ABOUT DÖRTE SCHNEIDER

Dörte Schneider has 20 years of experience as an assistant director in films and tv commercials, Dörte discovered that she could combine her passion for film with her environmental concerns. This is how she decided to become a Green Consultant.She obtained the Green Consultant certificate at the German “Hochschule der Medien” (HdM Stuttgart), and since then she has been committed to making film productions greener. To achieve this goal, Dörte believes that educating and raising people's awareness of this issue are fundamental. Dörte is an active member of Filmmakers for Future and of the German green consultant association (BVGCD), besides being an ambassador for The Pact and Green The Bid. In October 2021 she got trained as a Climate Reality Leader. WORKSHOP DESCRIPTION

The workshop will look at the climate reality on planet Earth, and how that should influence our every action. It is also going to give an understanding of sustainability as a concept. It will focus on the importance of the application of “green measures” during all stages of film production. The workshop will provide tools to identify issues of environmental impact on film production, provide the knowledge to better interact with a green consultant, and deliver the knowledge to better tackle the challenges of the environmental sustainability of a film production, without neglecting the social and economic ones. The workshop will be informative and interactive, with space for exchange and dialogue. The topics covered in the workshop: - Understanding what a “Green Consultant” does - Know what is happening internationally - Assess the critical points of a project - Know what steps to take at each stage of the project PART 1 | Climate literacy. Introduction to the concept of sustainability. What is a Green Consultant? What’s happening on (and to) Planet Earth? What is “sustainability”? Theoretical and legal bases. Applicability in the audio-visual industries. Introduction to existing initiatives and platforms. What does the Green Consultant do? PART 2 | Departments I Departments and their impact: Production. Screenwriting. Directing. Catering. Scenography. Wardrobe. Make-up/ Hair. What measures can we apply? PART 3 | Departments and their impact: Lighting. Sound. Post-production. Energy, Materials, Transport, Waste. How can we work in a more "green" and efficient way? PART 4 | The footprint of distribution and streaming. Introduction to carbon footprint calculations. Green storytelling. Recap. PROFILE OF PARTICIPANT Anybody working in the film industry is welcome. This workshop is addressing the industry as a whole and is committed to giving an understanding of the importance and scale of our impact and footprint. 16 hours Duration: 4 days Dates: 3rd to the 6th of April 2023 9AM - 1PM (London) 10AM - 2PM (Brussels) 4AM - 8AM (New York) 1:30AM - 5:30AM (New Delhi) 12PM - 4PM (Dubai) 4PM - 10PM (Beijing) Location: Online Price: 450EUR (270EUR with 40% Discount Until 22nd of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam

ABOUT FRANCESCA JAYNES Francesca Jaynes has been a Choreographer and Movement Director in the film industry for over 25 years. Her work is incredibly diverse, ranging from movement in “A.I. Artificial Intelligence” and “Gravity” to musical films such as “De-Lovely” and “Muppets Most Wanted”. She has worked with top directors on both sides of the Atlantic, including Mike Leigh, Steven Spielberg, Tim Burton, Joss Whedon, Ron Howard, Michael Winterbottom, and Mike Newell, and with a host of stars such as Judi Dench, Dustin Hoffman, Sandra Bullock, Andy Serkis, Christoph Waltz, Tina Fey, Jude Law, Keira Knightley, and Kevin Kline. In addition to a wide-ranging CV in film, she works regularly in the theatre in musicals, opera, and plays, and also in television drama. For a complete look at her career to date, please visit www.francescajaynes.com .

WORKSHOP DESCRIPTION CHOREOGRAPHY AND MOVEMENT IN FILM Work in dance and movement in film can be an ever-changing and diverse experience. This is what makes it exciting! But it’s also what makes it extremely challenging. The top people in the industry have a vast range of skills (ballet, tap, historical dance, contemporary social dance, etc) and must always be ready to adapt and change to best serve their director and the film. Within this two-day exploration of the discipline, we’ll look at the complete process of working in dance/movement on a film production, from initial meetings with producers and directors, to casting, rehearsals, and ultimately filming. There are a host of details and elements that need to be considered at each stage of the process, in addition to the actual creation of the work. With discussions, Q and A’s, and practical ‘on your feet’ workshops, we’ll explore the myriad of fun and challenging scenarios that can present themselves on a variety of job assignments. Topics will include: Different approaches for different films, Genres, and directors; How does the dance/movement fit into the narrative of the film and/or scene; Relationships with other departments (Directors, Assistant Directors, Costume Departments, Sound Departments, Art and Props Departments); Practical sessions in creating and filming the work (historical dance, etc); Actors, dancers, and Muppets - working with differing levels of skills, abilities, and comfort zones. PROFILE OF PARTICIPANT The workshop designed for, choreographers, dancers, Actors, and Directors, who can directly benefit from the knowledge and know how presented on this workshop. The workshop is also suited to different profiles, such as cinematographers, Art Directors, who will directly work with Choreographers and Movement Directors, and can improve their work by knowing how to interact with this department in a more effective way. The workshop is also suitable for anyone interested in entering the Film Business on the area of Choreography and Movement Direction.

LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 13th - 14th of May 2023 Location: London UK Price: 499GBP (325GBP Until 20th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam.

ABOUT POLLY DUVAL

POLLY DUVAL is a British post production supervisor. For over twenty years Polly Duval has been working in London at the heart of British independent film with some of the most highly regarded directors and producers in the industry. As Post Production Supervisor on more than forty feature films, Polly’s credits include Mr Turner, Brooklyn, Peterloo, Judy, and this year’s notable releases: Living, What’s Love Got To Do With It?, and The Son. She is currently working on Kristin Scott Thomas’s directorial debut My Mother’s Wedding, and on Saltburn, directed by Emerald Fennell (A Promising Young Woman). Polly Duval experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

WORKSHOP DESCRIPTION The workshop will focus on a diversity of topics of the craft of Post Production Supervision, you will have the chance of not only receive this knowledge from Polly Duval, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. Using case studies, the workshop will include the following topics: - The evolving role of the Post Production Supervisor - Planning post production before post production - The post production schedule - Budgeting for post production - Guest speakers on Sound and VFX - Film Delivery, past, present and future PROFILE OF PARTICIPANT The workshop is designed for Post Production Supervisors, Directors, Producers, Editors, Sound Editors, production managers, production co-ordinators, production assistant, assistant editors, script supervisors, Film Students, and anyone with the interest in Post Production. LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 13th - 14th of May 2023 Location: London UK Price: 499GBP (325GBP Until 27th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

ABOUT ALLAN STARSKI

Allan Starski is one of the top Production Designers working today. He has collaborated with directors such as Roman Polanski, Steven Spielberg, Andrzej Wajda, Peter Webber, among many other notable names. Son of famed screenwriter/ songwriter Ludwik Starski, Allan graduated in Architecture in Warsaw’s Academy of Fine Arts and began his filmmaking career in Poland with Oscar and Palme d'Or-winning director Andrzej Wajda. With a wide range of successful collaborations (including Człowiek z marmuru (Man of Marble),Człowiek z żelaza (Man of Iron) and Panny z Wilka (The Maids of Wilko) and Pan Tadeusz), it was with the film Danton (1982) that Starski began being noticed by his peers around the world. In 1993 Starski received an Academy Award for his work in Steven Spielberg’s revered film Schindler’s List – starring Liam Neeson, Ben Knigsley and Ralph Fiennes - which also secured Starski a BAFTA nomination. His extensive work includes Roman Polanski’s The Pianist (starring Adrien Brody) in 2002 (for which he won a Cesar Award) and Oliver Twist in 2005; Peter Webber’s Hannibal Rising; Agnieszka Holland's Europe, Europe and Washington Square. Starski also has an impressive body of worked on stage productions, having collaborated with acclaimed professionals such as Arthur Miller, Aleksander Bardini and Andrzej Tapicki. full credits on http://www.imdb.com/name/nm0823649/ Allan Starski is one of the most versatile and accomplished Production Designers of our age – his filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Production Design workshop with Allan Starski will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Allan Starski, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. Participants will learn what makes a strong visual, and what to expect when working as a Production Designer. The workshop will also help directors and DP's understand the importance and how to deal with the Production Designer. The topics covered on the workshop will be: Creative team, Director, DP and PD. Story Board as a visual tool for discussion. Art department Breakdown and it influence on the film budget. Period research and artistic interpretation of historical knowledge. Concept drawings, models and final drafts. Location or Studio Sets ? Color in the movie. Creating color palette according to visual concept of the movie. Case study: Washington Square by Agnieszka Holland. Split locations in historical movie. Case study: "Franz Schubert" Specifics of black and white movies. Case study: "Doctor Korczak" By Andrzej Wajda. Case study: "Schindler’s List" by Steven Spielberg How director emotional knowledge influence visual style of the movie. Schindler’s List versus Pianist. Big historical movie with sets built entirely in the Studio. Case study: "Oliver Twist" by Roman Polanski Sci- Fi and the low budget, does it go together ? Case study: “Fear of Flying” Can you make big historical movie with shooting in 3 continents and 5 countries ? Case study: "The Cut" by Fatih Akim. CGI as an additional tool for Production Designer. Extending sets by Visual FX. Rates and Agents PROFILE OF PARTICIPANT The workshop designed for Production Designers, Art Directors, Costume Designers, Set Designers, Directors, Art Directors, DP's, Film Students, or anyone interested in entering the Film Business on the area of Production Design LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 13th - 14th of May 2023 Location: London UK Price: 499GBP (325GBP Until 24th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam.

