Celluloid Connections: Cultivating creative skills through analogue film and musical collaboration

1 Reflective Evaluation Study Lost Analogue project T able of c ontents TABLE OF CONTENTS ................................ ................................ ................................ ............................... 1 INTRODUCTION ................................ ................................ ................................ ................................ ....... 3 A BOUT THE PROJECT ................................ ................................ ................................ ................................ ................................ ....... 3 T HE PROJECT S BACKGROUND ................................ ................................ ................................ ................................ ....................... 4 P ARTNERSHIP ................................ ................................ ................................ ................................ ................................ .................. 7 Association of Hungarian Filmmakers in Transylvania, ACMT ................................ ................................ ............. 7 rdgkatlan Festival Association ................................ ................................ ................................ ................................ .... 7 HTFA Research Institute ................................ ................................ ................................ ................................ .................... 7 MIMO Association ................................ ................................ ................................ ................................ ................................ . 7 O BJECTIVES OF THE EVALUATION STUDY ................................ ................................ ................................ ................................ ...... 8 METHODOLOGY ................................ ................................ ................................ ................................ ..... 9 EXPERT INTERVIEWS ................................ ................................ ................................ ................................ ................................ ......... 9 P ARTICIPANT SURVEY ................................ ................................ ................................ ................................ ................................ ... 10 PARTNER INTERVIEWS ................................ ................................ ................................ ................................ ................................ .. 10 ASSESSING LEARNING EXPERIENCES ................................ ................................ ................................ . 11 D EMOGRAPHICS OF SURVEY PARTICIPANTS ................................ ................................ ................................ .............................. 11 P ARTICIPANTS MOTIVATIONS AND EXPECTATIONS TOWARDS THE PROJECT ................................ ................................ ........ 12 P ARTICIPANTS GENERAL EXPERIENCE ................................ ................................ ................................ ................................ ........ 14 I NNOVATION IN THE PROJECT S CREATIVE PROCESSES ................................ ................................ ................................ ............. 16 W ORKING WITH ANALOGUE FILM TECHNIQUE FILMMAKERS EXPERIENCES ................................ ................................ ........ 17 Experiences and learnings from analogue film technology ................................ ................................ ................ 19 Analogue filmmaking through the lens of digital technology ................................ ................................ ........... 23 Benefits and challenges of rotating roles in film production ................................ ................................ .............. 24 C REATING AND PERFORMING THE FILM S SCORE MUSICIANS EXPERIENCES ................................ ................................ ...... 27 Growth through innovations in musical collaboration ................................ ................................ ......................... 27 Expanding musical approaches through improvisation and the "open music" method ........................... 29 P ARTICIPANTS VIEWS ON INTERDISCIPLINARY WORK AND COLLABORATION BETWEEN DIFFERENT FIELDS ....................... 31

2 Reflective Evaluation Study Lost Analogue project N EW PROFESSIONAL SKILLS ACQUIRED DURING PROJECT ................................ ................................ ................................ ....... 32 F UTURE PLANS ................................ ................................ ................................ ................................ ................................ .............. 34 PROJECT EVALUATION ................................ ................................ ................................ ........................ 36 R ECEPTION OF THE FILM PROJECT ................................ ................................ ................................ ................................ ........... 36 Mediawave Film and Music Festival, Hungary ................................ ................................ ................................ ......... 37 Transylvania International Film Festival, Romania ................................ ................................ ................................ 38 rdgkatlan Festival, Hungary ................................ ................................ ................................ ................................ ..... 39 Festejada, France ................................ ................................ ................................ ................................ ................................ 40 C OOPERATION WITHIN THE PARTNERSHIP ................................ ................................ ................................ ................................ 41 Future prospects for cooperation ................................ ................................ ................................ ................................ .. 42 I NSIGHTS ON THE UPCOMING HANDBOOK ................................ ................................ ................................ ............................... 43 CONCLUSION ................................ ................................ ................................ ................................ ....... 45 APPENDIX - TESTIMONIES BY PROJECT PARTICIPANTS ................................ ................................ .. 47

