SAMPLIFY Editors Film Forum 26th Aug 2009

Moderated by two time Emmy award-winning editor, Mr Kris Trexler, who is currently on a one year attachment with Ngee Ann Polytechnic’s Film program. Catch acclaimed local and foreign film and TV editors as they engage in an in-depth discussion about film and TV editing. The emergence of more advanced editing software such as Avid’s Colour Correction implies positive implications for the Singapore market, as well as added responsibilities for the editor. As a project takes shape, editing becomes a collaborative process. How does the role of the editor evolve along this journey of TV or film making, and how does he or she deal with the increasing demands of directors and producers? How can editors work to create stronger works? Grab this chance to ask our panelists all these questions and more!

Join us at the Editors Film Forum on the 26th of Aug 09. We have invited well acclaimed and accomplished editors such as Mr Dustin Lau who has edited “Rome:Lost City of China” and “Site and Sound”, Mr Gerard Tay who has worked on the well received TV series, “Fighting Spiders”, Mr Eric Lau from Iceberg Design who has worked on local film, “Kallang Roar” and last but not least, Mr Jon Hammond from NYU Tisch Asia who has worked on the feature films, “Get Real” and “Far North”.

To reserve a seat, call us at +65.6336.6707, or email us at academy@sinema.sg

SAMPLIFY Cinematographers Forum 29 July

“Cinematography in Singapore”

Moderated by Matt J. Siegal, an acclaimed cinematographer who is currently teaching at the prestigious New York University Tisch School of the Arts Asia, this forum will explore and engage participants in discussing the concept of cinematography and how it relates to the local film scene.

Joining him are both foreign and local cinematographers, namely, award-winning cinematographer John Radel, and Singaporean cinematographer Lim Ching Leong. Radel has worked on the Hollywood production, Queen of the Dammed, as well as local films such as Dance of the Dragon. Leong has shot Royston Tan’s acclaimed films, 15 and 4.30.

We shall be exploring and engaging in a discussion of advanced cinematography and how it relates to the local film scene. How does Singapore’s production techniques fit in the global film arena? How does local cinematographers grapple with working under limited budgets. What are recent changes in the Singapore market i.e. new camera technologies like RED, PMW-EX3?