Sir Richard Branson Endorses Entrepreneur MA

“This Course is a Terrific Idea!”

Virgin founder and entrepreneur, Sir Richard Branson, has given the National Film and Television School’s Creative Business for Entrepreneurs and Executives a ringing endorsement in a recent article on the Virgin website.

In the article, Sir Richard talks about how he and co-founder, Nik Powell – now director of the NFTS - shaped the Virgin business and learned: “entrepreneurship each day, making up new ways of running businesses as we went. We didn’t have a rulebook, but it we did, we would have ripped it up. Whether it was marketing, advertising, design, product or customer service, we learned new things every day – it was either adapt and survive, or stand still and fail. It was the best entrepreneurial education possible.”

Sir Richard believes that there are too few opportunities for young people to learn ‘in entrepreneurial ways’ and believes you can ‘learn entrepreneurship.’

“With that in mind, Nik set up the NFTS’ new course in creative business for entrepreneurs and executives, with the vision of helping students to design and build the media companies of the future. We need a new generation of makers and doers in all sectors, especially in the creative industries. The course, which is unique in Europe, will allow students to gain hands-on, practical knowledge and build the tools they need to create their own businesses and opportunities.”

About the MA:

The Creative Business MA helps students develop and launch a business with the support of the UK’s most successful business leaders. Participants gain access to and are uniquely taught by over 100 key influencers from the worlds of publishing, theatre, games, film, television, music and digital entertainment. Their insights are invaluable for the students and place them at an advantage in the flourishing world of creative business.

In addition to the students developing a viable business by the end of the course, they are also required to attempt to raise money to fund it. This is a unique requirement for an MA of this kind and parallels other NFTS courses where students make films, TV programmes or games, which are eligible for Oscar and BAFTA nominations, optioned for development by industry giants like Warner Brothers or developed for distribution on platforms like Stream. 

Nik Powell, NFTS director says: “The UK continues to be a huge success story when it concerns the creative industries and we are proud that our graduates continue to play a key part in this.  Our new Creative Business MA for Entrepreneurs and Executives capitalises on this success and ensures that we focus not only on creativity and storytelling but also on developing our students’ business acumen and entrepreneurship.”

Chris Auty, NFTS’ Head of Producing says: “Building business capacity in the creative industries is vital to future competitiveness in the UK. We need more entrepreneurs, financiers and managers who truly understand the creative process as well as business and commerce and this course will make a significant contribution to achieving these goals.” 

The Creative Business MA is supported by major media investors Ingenious, law firm Lee & Thompson and accountancy firm Saffery Champness.

Don’t miss our Facebook Live open day on Monday 28th November at 1pm – visit the NFTS Facebook page https://www.facebook.com/NFTSFilmTV/ to take part.

For more information and to apply for this course, which starts in January 2017, please visit https://www.nfts.co.uk/our-courses/masters/creative-business-entrepreneurs-executives

NFTS Grad Wins Deluxe Director Award

Anne Marie Duff Presents Honour at Women In Film & TV Awards

NFTS Directing Fiction graduate and director of Suffragette, Sarah Gavron, has won The Deluxe Director Award at the 26th annual Women In Film & Television Awards, which took place on Friday 2nd December 2016. The award was presented to Sarah by Suffragette star, Anne Marie Duff.

The Deluxe Director Award recognises outstanding achievement by a woman director in film, TV or digital media across entertainment, comedy or drama within the last two years.

