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X-WR-CALDESC:Events for Sutton FilmMakers
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DTSTART;TZID=UTC:20260303T194500
DTEND;TZID=UTC:20260303T220000
DTSTAMP:20260413T051745
CREATED:20260128T013642Z
LAST-MODIFIED:20260129T184140Z
UID:7123-1772567100-1772575200@suttonfilm.co.uk
SUMMARY:Acting And Auditioning Workshop With Sara Jordan
DESCRIPTION:Session led by Sara Jordan \n\n\n\n\n\n\n\nSara Jordan is running a practical\, hands on acting and auditioning workshop  for anyone who wants to feel more confident in auditions\, and more grounded in their acting choices. \n\n\n\nThis is not a sit back and listen kind of evening. Expect plenty of exercises\, short explorations\, and supportive feedback as you work on what casting people and directors actually respond to\, believable character\, clear choices\, and an actor who feels present rather than “performed”. \n\n\n\nWhat We’ll Explore\n\n\n\nFinding character and authenticity\n\n\n\n\n\n\n\n\n\n\n\n\nYou’ll work through simple\, repeatable exercises that help you build a character with truth at the centre\, not just a collection of mannerisms. The aim is to feel connected to what the character wants\, what they fear\, what they’re protecting\, and then let that inner world shape everything else. \n\n\n\n\n\n\nBuilding a character from the ground up\n\n\n\nSara will guide you through how movement and voice naturally grow out of character\, rather than being added on top. You’ll explore posture\, pace\, gesture\, rhythm\, breath\, and vocal tone\, and how small physical choices can make a character feel specific without becoming forced or “put on”. \n\n\n\nUnderstanding your casting type\n\n\n\nThis bit is often surprisingly useful. You’ll look at the kinds of roles you’re most realistically likely to be cast in right now\, and how to lean into that strategically\, without boxing yourself in forever. It’s about knowing where you fit in the casting landscape so you can show up with clearer choices and less second guessing. \n\n\n\nHow auditions really work\n\n\n\nWe’ll cover what directors tend to look for\, what helps you stand out in a good way\, and what quietly undermines an audition even when the acting is solid. You’ll also focus on how to present yourself well in the room\, how to take direction\, and how to keep your nerves from hijacking your performance. \n\n\n\nWho It’s For\n\n\n\nThis workshop is suitable for beginners who want a practical starting point\, and for more experienced actors who want to sharpen their audition technique and make their character choices feel more grounded and intentional. \n\n\n\n\nIf you’ve ever left an audition thinking “I could do it\, but I didn’t show it”\, this evening is basically for you. \n\n\n\n\nNon-members welcome for the evening (first two nights free as our guests) Here is how to find us \n\n\n\nDate: Tuesday 3rd March 2026Time: 7:45 pm – 10:00 pm
URL:https://suttonfilm.co.uk/event/acting-and-auditioning/
LOCATION:Sutton FilmMakers Club – Parochial Rooms\, 42 The Broadway\, Cheam\, Surrey\, SM3 8BL\, United Kingdom
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://suttonfilm.co.uk/cms/wp-content/uploads/2025/11/Sara-Jordan-Screen-Acting-Workshop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260317T194500
DTEND;TZID=UTC:20260317T220000
DTSTAMP:20260413T051745
CREATED:20260128T011413Z
LAST-MODIFIED:20260129T183823Z
UID:7114-1773776700-1773784800@suttonfilm.co.uk
SUMMARY:Film In A Night Evening - One Concept\, Told In Multiple Genres