3 Reflective Evaluation Study Lost Analogue project I ntroduction ABOUT THE PROJECT The LOST ANALOGUE Contributing to Innovation in Vocational Film Education and Training through Analogue and Interdisciplinary Methodologies project, is a 16 - month initiative running from October 1 st , 2023, to January 31 st , 2025, under the coordination of Asociatia Cineastilor Maghiari din Transilvania (Association of Hungarian Filmmakers in Transylvania, ACMT) . This project brings together a diverse consortium of partners with complementary expertise: ACMT (Romania) , specialising in film - making and vocational education and training (VET); rdgkatlan Festival Association (Hungary) , known for its interdisciplinary approach and educational outreach; HTFA Research Institute (Hungary) , which contributes educational research and European cooperation experience; and MIMO Association ( France) , which adds knowledge in music and education. Operating in Romania, Hungary, and France, LOST ANALOGUE engaged participants through workshops and public events designed to explore, test, and refine analogue methodologies and interdisciplinary practices within film education. The projects key activiti es included methodology exchange and testing sessions, with events such as the transnational methodology exchange workshop in Romania (November 24 - 26 th , 2023), the methodology testing workshops in Romania and Hungary (December 15 - 17, 2023, and May 17 - 19 th , 2024, respectively), and further workshops coupled with multiplier events in Romania (June 21 - 23 rd , 2024) and at the rdgkatlan Festival in Hungary (August 3 rd , 2024). The project concluded with a final transnational workshop and multiplier event in France (September 20 - 22 nd , 2024). The 'LOST ANALOGUE - Contributing to innovation in vocational film education and training through analogue and interdisciplinary methodologies' project (2023 - 1 - RO01 - KA210 - VET - 000165268) is funded by the European Union. Views and opinions expressed are howe ver those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

4 Reflective Evaluation Study Lost Analogue project THE PROJECTS BACKGROUND The production of The Death of Dracula served as a dynamic case study within the LOST ANALOGUE project, exemplifying innovative practices in analogue film production, musical learning and interdisciplinarity. Originally conceived by ACMT in 2017 as part of their so - called Celluloid Workshop, t he project emerged from a curriculum designed to reintroduce and deepen young professionals engagement with analogue technology. Due to the rising interest and rapid learning advancements demonstrated by emerging filmmakers, ACMT opted to scale up the exp erience by producing an entire film, chapter by chapter, using analogue technology. This approach not only heightened the educational impact for young professionals but also demonstrated the value of analogue methods, leading ACMT to seek transnational par tnerships to broaden and refine these methodologies. The Death of Dracula is a reconstructed silent film based on a lost 1921 Hungarian - Austrian - French production, regarded by many as the first Dracula movie. Directed by Trgu Mure - born Kroly Lajthay in Budapest, the original film was lost during World War II, leaving only it s film novel as a surviving trace. This novel, authored by film critic and journalist Lajos Pnczl, was published three years after the films release and served as the foundation for the recent reconstruction. Notably, the screenplay was co - written by Mihly Kertsz (later celebrated as Michael Curtiz, director of Casablanca ), adding historical significance to this cinematic milestone. This Dracula tale presents the character as a mental hospital inmate and deviates significantly from Bram Stokers version, while drawing on authentic European folklore. This version reimagines the Dracula legend as an anti - Dracula narrative that distances itself from the artificial vampire myth popularised by Stoker. Drawing from the regional dead groom legend, the film seeks to remove misconceptions and highlight the true ethnographic roots of the European legend that also appears in Transylvanian folklore. This reinterpretation is particularly significant as the Dracula myth often evokes mixed feelings, especially in Transylvania, where it is seen as a cultural distort ion. The popular association of Dracula with Transylvania has been problematic, linking the region to a Wallachian ruler and casting Romania in a dark, supernatural devilish light. For clarity, it is worth emphasising that this Wallachian ruler was never a prince of Transylvania nor a count of Transylvania, contrary to what Bram Stokers novel suggests. The film is structured as a sketch movie composed of eight chapters, each directed by a different young filmmaker. The new version was shot between 2018 and 2024, with a score by Miqu Montanaro, whose music was built around pre - composed themes and featured elements of improvisation, performed b y a dedicated project orchestra. The choice of The Death of Dracula a silent film remake as the projects centrepiece allowed for an interdisciplinary fusion between film and music education. Under the guidance of ACMT, young filmmakers engaged in analogue film techniques, while MIMO led the creation of live music composition.

