A long-time Advisory Board Member for Digital Design, Amber was most recently the Managing Director of the award-winning agency Tribal DDB Vancouver and has also served as Vice-President, Experience Design at Blast Radius – an interactive agency founded by four VFS graduates. Her relationship with VFS goes all the way back to the Digital Design program’s formative years.
A New York native and founder of a successful advertising agency, Amber brings over 17 years of experience in digital brand strategy, experience design, interactive and mobile advertising, and social network and community design. She has worked with clients such as BMW, Electronic Arts, Nike, and Microsoft.
“This role offers me a unique opportunity to help prepare students to not simply succeed, but thrive, in the blistering pace of our industry, by helping them become multi-dimensional problem solvers,” says Amber.
“I am also extremely proud to work with such a talented team of faculty and instructors, who all come from industry, to ensure the continuing evolution of this world-class program and grow its international appeal and industry relevance.”
Bart has been teaching in the Acting department at VFS for over 10 years. He’s seen a lot of changes in that time, both within the school and in Vancouver’s film and television industry.
One look at his IMDB profile and it’s easy to see Bart’s been very active in the local scene for some time, racking up credits on numerous films and TV series, from The Outer Limits to Human Cargo and Da Vinci’s Inquest, not to mention a few recent appearances as an evil doctor on the hit web series, Riese.
Along with the many other talented and caring instructors in the Acting for Film & Television department, Bart plays an important role in making VFS a hot spot for aspiring actors, giving students the skills and knowledge to launch their careers in a very competitive industry.
What do you do in the Acting for Film & Television department?
Bart: I teach two different Text Analysis classes: an introduction class in the 4-month Acting Essentials program, and a more advanced introduction to genre in the first term of the one-year Acting for Film & Television program. In the students’ final term, I teach a class called The Biz where they study the business side of the acting industry and shoot promotional reels to showcase their talents to agents. I also help out on the “Instructor Shoot” (a collaboration between Acting and Film Production), monologue competitions, and other activities to support students and the department.
How did you break in as an actor, and what kind of work do you usually do?
Bart: I trained at Ryerson Theatre School for three years and spent another 10 doing part-time classes. I have also been training with the help of some of our faculty in the Acting program to prepare for rehearsals for Glengarry Glen Ross, which start at the end of June.
Originally, I broke in doing children’s theatre and small roles on television shows like Neon Rider and Night Heat. I also spent a season performing at the Shaw Festival. The work I do now varies from plays like Glengarry to roles in locally shot film and television. I produce plays when inspired, and I also get involved in VFS-related productions when I can, like Exley — the latest film project from the Head of Acting at VFS, Bill Marchant.
Makeup artists and fans of makeup artistry, do we ever have a treat for you today: two incredible videos about the use of silicone in makeup design and in our one-year Makeup Design for Film & Television program… plus the talent and craft that makes the most of this essential tool.
First, here’s an absolutely mindblowing timelapse of an aging makeup application demo by VFS graduate Michael Nickiforek using silicone. Michael, who by day works on blockbuster films, gave this demo to attendees at IMATS Vancouver. Everyone who saw it was blown away. We know you will be too.
And in this video, Head of VFS Makeup Design, veteran film makeup artist, and our in-house expert Stan Edmonds gives you insight into the role of silicone prosthetics in the industry and its unmatched place in the curriculum at VFS. Also look for commentary from Oscar-winning makeup artists Howard Berger and Tami Lane!
You can read more about silicone prosthetics training at VFS here.
We’re at IMATS Los Angeles this weekend! Come to booths #329 and #331 to see Michael in action and meet Stan yourself!
“My personal mission,” says Jessica Leigh Clark-Bojin, “is to have all classes graduate with zero fear of change.”
Jessica has a vision of the future. And it’s a vision that could make many an entertainment executive break out in a cold sweat. It’s a vision that keeps them up at night.
Because the business of entertainment isn’t just changing – it’s changing fast. It’s difficult to keep up in a team when online media has come of age, video games are a creative and economic force, and mainstream entertainment is consumable by phone. Think about that. To some, this is terrifying.
But to the right people, it’s never been a more invigorating time to be in the business of entertainment.
Jessica is one of those people. As Head of the one-year Entertainment Business Management program, that excitement is exactly what she aims to impart to every single student.
