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                                                 MOTION PICTURE & PRO-VIDEO awards & prizes
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  realistic an impression as possible of the big, bad world of filmmaking.
Companies such as Lee Lighting, Arri Media and Soho Images support the course, which also boasts profes- sional contacts with other organisa- tions such as BKSTS and BECTU.
How about the students them- selves? Two third years, who recently wrapped shooting on major projects, which are largely self-funded and shot on Fujifilm motion picture stock, demonstrate that their successors already have a hard act to follow.
Samuel O Norman is director of photography on Nina, which follows the story of a ballet dancer striving to pass an audition as well as win her father’s approval for her choice of career. The majority of the film was shot in a theatre in Bristol, which Norman describes as a “major logistical achievement. We had to raise £3,500, but it was worth every penny.”
Norman says he feels the course has put him in a very strong position for a future career in film. “It has taken me three years to get to this point but on the first day of filming, I knew I had made the right choice. I took to it like a duck to water.”
Ioanna Karavela’s project looks at the relationship between children and adults. Under the Table was largely filmed, as the title suggests, under a table.
“Children like to have their own space,” enthuses Karavela, before detailing just what she felt she gained from the experience.
“It was a very intensive nine day schedule but the atmosphere stayed calm. I have learned a lot about shoot- ing with lights. The course gives you a very good start in the industry and I now feel a lot more confident about what lies ahead,” she states.
The success record of the degree programme speaks for itself.
Recent graduates have continued their professional development as sound recordists and mixers, working in camera departments and as produc- ers and assistant producers. Many ini- tially find work in post-production houses, quickly moving on to assistant editing and editing.
With two scholarships offered by The British Cinematographer’s Scholarship Trust and an annual script award from Carlton, the British film and television industry looks set to be spoilt for choice in future years.
“The level of maturity, responsibili- ty and technical ability that the stu- dents leave here with is remarkable. It is very satisfying to see the students develop,” says Barwell.
With programmes such as this on offer, Farnham looks set to be a force to be reckoned with in the British Film Industry for many years to come. ■ TIM GREEN
“The level of maturity, responsibility and technical ability that the students leave here with is remarkable.”
Photos above l-r: Three scenes from the production Nina; DP Billy Williams BSC at
the Masterclass; Below: Film students at work (photos Sammi Izri)
Fuji Motion Picture And Professional Video • Exposure • 27

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