The jury, which was chaired by Briony Hanson, Director of Film, British Council, said the following about the decision to present the award to Sarah:

“Happily the jury had much to choose from this year and there was some animated discussion as we deliberated – but at the end of the day there was only one way we could go as all roads led to Sarah Gavron. That she took such a vital real life event (and it’s surely not too grand a statement to say that for everyone in this room it’s probably THE most important event of the 20th century) and made it feel accessible, contemporary, alive and truthful as a drama, is a testament to her extraordinary skills as a director. She conducted a cast to give the very best they had, lifted a beautiful script off the page, and brought London and its place in this story vividly to life for a wide and receptive audience. “

Kate Kinninmont MBE, Chief Executive of Women in Film & TV said, “In the year when Directors UK published their report, Cut Out of the Picture, showing that there has been no real improvement in the hiring of women directors in British film over the past ten years, it was a joy to see Sarah Gavron’s brilliant work on Suffragette being recognised at our Awards Lunch with The Deluxe Director Award. Sarah not only brought to the screen a hugely important story about women, she also provided wonderful parts for women, as well as ensuring that a great many women were employed at every level behind the cameras. More power to her!”

Nik Powell, NFTS Director, said: “We are incredibly proud of Sarah’s achievement in winning this important award. The NFTS is taking inspiration from Sarah and her peers to build the number of successful women filmmakers and we are looking forward to implementing the initiatives we announced at our Gala, which took place in June and celebrated Great British Women, to help make this happen.”

For more information, please visit www.nfts.co.uk and www.wftv.org.uk

 

 

NFTS Appoints Experienced Documentary Maker

Peter Dale to Co-Head NFTS Directing Documentary MA

London, 6th January 2017: The National Film and Television School announces it has appointed experienced documentary maker Peter Dale as Co-Head of its Directing Documentary MA. Peter will be working on a part-time basis alongside Dick Fontaine who has lead the Documentary MA at the NFTS for over twenty years.

Peter started as a television film editor and directed his first documentary for BBC One in 1980. He went on to produce and direct documentaries at the BBC for the next 18 years. In 1998 he went to Channel 4 to become Head of Documentaries where he took the opportunity to commission a good number of NFTS graduates, including Kim Longinotto, Nick Broomfield and Molly Dineen. In 2005 he conceived and launched More4, Channel 4’s third digital channel. And in September 2008 set up his own independent production company, Rare Day, dedicated to producing quality documentary and drama for broadcasters and other distributors.

In addition to his new role at the NFTS Peter is also the Executive Producer on a number of high-profile television projects including a new Louis Theroux documentary with the BBC.

Peter says: “I’m really excited to be joining the documentary team at the NFTS whose reputation is second to none. I’m looking forward to the challenge of preparing these talented young people for the outside world, particularly since documentary story-telling is now in such demand and spread across a vast horizon of modern media.”

Nik Powell, NFTS Director says: “We are delighted to have Peter on-board to co-head our Directing Documentary MA, which is one of our most popular courses. His experience speaks for itself and the fact that he is continuing to work on a number of exciting projects while at the NFTS will be fantastic insight for the students.”

For more information on the two-year Directing Documentary MA, please visit https://nfts.co.uk/our-courses/masters/directing-documentary .

ENDS

Contact for further information:

Vicky Hewlett, Head of PR and Communications, NFTS: VHewlett@nfts.co.uk

Tech Giant Challenges Film School with VR Project

NFTS Teams Up with AMD

London, 6th December 2016: The National Film and Television School (NFTS) is teaming up with leading graphics processor manufacturer, AMD, to deliver a series of Virtual Reality projects as part of the school’s Bridges to Industry scheme.

NFTS students and recent graduates will be among the first in the UK to access AMD’s latest Radeon™ Pro WX7100 graphic cards, which are capable of developing and driving VR experiences at a high fidelity level. The students and recent alumni will be invited to pitch and develop three projects for AMD:

1 - An interactive and immersive VR experience for Oculus or HTC headsets using real-time rendered 3D computer graphics.

2 - A 360˚ video project of up to 3 minutes that entertains and inspires.

3 – A topical, short film of up to 3 minutes on the impact of Augmented Reality (AR).

AMD plans to give the selected concepts wide exposure and show them at events around the world such as FMX, the International Animation, Effects, VR, Games and Transmedia Conference, which takes place between the 2nd and 5th of May 2017 in Stuttgart.