ABOUT MICK AUDSLEY

Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, collaborating with directors such as Stephen Frears, Terry Gilliam, Mike Newell, Robert Zemeckis, Armando Iannucci, Kenneth Branagh and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High Fidelity" "Harry Potter and the Goblet of Fire" or more recently "The Personal History of David Copperfield". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) Everest (Baltasar Kormákur) Murder on the Orient Express (Kenneth Branagh) Allied (Robert Zemeckis), most recently, The Personal History of David Copperfield, working with Armando Iannucci. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. Marieke Audsley will be featuring alongside Mick on the topic "Understanding actors performances from the film editors point of view in order to facilitate the multiple choices presented."Marieke is a theatre director with a particular interest in comedy, literary adaptations and Shakespeare. She trained at Birkbeck on the Theatre Directing MFA after reading English at the University of Cambridge. Marieke’s directing credits include Ladies Day (New Vic & Octagon), The Massive Tragedy of Madame Bovary! (Jermyn Street Theatre), Jekyll & Hyde (Guildford Shakespeare Company), Beryl (ERT & Arcola) and a touring production of Julius Caesar for the Royal Shakespeare Company. As an assistant/associate director she has worked extensively at the RSC and in the West End. Marieke was Resident Director on Kenneth Branagh’s season at the Garrick Theatre. Marieke teaches workshops and masterclasses on directing actors for the NFTS and works with actors training at Mountview Academy of Theatre Arts. WORKSHOP DESCRIPTION

3rd of June

Introduction of the participants to Mick, the participants will then be showed some clips of the work made by Mick Audsley. How to edit your characters/ actors and performance (practical examples How to employ narrative techniques to create tension. How to serve the narrative through effective editing. Focus on how to help the story flow through the editing, and best processes. Topics include the following: analyzing some choices and options made in some of his works, generally sharing experiences of editing in the industry.(problem solving and good decisions) How to apply the craft in different genres. The impact of genre on editing styles Influence of great films, film history to help work. (musicals, horror, thriller, Shakespeare, study ) 4th of June

‘Understanding actors performances from the film editors point of view in order to facilitate the multiple choices presented.’ (Featuring Marieke Audsley) Technical aspects of the job - looking at recent project showing workflow. Low budget, high budget? How to work with sound, music and special effects. Practical exercise. The participants will be given footage (a small scene) to work two weeks before the workshop, all participants will show their work at the workshop, the group will then analyze each editing, and learn from each other’s work. Mick will give his insight on each edited version of the footage. The participants should at the end be self-conscious of their editing choices, as well as aware of the other options taken by the other participants. The relationship with the Director, DOP, Producer and other members of the film crew. How to be a part of the whole process of film and television production and not merely as the final stage, becoming collaborators, not just efficient technicians. The market reality for Editors, Agents, Rates, and finding your own work NOTE: this workshop will not teach you about specific softwares, but instead it will enhance the capacity to edit in your mind, before you actually use your tools. It is about your decisions, your choices and your options as an editor. PROFILE OF PARTICIPANT

The workshop designed for Editors, Directors, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Editing WORKSHOP LOCATION The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. In the next few months we will be hosting the workshops online, however we will maintain not only the standard of quality you have come to expect with the best experts available, but also the networking and interactivity of the workshops: -The workshop group will have a limited number of participants, we will not host more than 25 participants. - We will maintain the tailor made aspects, with the possibility of troubleshooting projects you have been involved or challenges you are facing. We will introduce new tools to enhance the interactivity between participants. - We have rearranged the workshops' sessions, which will take place in 4 days instead of the typical 2 days, so that the workshop is less overwhelming, as the typical two full days online would impact the capacities of the participants to absorb the content. 16 hours Duration: 2 days Dates: 3rd - 4th June 2023 9AM - 1PM and 2PM - 6PM BST (London) 10AM - 2PM and 3PM - 7PM CEST (Brussels) 4AM - 8AM and 9AM - 1PM EDT (New York) 6PM - 10PM and 11PM 3AM AEST (Sydney) 12PM - 4PM and 5PM 9PM Gulf Standard Time (Dubai) 4PM - 8PM and 9PM 1AM CST (Beijing) 1:30PM - 5:30PM and 6:30PM 10:30PM IST (New Delhi) Location: Online Price: 499EUR (299EUR with 40% Discount until the 17th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