5 Reflective Evaluation Study Lost Analogue project This involved recording and editing a synchronised film soundtrack, resulting in an immersive score that complemented the visual material. This intersection between film and live music highlighted an essential interdisciplinary teaching method and illustra ted how young professionals from both disciplines could collaborate closely, gaining skills in synchronisation and creative decision - making. For the evaluation of The Death of Dracula as a case study, the project focused on three primary aspects: 1) exploring innovative uses of film language based on specifics of the analogue technology, 2) crafting a film score where music becomes an integral narrative element, intertwined with the vi sual storytelling and the images of the film, and 3) fostering collaborations between disciplines to push the boundaries of traditional creative processes. According to the projects context, it aims to address a gap in film education, particularly concerning the balance between analogue and digital filmmaking technology. Since the digital image revolution, filmmaking has largely transitioned from analogue to digital formats, which has significantly impacted both the quality and approach to film education. While digital technology offers many benefits such as reduced costs, faster processes, and simpler workflows there are overlooked disadvantages in the l earning process, particularly in terms of technical accuracy, such as accurate pre - planning and the understanding of digital film technologies underlying principles. While no longer dominant, the analogue film technique holds aesthetic and technical values that remain relevant to filmmaking today. However, with the increasing dominance of digital technologies in education, the development of skills related to analogue filmmaking has become less rigorous. Digital tools, while offering convenience, do not demand the same level of precision, patience and hands - on craftsmanship that analogue processes naturally cultivate. As a result, these skills, though not forgotten or d isregarded, have become less central to filmmaking practice. This has led to a critical skills gap for students, teachers and filmmaking professionals. These individuals are often unaware of the methodologies and benefits offered by analogue film, which co uld enhance their understanding of digital techniques and improve the overall quality of their work. In this interdisciplinary project, partners from Romania, Hungary and France are collaborating to address these issues by reintroducing and promoting analogue filmmaking techniques, among others, in vocational education and training (VET). The projects broader vision includes fostering interdisciplinary collaborations across film, music, and other creative sectors, such as festivals, ultimately contributing to a more enriched and holistic film educa tion experience. The consortium emphasised the importance of both analogue and digital technologies as distinct yet complementary methodologies, much like wood and marble in sculpture each offering unique

6 Reflective Evaluation Study Lost Analogue project opportunities for artistic expression. This interdisciplinary collaboration, alongside the integration of analogue film techniques, aims to revitalise film education and equip future filmmakers with a broader range of creative tools, which will have an ine vitable educational impact.

7 Reflective Evaluation Study Lost Analogue project P ARTNERSHIP ASSOCIATION OF HUNGARIAN FILMMAKERS IN TRANSYLVANIA, ACMT Founded in 2011, the Association of Hungarian Filmmakers in Transylvania (ACMT) aims to enhance film education and production in the Transylvanian region. Its core activities include organising specialised vocational training in filmmaking, promoting colla boration between Romanian and Hungarian filmmakers, facilitating international co - productions, supporting low - and no - budget artistic projects by providing film equipment and experimenting with underutilised techniques that develop technical skills. Within this project, ACMT was primarily responsible for producing the film The Death of Dracula , under the direction of lead filmmaker Rbert Lakatos. RDGKATLAN FESTIVAL ASSOCIATION The rdgkatlan Festival Association has organised the rdgkatlan Festival since 2008, an annual multicultural event held each August in small villages across South Baranya County, Hungary. From its origins as a small, diverse event, it has evolved into a major interdisciplinary festival featuring theatre, classical music, literature, dance, circus, concerts, exhibitions, films and discussions. While the programming is primarily Hungarian, the festival hosts international artists each year. In this project , rdgkatlan Festival hosted the first work - in - progress presentation of The Death of Dracula , offering an engaging, workshop - style interaction that highlighted the film s interdisciplinary creation. HTFA RESEARCH INSTITUTE HTFA Research Institute, based in Budapest, speciali s es in public policy analysis, economic and social research, international cooperation and regional and urban development. Established in 2009, HTFA employs a multidisciplinary team of around 40 internal staff members and 15 - 20 external experts . HTFAs research and consultancy activities span diverse fields, including employment, youth, culture, public administration, regional development, and climate adaptation. The institute also plays a leading role in international collaborations, actively participating in over 20 projects across various funding schemes supporting research and innovation. In 2016, HTFA founded the Creative Industries Lab, a hub for research and consultancy in the cultural sector. The Lab supports public institutions, municipalities, and cultural enterprises with tailored services, helping stakeholders drive innovation, ad opt emerging technologies, and build international partnerships. In this project, HTFA leveraged its expertise to assess educational goals and foster collaboration opportunities. MIMO ASSOCIATION