Says Nik Powell, NFTS Director: “Filmmakers, television producers and games developers are all exploring the possibilities presented by 360 video, VR and AR as well as the creative and technical challenges in producing something that genuinely makes use of the additional level of viewer interaction. This series of projects set by AMD is a fantastic opportunity for our students and graduates to explore these new technologies and think differently about how a story can be told.”

“We are delighted to support this new initiative to combine our technological expertise with NFTS students’ and graduates’ expertise in storytelling” says Roy Taylor, CVP at AMD and Chairman, BAFTA VR Advisory Group. “We believe storytelling is the key to the success of these new technologies which is why it’s so important to work with a prestigious, creative institution like the NFTS.  We look forward to seeing the results.”

Applications are still open for the NFTS MA in Games Design & Development and the MA in Digital Effects – deadline for applying is January 4th 2017 and the courses commence at the end of January 2017. For more information on how to apply, please visit www.nfts.co.uk

Contact for further information:

Vicky Hewlett, Head of PR and Communications, NFTS: VHewlett@nfts.co.uk

VR entrepreneur supports Creative Business MA

Watch our Facebook Live Q&A

If you are a budding entrepreneur like our Creative Business alumna Jip Samhoud, don't miss our Facebook Live open day on the Creative Business for Entrepreneurs and Exectutives MA on Wednesday 17th September at 1.30pm with NFTS Head of Producing, Chris Auty. The MA is open for applications until October 16th 2017.

The two-year MA -- which students can combine with part-time professional work -- starts in January 2018 and gives students all the tools to create the media businesses of the future (across Publishing, Theatre, Games, Film, Television, Music and Online). It’s taught by over 100 major players from across the creative industries, and is a one-of-a-kind opportunity for you to build your new business and be helped to set up the financing for it – while on the course!

Recent course alumni include Jip Samhoud, a world-class entrepreneur.

After originally creating an online fashion and news TV service, Jip decided to dive into the world of VR (virtual reality) and AR (augmented reality). As well as creating pop up VR cinemas in Europe including the first fully permanent VR cinema in Holland, Jip seized the commercial opportunities of VR/AR with both hands.

His marketing and branding agency – called simply &SAMHOUUD – recently launched a promotional campaign for Albert Heijn -- Holland’s largest supermarket group. Using QR codes tied to supermarket tokens, the campaign led kids on an animated AR journey of dinosaur discovery -- delivering educational value for children while at the same time becoming the most successful online promotion in Dutch retailing history.

If you want to see Jip talking about his business and his time at the NFTS, just click here and to visit his website, please visit www.samhoudmedia.com

And if you want to join us and find out more, just log in with us on Facebook Live, Wednesday 27th September 1.30pm, for our CBEE Entrepreneur Open Day, or follow this link to our Facebook page: https://www.facebook.com/NFTSFilmTV/

Top five reasons to apply:

1 – get mentored by the leading experts in the music, theatre, games, publishing and advertising industries

2 – build an address book of top contacts to help you and your business thrive

3 – guidance and support for your business plan

4 – access to finance and investors plus develop your pitching skills

5 – still have time to run your business while on the course

Applications are open until October 16th 2017 and the two-year MA starts in January 2018.

 

NFTS Welcomes Multi Award-Winning Playwright David Hare

“It’s exhilarating how words and images come together”

Sir David Hare delivered an inspiring and memorable masterclass to the students in conversation with NFTS Head of Short Courses, Peter Ansorge, focussing on the art of screenwriting.

The double Oscar nominated and BAFTA winning director and playwright, Sir David Hare’s work encompasses theatre, film & TV.  His screenplays for The Hours and The Reader were both nominated for Oscars & BAFTAs; he won the Berlin Golden Bear for Wetherby and a BAFTA for his TV drama Licking Hitler, while his play, Skylight, won the Laurence Olivier Theatre Award.  His latest film, Denial, Holocaust denial courtroom drama starring Rachel Weisz, will be released in January 2017 and his current play, The Red Barn is at the Lyttelton until January 2017. 

David was accompanied by his wife, Nicole Farhi CBE, a fashion designer and sculptor, and actress, Sabine Haudepin, who is known for her role as Sabine, ‘la petite’ in Jules et Jim.