DESCRIPTION:Session led by Adrian Dean\n\n\n\nOne Concept\, Told In Multiple Genres\n\n\n\n\n\nOn 18 March\, Adrian Dean is running a Film In A Night challenge built around a simple idea\, one concept told in multiple genres. We’ll split into teams and be given a basic plot plus a genre to tackle it in.  \n\n\n\nEach group will then discuss and plan quickly before going off to shoot their idea\, aiming to edit in camera so we can screen a finished film to the rest of the club at the end. \n\n\n\nNo pressure\, just a fun\, practical evening of filmmaking with friends\, and a great way to see how much genre comes from choices\, not budget. \n\n\n\nSee our other events here \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nFilm In A Night Evening – One Concept\, Told In Multiple Genres\n\n\n\nIn a film in a night challenge the teams that finish strong usually do one thing early\, they commit. Not to perfection\, just to a clear direction. \n\n\n\nStart with three quick agreements: \n\n\n\n\nGenre Promise\, what do you want the audience to feel most\, amused\, tense\, unsettled\, warm\, suspicious\n\n\n\nGenre Signal\, pick one obvious “tell” you can lean on all the way through\, sound\, lighting\, performance style\, pacing\, camera movement\n\n\n\nFinal Beat\, decide what the last moment is meant to land like\, so you’re always shooting towards something\n\n\n\n\nThen keep the rest ruthlessly simple. \n\n\n\n\n\n\n\nTime Saving Tips That Actually Work On The Night\n\n\n\nPlanning can drift into a mini writers room if you let it\, so for a film in a night challenge give yourselves a few constraints and stick to them. \n\n\n\n\nLimit locations\n\n\n\nOne location is ideal\, two at most. Moving between places eats time\, and it’s where continuity and sound start falling apart.\n\n\n\nKeep the shot list small\n\n\n\n\nAim for around 6 to 10 shots. If you’re listing 20\, you’re probably trying to cover uncertainty rather than telling the story. One strong wide and a couple of close ups will do a lot of heavy lifting. \n\n\n\nAssign “owners” even if roles overlap\n\n\n\nSomeone watches sound\, someone watches framing\, someone watches continuity. People can double up\, but it helps if each area has a name attached to it. \n\n\n\nRehearse the blocking once\n\n\n\nA quick walk through of where people stand\, where they move\, and where the camera is\, saves more time than repeating takes later. \n\n\n\nIf you get stuck\, go more obvious\n\n\n\nFilm In A Night is not the moment for subtle genre. Make the genre clearer than you think it needs to be\, especially in the first 20 to 30 seconds. \n\n\n\n\n\n\n\nWhat Editing In Camera Means\n\n\n\nEditing in camera means you’re assembling the film as you shoot\, rather than collecting lots of coverage and building it later. In practical terms\, you film only what you intend to use\, and where possible you shoot shots in the order you want them to appear. \n\n\n\nIt’s a great approach for this kind of challenge because it keeps things moving\, and it stops the evening turning into a long laptop session. \n\n\n\nYou might also want to read how to get it right colour wise in camera \n\n\n\nHow To Get Editing In Camera Right\n\n\n\n\nShoot in sequence where you can\n\n\n\nIf your story beat order is A then B then C\, try to film in that order. It reduces confusion and makes the “assembled” version feel natural.\n\n\n\nGive every shot a clean start and finish\n\n\n\nHit record\, hold for a second\, let the action happen\, hold for a second at the end. Those little handles make it much easier to stitch together quickly.\n\n\n\nCut on actions\, not on words\n\n\n\nPeople turning\, standing\, picking something up\, reacting\, these are natural cut points. Cutting mid line can work\, but only if you’re doing it deliberately.\n\n\n\nFewer takes\, but one safety take\n\n\n\nDo not chase perfection\, but if a take felt messy\, do one more while you’re there. “We’ll fix it later” is how Film In A Night projects die.\n\n\n\n\nPrioritise sound\n\n\n\nClear dialogue makes a film feel finished. Get close enough to the actors\, do a quick listen back before you move on\, and avoid noisy corners if you can. \n\n\n\n\n\n\n\nAt The End Of The Night\n\n\n\nWe’ll bring the films back together and watch them as a group. Same basic plot\, different genres\, different choices\, and a lot of laughs\, plus you’ll probably pick up a few tricks just from seeing how other teams tackled the same starting point.
