London Film School, offer full-time MA Degree courses in both Film Making and Screewriting.

"This was a fascinating and accessible course which struck a good balance between theory, anecdote and interesting practical examples.” Participant feedback, February 2009

Course Outline

This weekend workshop is essential for those directors, producers, editors, sound designers, composers and screenwriters who want to have a better understanding of the relationship between image and sound and how to use it to best effect in their films.

Rather than the blank coverage approach now demanded of many sound editors, designers and re-recording mixers, tutor Gustavo Costantini advocates sound tracks to be full of ideas rather than effects. Participants will learn key elements of sound/image strategies and be introduced to all the possible uses of sound and music that are used in contemporary filmmaking.

Referencing Michel Chion’s seminal work on film sound Audio-Vision, the workshop will provoke participants to think in terms of sound rather than image. Extensive use of film clips ranging from The Birds to Saving Private Ryan will demonstrate how difficult it is to think in terms of sound and music and how neglected these fields still are.

Exclusive material provided by Academy Award-winning Sound Editor Walter Murch will be used to reveal his working methods on the assembly of sound design and film editing. This unique footage will also show the collaboration between Murch and Anthony Minghella on the opening sequence of The Talented Mr Ripley from first assembly to the final version.

Participants will be trained in strategies on how to use sound or music in actual situations, and how sounds can be treated and edited in the context of the whole film. These situations will take the form of projects submitted by the participants themselves, from scripts to finished films.

The course will be of interest to directors for whom all these topics and case studies are relevant. Sound designers will be interested in the possible places that film sound can occupy (in, off, subjective, "on the air", etc.), and also offer guidance for applying special audio effects or processes.

For film editors and composers, the connections between the film structure, the syntax of the film edit, and the music syntax will provide an updated view about the way that all the elements are integrated.

Fee: £180.00

Gustavo Costantini - Tutor Profile

Gustavo Costantini, Michel Chion's disciple, is an Argentinean sound designer and editor, and also a musician, working on feature films, documentaries, theatre and sound installations and video art.

Researcher and Professor of Sound and Editing at the University of Buenos Aires and University of Cinema, he is visiting lecturer of renowned universities and film schools around the world.

Member of the Boards of The School of Sound and The Soundtrack magazine, he also teaches in Great Britain and Germany. He has collaborated with Academy Award-winning Sound Editor Walter Murch (APOCALYPSE NOW, THE WOLFMAN) on masterclasses and is currently working with director Lucrecia Martel (LA NIÑA SANTA) on upcoming projects.

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How to apply

Please submit the following items (email applications preferred):

• Application Form
  (click to download)
• Personal Statement
  (i.e. a few brief paragraphs explaining why you're applying for the course, what you hope to gain from it etc.)

Once your application has been received we will provide you with instructions for booking your place online.

Email us:
Carolyn Atherton:
workshops@lfs.org.uk

Postal Address:
Workshops Admissions,
The London Film School,
24 Shelton Street,
London, WC2H 9UB, UK

Telephone us:
+44 (0)20 7836 9642

Fax us:
+44 (0)20 7497 3718