David set up the session by asking the audience to close their eyes and imagine a desert island, an islander and a boat and then project that vision onto the cinema screen. “Every one of you will have something different painted in your mind and this is the issue that a screenwriter has to deal with as there is the illusion that the film already exists. There is only one thing you have to bear in mind as a writer; the film does not exist but everyone involved with the film sees something different, which is why the screenwriter’s job is so difficult as everyone thinks they are imagining the same thing but they are not.”

David counselled the students to expect the initial reaction to a screenplay to be one of disappointment because the director or producer may have thought it would be something else. He explained that the screenwriter’s task is to “negotiate and expose what you think the film is to people so it reaches the screen in its best possible form.

According to David, the screenwriter often has to spend more time defending the script than writing it! However, he countered that “there is also often extremely valuable input from every section of the filmmaking process including some genius ideas that will make the film better than you could imagine.” With regards to advice, “you should follow this simple rule: Only take advice from someone who is committing their own integrity and name to what will be on screen. If someone has the courage to invest in something you have written, they have a right to try and influence it.”

On directors, David had the following to say: “Great directors are collaborators and open to suggestions from every department.” He gave the example of Stephen Daldry who invited him into the cutting room: “Screenwriters do the same thing as editors. We order the thoughts and feelings that the audience responds to and consider the movement of the film in the same way. Cinema is all about the way in which words are mixed with images.”

To illustrate this, David reminded the students of one of the most famous movie scenes of all time when character, Mr Bernstein recalls a girl in a white dress in Citizen Kane. This scene doesn’t require a flashback as the speech stimulates the audience’s imagination.

David continued on the power of words: “Language is one of the elements that can make a film memorable and exciting and something the audience can remember for the rest of their lives. It’s exhilarating how words and images come together.”

Screenwriters need to develop and hone the skill to get information across without the audience knowing. They do this by hiding information so that the audience picks things up without realising it. “The minute the audience becomes aware that information is being pushed at them, you’ve lost the battle.”

Plausibility is also a vital issue to resolve. “In literature, things are often so well written, it never occurs to the reader how unlikely the storyline was. In cinema, you have to confront that implausibility as the audience knows that the film is cheating as you decide to show some things and not others. The audience either accepts or rejects the cut.” When writing the screenplay for Damage, David went through a rigorous process with director, Louis Malle whereby Louis constantly asked David to tell him the story of the film and answer any plausibility issues. “Whilst this was a really painful process, it was incredibly valuable as once you understand the structure and there are no questions that can’t be answered, the plot becomes impermeable.”

According to David, the reason why long form TV series are so popular at the moment is because the audience isn’t familiar with the format. Turning to the students, David said: “You need to come up with new formulas to add anything to the art of screenwriting and I expect you all to be doing this in future!”

If you would like to come along to masterclasses like this, we have a number of courses with places available to start in January 2017. These include a Diploma in Graphics & Titles for Film & Television, Cameras, Sound and Vision Mixing for Television Production, a Masters in Digital Effects, Film Studies, Programming and Curation and Marketing for Film, TV and Games.

 

 

 

 

 

 

Don’t Miss Our Marketing MA Open Day

Live on Facebook Wednesday 27th 12.30pm!

Back by popular demand, we are streaming an open day for our new Marketing and Distribution MA for Film, TV and Games live on Facebook on Wednesday 27th September at 12.30pm.

Course leader and entertainment marketing expert, Deborah Rowland and Head of Producing, Chris Auty will discuss the new course and answer any questions you might have about the two-year MA course, which starts in January 2018.

Here’s a taster of what you can expect from the course:

The Marketing MA for Film, TV and Games is a really exciting course that looks at how we connect content such as films, TV shows and games to audiences and consumers.  It will equip you with all the tools you’ll need to sell, market, distribute, retail and exhibit – looking at how cinemas, TV channels, games and film distribution companies operate, how to identify your audiences, and how to reach them through creative and effective sales and marketing techniques.  By the end of the course, you’ll have an unrivalled overview of the film, television and games industries and be able to move between them with ease – making you highly employable executives in these sectors.