What Jessica sees is a business in which the only constant is change.
“Entertainment continues to be one of the most recession-proof of industries,” she explains. But it’s becoming clear that after decades of relative stability on the business side of entertainment, a lot is changing.
“Issues of piracy, multiple distribution platforms with multiple fee structures, sponsors themselves becoming content creators… They create challenges for traditional media producers. Not insurmountable, but certainly challenges that they did not have to deal with before.”
Creativity is flexible. There’s always going to be demand for creative expertise and experience in entertainment. But for the businesspeople in a world where entertainment is consumed a million ways, the business has been turned on its head. That’s the realm of Entertainment Business Management.
Under Jessica’s guidance, students in EBM learn how to navigate this new world of film, TV, animation, games, and music – and the infinite ways they combine and diverge. It’s about much more than just “the business side” of these entertainment sectors. It’s a top-to-bottom education on how properties are developed, produced, and brought to audiences.
“‘Entertainment Business Management’” is a catch-all that in our case refers to all aspects of entertainment property and entertainment business life cycles,” Jessica says.
“It isn’t enough to make a great film and understand how to manage all aspects of its production. Before the shutter opens, before a pixel hits the screen, you must also have a rock solid strategy for how you are going to make an audience care about your great film.”
In other words, let someone else do the sweating. There’s no apocalyptic hand-wringing here: EBM students are trained to rise above and make the most of the changes. Or, as Jessica puts it with a smile, to “eat change for breakfast.”
“For individuals looking to join the ranks of the old guard of film, TV, and music producers, [a changing industry] means ‘don’t hold your breath’,” she says. “For everyone else, it means a level playing field and tremendous opportunity.”
Jessica’s seen it from the trenches. She’s a veteran of this particular war – a designer, brand strategist, and filmmaker who ultimately became a founding executive of Vancouver’s Zeros 2 Heroes, a unique mash-up of online comics and social networking that extended into film, TV, and interactive space. That experience at the leading edge is something she brings to EBM students.
“I worked with national broadcasters, game companies, production companies and private IP holders to develop properties and extensions that had the best chance of capturing an audience’s attention and hearts,” she says. “Now, as a board member at Zeros 2 Heroes and the head of EBM, I continue to write articles and speak at seminars and conferences about the convergence of entertainment sectors and outreach strategies.”
“Convergence.” It comes up anytime Jessica talks about her vision for the program. It’s a big part of her vision of the future.
“Cross-platform, cross-media, transmedia, convergence… in a nutshell it comes down to recognizing that audience attention has fragmented, and to keep up, entertainment properties need to follow the eyeballs.”
The idea isn’t new – part of the genius of Star Wars was that George Lucas held on to the lucrative merchandising rights. But the trend is accelerating and expanding. Convergence is more than just a by-product of entertainment – it’s becoming one of its driving forces.
“One, if a property has been successful in one medium, it means there’s a built-in audience that you can port to the other medium rather than starting from scratch,” she says. “Two, if you’re unsure as to which access point or medium is going to strike the biggest chord with your audience, developing for all of them covers your bases. Three, if your property is actually successful, you stand to make a much greater profit across all the platforms.”
“EBM is exciting because I think we’ve found the perfect balance between learning and doing. Students are chucked in the deep end on day one so that they can start racking up the real-world accomplishments, but in a supervised and safe environment,” Jessica explains.
Jessica wants to arm students with the experience they need to conquer this new entertainment landscape. The side benefit? An answer to the first question a graduate will be asked by any potential employer, financier, or collaborator: What have you done so far? “Yes, you know how to keep books and manage a project and produce a film… but how many units have you sold? How many fans have you connected with? How many articles have been written about you? How many seminars have you spoken at?”
With that in mind, students actually graduate from EBM with a bonafide portfolio, not just theoretical ‘mock’ projects. It comes down to real accomplishments – and in a changing industry, that’s about the most valuable thing for a newcomer to have.
Of course, if you’re in the business of championing creative properties, it also helps to care. “‘Making magic’ takes a tremendous amount of blood, sweat and tears, and if you’d just as soon be managing a mutual fund as producing a video game, save yourself a lot of headaches and get a traditional MBA,” Jessica says.
“But if, like me, you get a high out of seeing an audience embrace, claim, and give life to a new entity that would never have existed without you, then this is the industry for you.”