8 Reflective Evaluation Study Lost Analogue project Established in 2001 by Miquu Montanaro, MIMO Association focuses on innovative traditional music, often centred on the galoubet - tambourin, a unique wind instrument played with one hand, leaving the other free for percussion instruments. The company, based in Correns, France, has hosted the Festejada festival since 2021 , creating a space for new collaborations and artistic exchange. For this project, the association leveraged its experience in music and music education, with Montanaro composing and directin g the films semi - improvised score , performed by a project orchestra. In addition to providing musical composition for the film, the association showcased a work - in - progress presentation of The Death of Dracula at the Festejada festival, presenting it within an environment that celebrates creativity and regional culture. O BJECTIVES OF THE EVALUATION STUDY The primary aim of the study is to evaluate the effectiveness of the collaboration, technical innovation, and educational impact of the project. Specifically, this reflective evaluation seeks to assess: 1. Innovation in creative processes and educational practices e xamining how the project promoted innovative learning and teaching approaches, including cross - border collaboration, and the impact of these methods on both educators and learners. 2. The impact of reintroducing analogue film techniques into film education evaluating the extent to which the project contributed to bridging the skills gap between analogue and digital film methodologies in vocational education training settings. 3. Interdisciplinary collaboration among European partners investigating how effectively the project fostered transnational cooperation between different artistic fields, such as film, music, and other creative sectors, and its influence on the learning and creative processes, including how the mixed expertise of partners from different countries contributed to the success of the project. 4. Sustainability and long - term impact r eflecting on the project s ability to contribute to long - term changes in film education practices and whether the project s deliverables can be scaled or adapted for wider use across Europe.

9 Reflective Evaluation Study Lost Analogue project M ethodology The data collection for this reflective evaluation study involved two main methods: expert interviews and a participant survey. These methods were chosen to assess the educational and creative impact of the interdisciplinary collaboration within the LOST ANALOGUE project, which brought together professionals from film, music, and interdisciplinary fields, such as the festival sector. The figure presented below outlines each stage of the research process: Figure 1 Flowchart of the research process Source: LOST ANALOGUE project , project evaluation study, 2024 E XPERT I NTERVIEWS The initial semi - structured e xpert interviews were conducted with key stakeholders involved in the filmmaking and music - making processes of the project on May 18 th 2024 at the Mediawave Film and Music Festival , in Hungary . This included Rbert Lakatos the film and creative producer and Miquu Montanaro the main composer who played a role in co - creating the educational content and main artistic output ( i.e., The Death of Dracula ) of the project. The interviews aimed to gather qualitative insights into the interdisciplinary collaboration, challenges, and innovations that emerged during the film and the projects development , and were designed to explore key themes such as the use of analogue film techniques, and the educational framework employed during the project. The two expert interviews provided significant insights that contributed to refining the design of further research tools, as detailed in the sections below . Baseline expert interviews Interviews with artistic experts (film, music) involved in the creative process Assessing learning experiences Survey with VET learners involved in the creative process Project evaluation 1 - on - 1 interviews with project partners Evaluation Report Analysis and final reflection, evaluation report