What sort of roles will it qualify me for?

The course will qualify you for a huge number of commercial roles within the film, television and games sectors, these might include:

–        a marketing manager who creates the campaigns for feature films or games, ensuring the trailers, posters and advertising all connect with the right audiences

–        a commissioning exec who spots the best television shows and talent and brings them to your channel

–        an exhibition marketing manager who ensures that audiences have the best experiences at their cinemas

–        a publicity manager who looks after the cast of a popular television show or film, managing their interviews with the press or their appearances at premieres and events

–        a social media exec managing the online word of mouth for their film, television show or game

These are just a few of the roles you will be prepared and qualified for once you’ve taken the course.

What makes this course different from similar ones out there?

There are lots of reasons this MA stands out from others:

1)     NFTS has an unrivalled reputation. It has been described as “the best film school in the world” and is a centre of learning excellence for the creative sector.  The course leaders and tutors are some of the most experienced in the film, television and games industries – you will emerge from completing your course incredibly experienced and well connected!

2)     Practical application and experience is a major focus of the course.  As a student you will have valuable work experience placements that will shine on your CV: We will take you to film and television markets, Berlinale and MIPCOM, and games conference EGX; you will work with the producers and designers on other NFTS courses on live projects; and have countless networking opportunities to meet and learn from the industries’ best talent.

3)     The course aims to give you not only the business-to-consumer skill set - how to connect films, games and television shows with the public - but also the critical business-to-business mind-set to manage a brand or business in relation to other businesses within the industries, to really command each sector with ease.

4)     The content and delivery has been developed by the film, television and game industries.  We have consulted with them thoroughly in the creation of the objectives, framework and subject matter covered.  This is a meaningful qualification to the sectors you will soon be working in.

What are the key things I need to know to apply?

·         The course is 2 years, full-time and starts in January 2018

·         Applications are open now; please click ***Here*** to apply.

-         Register for the online open day at www.nfts.co.uk/opendays

·         There are no specific educational requirements for the course. Some experience or study in media and/or marketing and publicity is desirable and a love of film, television and/or games I would say is essential!

Tweet your questions to us using #NFTSMarketing @NFTSFilmTV and we will pass them to Debbie and Chris or ask questions live during the open day at our Facebook page.

 

Work at the biggest design house in Europe

A course with ‘brilliant training & benefit of real world experience.’

This week, I met with Sky’s Creative Director, (Design), Ceri Sampson and National Film and Television School Graphics and Titles Diploma course leader and experienced graphic designer, Hugo Hansell to find out more about the new course, which is delivered in partnership with Sky and includes a four-week placement working with the broadcaster’s design team.

Tell us about the Graphics & Titles Diploma and what makes it stand out from other graphic design courses?

Hugo: This course is completely unique; I don’t know of any other course that dovetails into the film and television industries like this one does. The course will be based around numerous aspects of film and TV graphics including both 2d and 3d and students will get to collaborate with those on other courses across a wide range of TV and filmmaking disciplines from Producing and Directing TV Entertainment to Fiction, Natural History, Science and Sports Production.

Who should apply and why?

Ceri: Anyone with an interest in working in graphic design in the television industry should apply for this course. The broadcast industry is so fast paced and Sky’s design team is constantly looking for new recruits who can hit the ground running. That is why completing a work placement where you get relevant training and real world experience in an environment like Sky - Europe’s largest design house - makes any candidate extremely attractive to a future employer.

Hugo: We’re looking for both practical and creative applicants. Maybe you’re inspired by the latest cutting edge technologies in graphic design from Vizrt to VFX or you might be highly creative and love pushing the envelope with your design ideas. Ultimately, you really need to have a passion for film and television and be committed to wanting to work in one of these exciting industries.

What will students experience on their placement at Sky?

(Example of an Ident a student might get to work on at Sky.)

