change when your key performer is a clay sheep? Animation director Richard Starzak (Shaun The Sheep) sat down with live action TV director Richard Laxton (Him & Her, Burton and Taylor) to talk about capturing performance, onscreen storytelling and being worried you might get ‘caught out’.

‘Herding cats’ is a good way of describing the life of a producer - they are usually the first and the last people in the process, responsible for keeping everyone on track to deliver a big, creative, expensive project. How does this process change between making a BAFTA-nominated game or a BAFTA-nominated film?

LittleBigPlanet and Tearaway producer Michelle Drucker meets Brooklyn and Wild producer Amanda Posey, finding common ground across their industries.

Atonement, Steve Jobs + The Imitation Game make-up artist Ivana Primorac meets The Witch + The Levelling casting director Karmel Cochrane to ask, what is our job?

Bringing characters to life is key to creating engaging film and TV. Casting the perfect performer or working with an actor to create the look of their character are processes which are closely linked but casting directors + hair and make up designers never meet... until now!

Series producer Huw Cordey and cinematographer Sophie Darlington, part of the production team behind BAFTA-winning series The Hunt, provide a detailed look at the mechanics and challenges of specialist factual storytelling.

Three years in the making, the high-end natural history series reveals the fascinating relationship between predators and their prey, applying dramatic technique to natural history and pushing the boundaries of high-end specialist factual television. Focusing on production craft, senior members of the team explore how the series was conceived and talk through their use of the latest gyro stabilised technology and 4K cameras which allow the viewer to feel close to the action in powerful sequences lasting six to eight minutes. As technical advances and innovative filming techniques have seen growing demand for natural history television and audiences searching for new experiences in the genre, the team share their tips for bringing real-life drama to the screen.

Recorded at Belfast Media Festival

Series producer Huw Cordey and cinematographer Sophie Darlington, part of the production team behind BAFTA-winning series The Hunt, provide a detailed look at the mechanics and challenges of specialist factual storytelling.

Three years in the making, the high-end natural history series reveals the fascinating relationship between predators and their prey, applying dramatic technique to natural history and pushing the boundaries of high-end specialist factual television. Focusing on production craft, senior members of the team explore how the series was conceived and talk through their use of the latest gyro stabilised technology and 4K cameras which allow the viewer to feel close to the action in powerful sequences lasting six to eight minutes. As technical advances and innovative filming techniques have seen growing demand for natural history television and audiences searching for new experiences in the genre, the team share their tips for bringing real-life drama to the screen.

Recorded at Belfast Media Festival

Series producer Huw Cordey and cinematographer Sophie Darlington, part of the production team behind BAFTA-winning series The Hunt, provide a detailed look at the mechanics and challenges of specialist factual storytelling.

Three years in the making, the high-end natural history series reveals the fascinating relationship between predators and their prey, applying dramatic technique to natural history and pushing the boundaries of high-end specialist factual television. Focusing on production craft, senior members of the team explore how the series was conceived and talk through their use of the latest gyro stabilised technology and 4K cameras which allow the viewer to feel close to the action in powerful sequences lasting six to eight minutes. As technical advances and innovative filming techniques have seen growing demand for natural history television and audiences searching for new experiences in the genre, the team share their tips for bringing real-life drama to the screen.

Recorded at Belfast Media Festival

Series producer Huw Cordey and cinematographer Sophie Darlington, part of the production team behind BAFTA-winning series The Hunt, provide a detailed look at the mechanics and challenges of specialist factual storytelling.

Three years in the making, the high-end natural history series reveals the fascinating relationship between predators and their prey, applying dramatic technique to natural history and pushing the boundaries of high-end specialist factual television. Focusing on production craft, senior members of the team explore how the series was conceived and talk through their use of the latest gyro stabilised technology and 4K cameras which allow the viewer to feel close to the action in powerful sequences lasting six to eight minutes. As technical advances and innovative filming techniques have seen growing demand for natural history television and audiences searching for new experiences in the genre, the team share their tips for bringing real-life drama to the screen.

Recorded at Belfast Media Festival