Introducing the Faculty Spotlight – every month, we profile an instructor in one of the 13 programs at VFS. It’s a chance to look beyond their bios and get to know the industry pros who are a big part of making the VFS experience what it is.
It’s no secret that the faculty in Makeup Design is second to none – the collective experience from top to bottom is absolutely staggering, and Linda is no exception. Now, as an instructor in the program, she gets to share her expertise – and anecdotes – with a new generation of artists. So here it is: A Faculty Spotlight on Makeup Design Instructor Linda Gill-Crone.
What do you do in the Makeup Design program here?
Linda: I work with the students when they first arrive at VFS, for the first half of the program. I start with the basics, or foundation – no pun intended – classes. We follow a course outline, beginning with the proper care and construction of makeup brushes, working with highlight and shadow, sketching, learning about different products, allergy testing, skincare, set etiquette, period makeup from the 1920s to now, goth, avant garde, drag… I do out-of-kit effects, such as black eyes, cuts, burns, frostbite, bullet wounds, and so much more. We also do a film shoot with the students.
I teach colour theory and oil painting. I have painted all my life. Painting ties in so well with being a makeup artist.
How did you break in as a professional makeup artist, and what sorts of projects have you worked on?
Linda: I began my career in Toronto over 35 years ago. I apprenticed with George Abbott, a well-known Canadian makeup artist – he was Anne Murray’s makeup artist for many years. I also studied with Jack Medhurst. I received a Canada Arts Council Grant to study special makeup effects in Los Angeles with Tom Burman and his family. His son Barney just received an Academy Award in makeup forStar Trek. When I was there, I helped work on Buckaroo Banzaiand Star Trek III.
Out of your filmography, is there something that you’re especially proud of, or particularly good stories to tell?
Linda: I have worked on so many interesting films and with such amazing actors and crew.
Another highlight was on a film called Nobody Makes Me Cry, with Elizabeth Taylor and Carol Burnett. I worked with George Abbott, who I first studied with – he did their makeup, I did [Taylor's] nails. She had removed her false nails and had to have them put back on to match a scene… so in the rush, I crazy-glued our fingers together. “Oh well,” she said, “You can be my friend in the restaurant scene with me.”
I was working on Cocktail with Tom Cruise. He had his own makeup man, Rick Sharp, and I did the rest of the cast. I went in to do final touches on Elisabeth Shue, and it was a very difficult spot to get to. We were at a waterfall, with light stands and flags everywhere…
Well, I tripped over a stand and ended up in Tom Cruise’s lap. He was very surprised, to say the least, and wanted to help me. All I wanted to do was get up and out of there as fast as I could. Having managed to also scrape the whole side of my leg in the fall, I limped away totally embarrassed.
What excites you most about teaching at VFS?
Linda: It is so rewarding to be able to share some of my years of knowledge and experience with the students. I love to see them arrive in class not knowing what it’s all about, and see them grow in confidence, from that first application with shaking hands, to graduation day, so full of knowledge, hands no longer shaking, ready to step out and make their mark.
We’re pleased to announce Jessica Leigh Clark-Bojin is the new head of our one-year Entertainment Business Management program. An industry veteran of new and traditional entertainment media, Jessica has become a specialist in helping executives from the film, television, and game industries capitalize on new opportunities made possible through advances in digital media.
A founding executive of Zeros 2 Heroes Media, Jessica has worked with CBC, APTN, Seven24 Films, Halifax Film, BioWare, and Rainmaker Entertainment todevelop strategies to cope with the changing world of entertainment media. She’s had a part in over 30 comic properties for clients as diverse as the Canadian International Development Agency, the Province of New Brunswick, and ATB Financial, and has produced a digital media pilot for CBC along with a television series for APTN.
Jessica’s taking the reins at a very exciting time for Entertainment Business Management, considering the newly updated curriculum in store for students.
“This is really a prequel to the movie,” says Writing for Film & Television instructor John Meadows (WiseGirls, Lost: Via Domus). During a recent Writing for Games master class, John walked current Writing and Game Design students through his most recent writing project: an XBox 360 adaptation of James Cameron’s much-anticipated film, Avatar.
After writing the game adaptation for the hit television series Lost, John was no stranger to meeting the high demands of Hollywood’s A-list talent. Avatar: The Game put him in frequent contact with the likes of the film’s producer John Landau along with Sigourney Weaver.
“We had a lot of pressure to make sure everything was up to speed,” he said to the audience inside the new Writing campus‘ HD theatre.
As students are learning in a newly-added course on Writing for Games, the writing process greatly differs from writing for film or television. In John’s experience adapting pre-existing films and television series to video games, writers come in toward the end of the production and rush to meet the game’s release deadline.
“The first week I was there [at Ubisoft Montreal], I got slapped with the whole glossary of Na’vi,” John says, referring to the native language of the film’s mystical planet, Pandora.
Along with his co-writer on this project – Film Production grad Kevin Shortt — John penned a script that reached approximately 900 pages. [Considering the average film screenplay is about 110 pages -- wow!]
A big congratulations to John on the game’s release and his continued success!
Trick ‘r Treathas been in the can for a couple of years now and it’s finally seen the light of day, courtesy of Warner Bros. With four intertwined stories in its 90 minutes, it’s a bit like an installment of The Simpsons’ Treehouse of Horror, except live-action and not quite as over-the-top.
In fact, it’s pretty good, and the horror genre press are loving it. Bloody Disgusting, for one, calls it an “instant cult classic.”
Trick ‘r Treat was shot in and around Vancouver, and boasts quite a few VFS grads in the credits – and faculty, too. Acting for Film & Television grad Matt Anderson plays a hapless clerk at a costume shop while Shelly Devuyst was a stunt performer. 3D Animation & Visual Effects alumni Juliana Wade (rotoscope and matchmove coordinator) and Matthias Lowry (visual effects artist) worked on the VFX. Sound Design for Visual Media grad Glen Noseworthy (ADR mixer) and Todd Mason (sound effects recordist) are credited, while Film‘sGlen Dickson was a camera op and Shauna Bryan the senior visual effects producer.
On top of all that, Makeup Design for Film & Television instructors Shauna Magrath, Bruce Houston, and Michelle Lemieux all worked in the film’s makeup department.
Trick ‘r Treat is available on DVD and Blu-Ray in your fine brick-and-mortar and online retailers.
What’s Halloween without a home for your deepest fears – the perfect haunted house?
Brad Leith has the answer – the VFS instructor, who teaches Psychology & Art in Foundation Visual Art & Design, is a master of the macabre medium. This week, the Vancouver Sun caught up with him to find out more about the Vancouver house – which is more elaborate and gruesome than any you’ll likely see – and his motivations for doing it year after year.
“You’re going to get a reward if you get to the door, you’ll get a good bag of candy,” he tells the Sun. ”But you might not make it if you’re seven.”
Not sure what these are?
Vancouver Film School is pleased to welcome the new Head of the 
This month’s Faculty Spotlight is on VFS 
Bart: I trained at Ryerson Theatre School for three years and spent another 10 doing part-time classes. I have also been training with the help of some of our faculty in the Acting program to prepare for rehearsals for 
“My personal mission,” says 
In other words, let someone else do the sweating. There’s no apocalyptic hand-wringing here: EBM students are trained to rise above and make the most of the changes. Or, as Jessica puts it with a smile, to “eat change for breakfast.”
“EBM is exciting because I think we’ve found the perfect balance between learning and doing. Students are chucked in the deep end on day one so that they can start racking up the real-world accomplishments, but in a supervised and safe environment,” Jessica explains.
Introducing the Faculty Spotlight – every month, we profile an instructor in one of the 13 programs at VFS. It’s a chance to look beyond their bios and get to know the industry pros who are a big part of making the VFS experience what it is.
Linda: I work with the students when they first arrive at VFS, for the first half of the program. I start with the basics, or foundation – no pun intended – classes. We follow a course outline, beginning with the proper care and construction of makeup brushes, working with highlight and shadow, sketching, learning about different products, allergy testing, skincare, set etiquette, period makeup from the 1920s to now, goth, avant garde, drag… I do out-of-kit effects, such as black eyes, cuts, burns, frostbite, bullet wounds, and so much more. We also do a film shoot with the students.
I was working on 
We’re pleased to announce 
“The first week I was there [at 
What’s Halloween without a home for your deepest fears – the perfect haunted house?