Ceri: The design team at Sky is extremely large and many different disciplines work together including title design, channel branding and content graphics. NFTS students will be able to choose a particular area to focus on and immerse themselves in the broadcast environment. They could be working on titles for the latest sports programming, campaigns for programmes such as Game of Thrones or a rebrand and idents for the likes of Sky Cinema. There are creative opportunities for those who want to come up with ideas and storyboard them; or students could choose to focus on VFX or on honing Vizrt skills and working on real-time 3D graphics, video playout or sports analysis. 

Hugo: The opportunity to experience working somewhere like Sky is extremely rare and will be a fantastic addition to your CV.

How can I make my application stand out?

Hugo: You’ll need to have a strong portfolio and be able to demonstrate a genuine interest in working in the television or film industry. Enthusiasm and visual talent are the most important things to showcase!

How do I apply?

Applications are open now for the full-time, 12 month Diploma and the course starts in January 2017. Apply here!

Bill Nighy Delivers ‘Acting for the Screen’ Masterclass

Delights NFTS Students: “What a legend he is!”

Our students arrived in droves to hear from double BAFTA and Golden Globe winning actor, Bill Nighy this week, the first of a series of planned masterclasses aimed at the interaction between filmmakers and actors. Directing and Producing Television Entertainment MA student, Madeleine Spivey couldn’t have put it better when she said: “NFTS just played host to an incredibly thoughtful masterclass delivered by the incomparable Bill Nighy. What a legend he is!”

Bill’s incredible, highly acclaimed and much-loved body of work spans theatre, TV and film.  Encompassing hard-hitting political drama such as State of Play; zom-rom-com, Shaun Of The Dead; period drama, Glorious 39 and Lone Scherfig’s forthcoming Their Finest; animation, Rango; drama, Notes On A Scandal and The Girl In The Café; comedy-dramas, Hot Fuzz, Love Actually and The Boat That Rocked and family entertainment, Harry Potter and the Deathly Hallows; and the Pirates of the Caribbean film series.  Their Finest is Bill’s next project, a romantic comedy set in World War II, which is due for release in March 2017 and in which he stars with Gemma Arterton and Sam Clafin.

Bill started by encouraging the students to ask him questions ‘you wouldn’t ask anyone else!’ as asking if you don’t know the answer is always the best policy. He quoted director Roger Michell’s advice: “If you don’t know something, don’t blag it – ask!”

A clear theme throughout the masterclass was how important it is for directors and producers to ‘create an environment where everyone gets looked after properly’ on-set as making movies is a ‘collaborative affair’. Bill advised all directors to direct a play if they get a chance as you get to ‘minutely examine the relationship with actors on the stage’. Bill also likes it when directors are clear and practical with their direction and gave an example of filming with Stephen Poliakoff who told Bill after a particular scene: ‘That was marvellous. Next time, don't wiggle your eyes about so much’, which is the kind of direction Bill likes becauseI know how to not make my eyes wiggle about!’

Bill was asked if he changes his approach to acting depending on whether it’s big budget or a small indie film. He replied by saying ‘no, not really’. The only difference is that on a smaller movie, it’s tighter and  you have less time to deliver a shot whereas on a big budget movie you can find yourself in fairly daunting situations which affect you to start with but you could be anywhere after a few days. He used the Pirates of the Caribbean as an example as he had to wear ‘computer pyjamas’ and the sets were huge scale, even including a special boat to create movie rain and light rigs that make the rain look ‘groovy!’

The importance of rehearsal time was another theme that Bill tackled as rehearsals don’t happen very often on movie sets and ‘when it does, it’s a dream’. He advocates ‘getting up and rehearsing the scene to the max so you can then achieve spontaneity.’ If there’s no rehearsal time and it’s a comedy movie, then Bill advised that the rehearsal or first take should be shot as that is usually the most funny. Whereas if you do get a chance to rehearse as you do in the theatre, then you’ll be fine as ‘everything is better when rehearsed. Rehearsal isn’t the enemy of art, humour and spontaneity!’

