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NAMI Inaugural Seminar

The National Academy of the Moving Image' inaugural seminar was held on January 8, 9 and 10. Everyone who took part was deeply involved in the production.

John Wilson, UPM

Jerry Courtland, Director

	Bill Birch, DP
(L-R) Marjorie Birch, Props/Set Decorator; John Wilson, UPM; Jack Behrend, Lighting and Budgeting

Peter Kuttner, 1st AC explains First Assistant's job.

Robert Sanchez, 1st AC talks about handling of the camera.

Filmmakers' Finishing School

By Leslie S. Osborne

Reprinted with permission of PerformInk, Chicago's Entertainment Trade Paper.

On a film set there is no time for learning, you either know or you go. The exception to that rule could be found at the National Academy of the Moving Image' (NAMI) film production workshops Jan. 8, 9 and 10. Students at the workshop had full opportunity to explore a film library that remains out of reach for most beginners -- one of personal and professional knowledge and experience.

All the workshops days were set up to simulate pre-production, production and post production. Unlike a real set, however, participants were encouraged to talk more, not less.

Interactivity was the name of the game at NAMI -- for both panels and demonstrations. The first day consisted largely of insider information about working within the film industry. On the second day, panels were augmented by a commercial shoot -- the most valuable part of the workshop. Digital film editing was the last day's topic.

During the commercial shoot, the director and other crew members were quick to point out important details it took some of them years to figure out. Peter Kuttner (first assistant camera operator, LoveJones, While You Were Sleeping), for instance, gave participants valuable techniques for working with the film and camera more efficiently. He even showed us how create a portable tool bag.

Crew members related experiences they had when working with Mel Gibson, Robert DeNiro, and Bruce Willis among others. Their stories expressed how often mood and etiquette is determined by a number of unknown personal and set-related situations. For instance, press agents may indicate that their clients are open to interviews and behind-the-scenes taping -- without making their clients aware of the situation. This situation can lead to moments of awkwardness when set photographers or videographers begin their work.

Marjorie Birch (props master on a number of films) handed out call sheets to illustrate the complications of large-scale productions. A call sheet is used to keep track of the comings and goings of crew, actors, and props and other aspects of production. But not all call sheets are alike. What is listed on a small versus a large film can be compared to the listed stock differences between a hotdog stand and a large burger chain.

According to the speakers, filmmakers can mentally prepare for on-set troubleshooting by anticipating possible situations. Success and disaster can be closer to one another than one might expect. Going onto a set with preconceived notions can lead to disappointment when things do not go as planned.

A non-profit organization, NAMI offers workshops and mentoring to filmmakers who want to grow professionally. "By Film Professionals, For Film Professionals," NAMI was formed in 1998 by SMS Productions, Inc. co-owner Man-sung Son. At this year's event, the teachers included professional filmmakers from Chicago and LA, such as: Kuttner, Birch, William Birch (director of photography, Backdraft, To Sir with Love2), John Wilson (unit production manager, Risky Business, Ghostbusters), George Kohut (camera operator, The Negotiator, Rocky V) and Jerry Courtland (director, Walt Disney Productions, over 200+ episodes of TV). There were also representatives from the Screen Actors Guild (SAG) and the Chicago and Illinois Film Offices.

Among audience members was a documentary filmmaker, a college professor, a news anchor, a television production person and an entertainment attorney.

The National Academy of the Moving Image has emerged as an entity unlike any other in the city of Chicago. The richness and professionalism of its key presenters brought a big-budget approach to the no-budget feature. The dialogue rises above the need to feed your crew, while not ignoring real issues that smaller film producers have. The NAMI workshops were not so much a film course as they were a part of a finishing school.

Persons who are interested in finding out about future NAMI classes and workshops should visit the Web site at http://www.smsprod.com/cava or e-mail the National Academy of the Moving Image at smsprod@sbcglobal.net or call 312/738-0747.

National Academy of the Moving Image

Ron Ver Kuilen Illinois Film Office Richard Moskal Chicago Film Office Kit Woods (SAG) Kim Mattes Bill Birch Jerry Courtland John Wilson Scott Lazzara Thom Papanek Sterling 'Red' Quinlan Peter Kuttner Marjorie Birch George Kohut Tory Mazzacano

Bob Sanchez Ian McCausland Jack Behrend Tim Kelly Brita Voigt David Sikich Adam Martin Bob Sliga The Film & Tape Works Schumacher Camera SMS Productions, Inc. WTTW Production Center Kodak Abel Cine Tech, Inc. Screen Magazine

Most of all, thank you to all the students who braved the cold and snow to attend the seminar. Their dedication to the study of film is unmatched.

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