10 Reflective Evaluation Study Lost Analogue project PARTICIPANT SURVEY An online survey was developed at the end of August, to gather quantitative and qualitative data from participants involved in the filmmaking process and the educational workshops , including filmmakers and musicians . The survey assessed participants experiences with the analogue methodology, interdisciplinary collaboration, and the overall educational impact of the project. The survey was distributed through an online platform in early September , ensuring easy access and digital documentation of responses for further analysis. PARTNER INTERVIEWS The concluding online interviews in October, also with Rbert Lakatos, Miquu Montanaro and Lszl Brczes as representatives of partner organisations placed a stronger emphasis on collaboration and comprehensively assessed the entire project, encompassing both its achievements and setbacks.

11 Reflective Evaluation Study Lost Analogue project Assessing learning experience s DEMOGRAPHICS OF SURVEY PARTICIPANTS The survey conducted among the participants of the LOST ANALOGUE project revealed a diverse group of individuals in terms of age, gender, and professional background. A total of 38 people participated in the survey , with 22 identifying as men and 16 as women, ensuring a relatively balanced gender distribution. In terms of age, the participants ranged across six different age groups, with the majority falling into the younger categories. Twelve participants were aged between 18 and 25 years, and another twel ve were between 26 and 35. The rest of the participants were spread across older age brackets, with five participants aged 36 to 45, two participants aged 46 to 55, three between 56 and 65, and four participants aged 65 and over. This wide age distribution contributed to a w i de variety of perspectives, which was particularly valuable in the interdisciplinary nature of the project. The geographic distribution of survey respondents with 26 responses from Romania, 9 from Hungary, and smaller numbers from France (2 responses ) and the Netherlands (1 response ) highlights the transnational nature of the project. This diversity reflects the projects goal of integrating various cultural and professional perspectives, enriching both the creative and educational dimensions of the collaboration. However, the higher number of Romanian participants can be attributed to the projects roots in the so - called Celluloid Workshop, an art initiative originally coordinated by the Association of Hungarian Filmmakers in Transylvania (ACMT) under the direction of Rbert Lakatos. As the initial workshop grew into this larger project, its Romanian base naturally influe nced participant demographics, making Romania the primary contributor while still fostering international collaboration. The timeline of the participants involvement in the creative process of the LOST ANALOGUE project spanned several years, with increasing engagement as the project progressed. While some participants had been involved as early as 2018 (10 participants), 2019 (8 participants), and 2020 (6 participants), the project saw a significant rise in parti cipation over time, with 11 people involved in 2021, 8 in 2022, 24 in 2023, and 27 in 2024. This growing involvement was largely due to the expanding opportunities f or participation as the project gained EU support from the Erasmus+ programme , particularly in relation to the innovative filmmaking processes. When the participants joined the project, they held a variety of professional statuses, further underscoring the interdisciplinary nature of the initiative. Twenty - one young professionals participated, 17 of whom were involved in film production, while 4 c ontributed to the music - making and composition

12 Reflective Evaluation Study Lost Analogue project aspects of the project. Additionally, 5 teachers participated, all of whom were engaged in film production. Twelve other professional contributors also took part, with 5 involved in film production and 7 in music - making and orchestration. Overall, out of t he 38 participants, 27 were involved in the film production process, while 11 were focused on the music - making and orchestration components. This combination of young professionals, educators, and seasoned contributors working across different artistic disciplines illustrates the collaborative and multifaceted nature of the LOST ANALOGUE project. The involvement of professionals in both film production and music composition underscores the project s interdisciplinary approach, which aim s to blend these creative fields in innovative ways. Source: LOST ANALOGUE project, photo by Rbert Lakatos PARTICIPANTS M OTIVATIONS AND EXPECTATIONS TOWARDS THE PROJECT Based on survey responses, participants from varied backgrounds including young professionals, teachers, musicians, and other professional contributors expressed distinct motivations for joining the LOST ANALOGUE project, yet shared overlapping themes of curiosity, cultural pride, and a desire to learn. For young professionals, a central motivation was the rare chance to work with analogue film. As one participant shared, The possibility of shooting on celluloid film, which is a rare privilege in any film school in the world ... seemed to me to be a now or never type of opportunity. Many voiced excitement for