Another student was curious as to what gives Bill inspiration for his accents. Bill told the audience he  decided to go with a Scottish accent for his character, Davy Jones in Pirates of the Caribbean after being given the note that the character should sound ‘wet!’ He avoided West Country as he ‘wanted to be different!’ To get the accent right, Bill finds people with the accent and gets them to read bits of the script which he records on his phone.

When asked about Love Actually, Bill said it had had a profound effect on his life as it meant he never had to audition again, which was a ‘most unexpected and beautiful thing to happen!’ And on what happens when he hears the ‘Love is All Around’, the song his character adapted in Love Actually to ‘Christmas is All Around’, Bill said ‘I feel good! It’s a sign of affection.’

At the end of the event, Production Design MA student, Adriane Hervas presented Bill with a cake she had made, which was inspired by the Pirates of the Caribbean and featured a pirate ship and a squid! Adriane had met Bill previously when she was working in a cake shop and she had told him how much she liked baking. Bill said the cake looked ‘very exciting’ and that he would take it to his daughter’s for dinner.

If you are inspired to join us at the NFTS, we have a number of courses that are still available to apply for to start in January 2017 ranging from an MA in Film Studies, Programming and Curation to an MA in Marketing, Distribution, Sales and Exhibition; and a Digital Effects MA. We also have a range of very exciting short courses from Directing the Documentary to Writing the Pilot and Craft Editing.

 

Digital Effects Grads Credited on a Multitude of Movies!

From Inferno to Bridget Jones Baby

NFTS Digital Effects grads are working across a multitude of genres from action movies like Suicide Squad to dramas like Poldark, documentaries such as Voyage of Time – Life’s Journey and comedies like Bridget Jones Baby and Nice Guys. Nearly all (96%) of our Digital FX graduates are in employment from Soho to São Paulo to Singapore, working on the latest films, TV shows, VR experiences and all kinds of digital visualisation. 

Here are a few examples of roles you can expect to aim for after graduating from this exciting two-year MA:

Dean Koonjul is working as Compositor on Inferno, the latest adaptation of Dan Brown’s bestselling novel and stars Tom Hanks who reprises his role as Harvard symbologist Robert Langdon.

Victor Tomi and Giacomo Matteucci are Digital Compositors on Miss Peregrine's Home for Peculiar Children, a movie based on the novel of the same name about a mystery that spans different worlds and times.

Felipe Olid Guerrero is Compositor on three episodes of the second series of hit TV Drama, Poldark.

Dillan Nicholls is Lead Compositor on Bridget Jones Baby, which has seen huge success at the UK Box Office and stars Rene Zellweger, Colin Firth and Patrick Dempsey.

Andy Quinn is Compositing Supervisor on Nice Guys, a movie which is set in 1977 about a down-on-his-luck private eye (Ryan Gosling) and a hired enforcer (Russell Crowe).

Manuel Perez is Digital Compositor on Captain America: Civil War which Empire describes as ‘matching its blockbuster scale and spectacle with the smarts of a great, grown-up thriller, Captain America: Civil War is Marvel Studios’ finest film yet.’

Rob Rankin and Graham Dorey are Digital Compositors on Anthropoid based on the extraordinary true story of "Operation Anthropoid," the code name for the Czechoslovakian operatives' mission to assassinate SS officer Reinhard Heydrich.

James Brennan-Craddock is credited as CG Lead on documentary Voyage of Time – Life’s Journey which is directed by Terrence Malick and described as a collage film that intends to illustrate the birth and death of an undiscovered universe. 

Carlos Ciudad is Visual Effects Production Manager: MPC for X-Men:Apocalypse and Suicide Squad, which also credits Chris Gooch as Lead Compositor: MPC. Carlos says of his work: “I love my job and get a huge buzz from working on the latest big blockbusters; it’s great to work with so many highly creative people and to have the opportunity for millions of people around the world to see your work!”
 
if working in Digital Effects sounds like the career for you, you can apply now to start in January 2017!

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