URL:https://suttonfilm.co.uk/event/film-in-a-night/
LOCATION:Sutton FilmMakers Club – Parochial Rooms\, 42 The Broadway\, Cheam\, Surrey\, SM3 8BL\, United Kingdom
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://suttonfilm.co.uk/cms/wp-content/uploads/2021/09/Adrian-Dean-in-action.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260407T194500
DTEND;TZID=UTC:20260407T220000
DTSTAMP:20260413T051745
CREATED:20260128T172619Z
LAST-MODIFIED:20260406T084930Z
UID:7139-1775591100-1775599200@suttonfilm.co.uk
SUMMARY:The Basics Of Film Editing
DESCRIPTION:Session led by Peter Leverick \n\n\n\n\n\nIf you’ve ever sat in front of a timeline and thought\, “I know what I want this scene to do\, but it’s not landing”\, this evening is for you. We’re keeping it simple and practical\, a night focused on the basics of film editing and the core decisions that make a sequence feel clear\, natural\, and emotionally right. \n\n\n\nWe’ll work through the three questions that sit underneath almost every edit: \n\n\n\nWhen to cut\n\n\n\nSometimes the cut is obvious. Sometimes it’s a tiny moment you can’t quite describe\, but you can feel it. We’ll explore the cues that tell you it’s time to move on\, pace\, performance\, energy\, eye movement\, and even breathing. \n\n\n\n\n\n\n\n\n\n\n\n\n\nWhy to cut\n\n\n\nCuts aren’t just there to shorten things. They shape meaning. They control what the audience notices\, what they miss\, what they expect\, and how they feel. We’ll look at the most common reasons for cutting\, to tighten rhythm\, to hide problems\, to heighten emotion\, to build tension\, to reveal information at exactly the right time. \n\n\n\nWhat to cut to\n\n\n\nThis is where the basics of film editing starts to feel like storytelling rather than assembling shots. We’ll look at how choosing the next shot can change the mood of a scene\, and how different choices can make the same material feel funny\, unsettling\, calm\, or urgent. \n\n\n\nWe’ll also look at how the basics of film editing shift depending on genre\, because genre is basically a set of audience expectations\, and editing is one of the quickest ways to meet those expectations\, or deliberately play against them. We’ll talk through a few common genres and the sort of cutting style they tend to lean on: \n\n\n\n\nComedy\, timing\, reaction shots\, and how a fraction of a second can make a joke work\, or kill it\n\n\n\nHorror\, controlling what the audience sees\, when they see it\, and how cutting can create dread before anything even happens\n\n\n\nDrama\, staying with performance\, letting moments breathe\, and knowing when not to cut\n\n\n\nSuspense\, tightening the rope slowly\, using pace and withholding information to keep the audience leaning forward\n\n\n\n\nPeter Leverick will also focus on one of the most useful skills an editor develops\, knowing whether the cut feels right. Often the editor’s first clue is simply that something feels off. It might be a timing issue\, too early\, too late\, not held long enough\, or it might be something else entirely\, a mismatch in energy\, a performance beat that’s been cut away\, or a moment that needs a different shot to make the scene make sense emotionally. Peter will share ways to spot what’s actually wrong\, so you’re not just nudging clips around at random. \n\n\n\nWe’ll also cover a couple of common cut types that editors use all the time\, including J cuts and L cuts\, and why you might use them. They’re simple techniques\, but they’re surprisingly powerful for smoothing transitions\, pulling the audience into the next moment\, and making scenes feel more natural without the edit drawing attention to itself. \n\n\n\nThis is a hands on learning night in the sense that it’s all about real decision making\, the sort of stuff you can immediately apply to your own projects\, whether you’re editing on a phone\, a laptop\, or a full editing suite. If you’re new to editing\, it’ll give you a foundation. If you’ve edited a bit already\, it’ll help you understand why some sequences work and others don’t\, even when the footage is decent. \n\n\n\nCome along and sharpen up your instincts\, get clearer on the basics of film editing\, and leave with a few practical ideas you can try the very next time you sit down to edit. \n\n\n\n\n\nNon-members welcome for the evening (first two nights free as our guests) Here is how to find us \n\n\n\nDate: Tuesday 7th April 2026Time: 7:45 pm – 10:00 pm