ABOUT PETE TRAVIS

Established director and BAFTA winner Pete Travis actually had a late start in his filmmaking career: before becoming a director, Pete Travis was a social worker. However, inspired by Alan Clarke and Costa-Cravas, he decided to take a post-graduate course in filmmaking. Soon after graduation he acquired the rights of “Faith” (short story written by Nick Hornby) and presented his first short film at the London TV Festival (1997). Later, he directed episodes of “Cold Feet” (1999) and the TV series “Other People's Children” (2000), as well as “The Jury” (2002) mini-series and the TV movie “Henry VIII” (2003), featuring Helena Bonham-Carter and Mark Strong. Impressed with his work, Paul Greengrass, “Captain Phillips´” director, sent Travis a script that he co-wrote with Guy Hibbert – “Omagh”. The film premiered in 2004 at the Toronto International Film Festival, where it won the Discovery Award. The film also won the 2005 BAFTA Award for “Best Single Drama”. “Vantage Point”, was his first major motion film, starring Dennis Quaid and Matthew Fox. It was released in the USA, in 2008. Just one year later, in January of 2009, Pete Travis took to Sundance to premiere “Endgame”, which dramatizes the last days of Apartheid in South Africa and stars Chiwetel Ejiofor, William Hurt, Jonny Lee Miller and Mark Strong. Later, Travis directed a film adaptation of the popular UK comic book series, “Dredd” (2012). In Travis' feature film, Karl Urban takes on the role of judge Dredd with Olivia Thirlby playing his young accomplice. The film quickly gathered a cult following. Pete Travis recent work stars Riz Ahmed and Billie Piper: “City of Tiny Lights” (2016) - a crime thriller film, written by Patrick Neate and based on his own novel of the same name and "Project Blue Book" with Aidan Gillen and Michael Malarkey WORKSHOP DESCRIPTION

The Directing Actors for Film workshop will focus on a diversity of topics of the art of directing actors, you will have the chance of not only receive this knowledge from Pete Travis, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. The workshop will also cover the following structure: PRE-PRODUCTION Introduction to “acting” / How to actors work? The Actor/Director relationship Letting the actors to build their own characters The Actor’s tools and methodologies The director in a casting What is a character? The importance of the story through the eyes of the character Planning Rehearsal - What to Rehearse and Why. Rehearsal Tools Directing The Character ON SET How to communicate with actors Staging the Scene and Blocking the Action How the camera affects performance. Business and endowment Keeping performances dynamic and the actors engaged. Keeping the set as a creative environment. What to ask for in a new take. Maintaining Continuity - Emotional and Physical WORKSHOP LOCATION The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking, on the next few months we will be hosting the workshops online, however we will maintain not only the standard of quality you came to expect with the best experts available, but also the networking and interactivity of the workshops: -The workshop group will have a limited number of participants, we will not host more than 25 participants. - We will maintain the tailor made aspects, with the possibility of troubleshooting projects you have been involved or challenges you are facing. We will introduce new tools to enhance the interactivity between participants. - We have rearranged the session of the workshop that will take place on 4 days instead of the typical 2 days, so that the workshop is less overwhelming, as the typical two full days online would impact the capacities of the participants to absorb the content. PROFILE OF PARTICIPANT The workshop designed for Directors, Assistant Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing Actors 16 hours Duration: 4 days Dates: 5th to the 8th of June 2023 9AM - 1PM (London) 10AM - 2PM (Brussels) 4AM - 8AM (New York) 1:30PM - 5:30PM (Los Angeles) 12PM - 4PM (Dubai) 4PM - 8PM (Beijing) Location: Online Price: 499EUR (299EUR with 40% Discount Until 13th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam

ABOUT MARK ULANO, CAS, AMPS Mark Ulano has been recording sound for film professionally since 1976 and has mixed over 150 film and television projects. He is a four times Oscar nominee, most recently for ONCE UPON A TIME IN HOLLYWOOD, AD ASTRA and INGLORIOUS BASTERDS. His work on TITANIC won him an Academy Award for Sound Mixing as well as the Cinema Audio Society Award for Best Sound mixing for a Feature Film. Most recently, his work can be heard on WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY and in 2023 on the new Martin Scorsese spring release: KILLERS OF THE FLOWER MOON, staring Robert DeNiro and Leonardo DiCaprio. He has had a 28 year collaboration with Quentin Tarantino. With many articles published, Mark is very active in the cinema mentoring world as a teacher of workshops and speaker at sound symposiums internationally; including Academy of Motion Picture Arts and Sciences Gold Program, American Film Institute, Digital Video Expo, AES and Cinema Audio Society and many others. Mr. Ulano has long been involved in leadership within the creative film sound community. He sat 30 years as a board member for the Cinema Audio Society and served the full two terms both as President and Vice President of the CAS. He also has served five terms as president of IATSE Local 695 (the film sound union in Los Angeles) and also served nine terms on the Sound Branch Executive Committee of the Academy of Motion Pictures Arts and Sciences as well as various AMPAS subcommittees. ABOUT PATRUSHKHA MIERZWA Patrushkha Mierzwa is one of the first women boom operators in Hollywood. She has worked on 80+ movies and television shows for major directors including Robert Altman, James Gray, Quentin Tarantino, and Martin Scorsese. She has also been a judge for the Emmys and was a Director on the Board of the sound union - IATSE Local 695. Patrushkha has spoken on multiple panels and given workshops at universities in China, Ireland, Norway, England, France, Los Angeles, and New York City on the duties and responsibilities of Boom Operators and Sound Utility Technicians. She has lectured on the performance work skills necessary to succeed under a fast production schedule with A-list talent. Patrushkha wrote the multiple award-winning best-selling book on sound, “Behind the Sound Cart: A Veteran’s Guide to Sound on the Set” and has contributed to film retrospectives and books, including “Nope, Nothing Wrong Here: The Making of Cujo” and is featured in “1000 Women in Horror.” She is currently writing a book on boom operating.

WORKSHOP DESCRIPTION OVERVIEW AND OBJECTIVES-Sound for storytelling: The tools are not the artist, they are passive instruments until played by the creative practitioner. We do not come to the project with a preconceived ideology; We come to the project to discover, to learn, to interpret. We hope to create something new. This workshop is conducted primarily as a conversation and is fully interactive. We use case studies to teach a solution-based creative use of sound. Topics covered in the workshop will include: Using the sound palette for directorial intent. What is being transmitted to the audience at this specific moment? Connecting the characters to the audience Sound as a tool for emotional connection/truth/communication Character perspective, 1st person vs 3rd person, Like lenses and frame composition but not visible. Every shot is hand made by a team of artists Absence of understanding of the sound process on the set and beyond can limit the reach of the director Brief historical survey Not the Jazz Singer, but 40 years of evolving before the late 1920’s, when dialogue and sound-scape emerge. The creation of a film’s sound-scape begins in pre-production. The production sound team lays the bed of performance and most often are the primary liaison or decision maker of approach from pre-production through production. Including sound artists in the circle of trust. The production sound team performs the essential foundation in the creation of your film’s soundtrack. Capturing performance in collaboration with the artists in front of the camera in tandem with those behind the camera What is “good sound”? What does “technical” mean on a film set? Linking with the other departments PROFILE OF PARTICIPANT The workshop designed for,The workshop designed for, Sound Mixers, Sound Editors, Music Editors, Book operators, ADR Editors, Directors, Film Students, or anyone interested in entering the Film Business on the area of Sound.

LOCATION OF THE WORKSHOP The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. We will be hosting the workshops online in the near future, however we will maintain the standard of quality expected with the best experts available, and also the networking and interactivity of the workshops: -The workshop group will have a limited number of 25 participants. - We will maintain the tailor made aspects, with the possibility of troubleshooting projects you have been involved or challenges you are facing. We will introduce new tools to enhance the interactivity between participants. Duration: 4 days Dates: 6th - 9th of June 2023 1PM - 5PM (London) 2PM - 6PM (Brussels) 8AM - 12PM (New York) 5:30PM - 9:30PM (New Delhi) 4PM - 8PM (Dubai) 8PM - 12AM (Beijing) 9PM - 1PM (Rio de Janeiro) Location: Online Price: 499EUR (299EUR Until 7th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam.