Masterclass by Gábor Csupó, producer

From Pannonia to Hollywood

16 October 2020, 1:00 p.m.

The 5-time Emmy Award winner Gábor Csupó will speak about the beginning of his carrier, his childhood inspirations in Budapest, the start of the the Pannonia Studios, his escape to the west, the formation of the Klasky Csupo Animation Studios in Hollywood, the directing and the circumstances of the film, Bridge to Terabithia by Disney.

Masterclass by János Szabolcs Production Designer

How to create the PERFECT SET in 3 shamlessly easy steps

14 October 2020, 1:00 p.m.

The decisive elements of the visual – linguistics in the film industry.

If we can ask the proper questions with the elements of a given topic to a given topic, then we get the chance to get the right answer which may go beyond the given topic.

The systems in production design can be formed based on the thinking: For whom, Why, How, and What.

The role of the survival distortion in the world of our everyday lives.

The necessity and the seeking of known patterns in the monotony of our days controlled by our habits.

Why do we plan movies, the visuality and the sound for them, and make other people play in it?

Masterclass by Claudia Kovács, DOP

Transits in Cinema
The Constant Mixing of the Hybrid Present and the Archived Past

15 October 2020, 1:00 p.m.

In her presentation Claudia Kovács intends to talk about the transitions of the visual shaping appearing in film history. These transitions can be observed at every single change of era, after a technical development. Not only the film technics, but the world surrounding us has been constantly changing, so the audience has always been at a different level of literacy.

Mainly, the topic of visuality is to be addressed. Going through from the beginning to nowadays, concerning the change of filmstock types, within that, the change of black and white, and colored filmstock for dramaturgic aspects, with the different types of aspect ratios appearing, which made a strong impact on the stories of compositions. The interference of digital and analog filmstock, the importance of the color dramaturgy and the lighting, which make a clear impact on the generation who grew up with Instagram filters, bringing feelings out from the viewers, starting an association in them about a given age, the feeling of life.

What does it mean to a viewer when there is suddenly an episode in a movie recorded on Super8 filmstock, or how does fiction and reality react to each other, how do different genres, filmstocks, pictorial fashions like selfies merge into the present visuality of movies? Is there a correct, prioritized pictoral shaping? What is the difference between a movie and a home video? Is there a need to make a distinction at all, or are they just individual colors on an endless color palette? What is the hybrid reality that we live in and take a part in as creators? There is no exact boundary lines between interactive movies and realities, and it is not sure that this has to be forced. However, the truth is that we have to recognize the possible paths on this swampy, constantly changing visual map.