URL:https://suttonfilm.co.uk/event/basics-of-film-editing/
LOCATION:Sutton FilmMakers Club – Parochial Rooms\, 42 The Broadway\, Cheam\, Surrey\, SM3 8BL\, United Kingdom
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://suttonfilm.co.uk/cms/wp-content/uploads/2019/04/Peter-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260421T194500
DTEND;TZID=UTC:20260421T220000
DTSTAMP:20260413T051745
CREATED:20260412T200903Z
LAST-MODIFIED:20260412T201259Z
UID:7257-1776800700-1776808800@suttonfilm.co.uk
SUMMARY:Video Editing Basics\, A Hands On Practical Workshop
DESCRIPTION:Following our previous meeting\, where we ran out of time to get stuck into the editing itself\, this session gives members the chance to do exactly that. \n\n\n\nIf you want to get started with editing but feel more confused than confident once you open the software\, this workshop is a good place to begin. \n\n\n\nThis is a fully practical\, hands session\n\n\n\nThis is a fully practical\, hands on follow on session where members will be learning by actually editing. It is not a lecture and it is not a software demo that you simply sit and watch. The whole evening is built around getting stuck in\, trying things out\, and learning the basics with support from experienced members as you go. \n\n\n\n\n\n\n\n\n\n\n\n\n\nWe will provide a set of simple clips for everyone to work with during the workshop\, so there is no need to bring your own footage. The aim is to help you get comfortable with the core editing process\, bringing clips in\, placing them on a timeline\, trimming them down\, putting them in order\, and turning raw material into a short finished sequence. \n\n\n\nIf you want to bring your own laptop\, your editing software must be installed before you arrive. We will not have time to install software during the workshop\, and internet access at the club is limited\, so please make sure everything is set up in advance. If you do not already have editing software\, Blackmagic DaVinci Resolve is available as a free download and is an excellent place to start. \n\n\n\nWe will also have a small number of editing suites available for members who do not have a laptop to bring. These will be offered on a first come\, first served basis\, as numbers are limited. \n\n\n\nThis workshop is aimed at complete beginners\, as well as anyone who has tried editing before but still feels unsure about the basics. The focus is on doing\, not theory\, so by the end of the evening you should have a much clearer feel for how editing works and more confidence about taking footage and shaping it into something watchable. \n\n\n\nWhat To Bring\n\n\n\n\nYour laptop\, if you want to edit on your own machine\n\n\n\nEditing software already installed before the session\n\n\n\nA mouse\, if you have one\, as it usually makes editing easier\n\n\n\n\nI think the opening can be tightened even more if you want it to sound less explanatory and a bit more like an event listing. For example: \n\n\n\nFollowing our previous meeting\, where we ran out of time to get into the practical editing\, this follow on session is all about learning by doing. Members will work with a set of simple clips\, with experienced members on hand to help\, guide and answer questions as they go. \n\n\n\nThat opening is probably stronger for a club event page. \n\n\n\n\n\nNon-members welcome for the evening (first two nights free as our guests) Here is how to find us \n\n\n\nDate: Tuesday 21st April 2026Time: 7:45 pm – 10:00 pm
URL:https://suttonfilm.co.uk/event/the-basics-of-film-editing-practical/
LOCATION:Sutton FilmMakers Club – Parochial Rooms\, 42 The Broadway\, Cheam\, Surrey\, SM3 8BL\, United Kingdom
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://suttonfilm.co.uk/cms/wp-content/uploads/2026/04/FCPX-Editing.jpg
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