13 Reflective Evaluation Study Lost Analogue project hands - on experience with a medium rarely offered in contemporary film education, where logistical and financial constraints often limit analogue practice. For some, the cultural significance of the project heightened their interest, especially among Transylvanians who felt a sense of duty: As a Transylvanian, I felt obliged to participate in the making of a film about Dracula. Others were motivated by the chance to master new techniques and roles, like production management, an area some were handling for the first time. Teachers and experienced professionals shared a different perspective, drawn primarily by the opportunity to educate and inspire younger generations. The project allowed them to guide youngsters in appreciating the origins of filmmaking and the creative rigour required in analogue work. One teacher described their goal as to motivate young professionals , to increase their knowledge of film analogue techniques, [and] to encourage artistic sophistication Others were enthusiastic about preserving analogue te chniques, viewing this as an opportunity to counter the marginalisation of celluloid in modern film education: Analogue filmmaking is increasingly being marginalised, so I felt it was valuable to have the opportunity to work and experiment with this technique. The Dracula story itself was an additional draw, its historic and iconic resonance making it a unique creative endeavour , as noted by both filmmaker teachers and musicians. Musicians, in particular, were excited to get to know making film scores for the first time, a genre largely unfamiliar to them: I was excited to get a taste of the world of film music, one shared. Many musicians saw this as a valuable experience to blend structured scoring with improvisation, something rarely encountered in classica l music settings: This genre of music is relatively unusual for us and therefore not the most comfortable, [but] we accepted the challenge The chance to work with Miqu Montanaro, the projects composer, further boosted their enthusiasm : At the beginning of the project, I didnt know exactly what it was going to be about, I just understood that Montanaro was the composer and that you had to improvise alongside the written music, and I wanted to try and improve myself Reflections on the outcomes of these motivations varied. Young professionals largely felt their expectations were met, especially in gaining practical experience in all stages of analogue filmmaking, which they described as exciting and instructive For some, the project not only highlighted the mediums creative potential but also exposed them to its challenges: I consider myself lucky to have been involved in a project like this because it gave me the experience of shooting on celluloid. I learned about its advantages, disadvantages, potential problems and solutions

14 Reflective Evaluation Study Lost Analogue project Source: LOST ANALOGUE project , photo by Dra Kerestly However, a few raised concerns about project organisation, specifically citing moments where the lack of guidance left them feeling clueless rather than autonomous. One participant remarked, I sometimes felt quite left out on the instructor side, which did not promote autonomy but rather cluelessness. Teachers and experienced professionals, however, reported greater satisfaction with the projects organisation and found the experience level of the young participants particularly impressive. For many, the experience highlighted the educational value of analogue techniques: The experience gained during the project has contributed significantly to my professional development. Musicians, who had entered the project with limited expectations, were generally pleased with the collaborative, improvisational ex perience, feeling it broadened their understanding of film music and improved their technical skills: The film and the music were very well - matched. , noted one musician. Another highlighted the benefit of working with musicians from diverse backgrounds, describing it as an experience that not only broadened my horizons but also enriched my violin playing. PARTICIPANTS GENERAL EXPERIENCE The general experience with the project was highly positive across both filmmakers and musicians. Participants in the project were asked to evaluate their involvement and satisfaction with the creative

15 Reflective Evaluation Study Lost Analogue project process, and the results provided a clear picture of how the interdisciplinary collaboration was perceived (see Figure 2 below). Among the filmmakers, the majority rated the creative process very highly. Out of 27 participants, 16 described the process as outstanding, 9 found it good and only 2 rated it as average. This indicates that nearly 60% of the filmmakers found the experience enriching, while the rest were also generally satisfied, with no participants expressing major dissatisfaction. For the music ians, the feedback was similarly positive. Out of 11 musicians, 7 rated the creative process as outstanding, while the remaining 4 found it good. With 64% of the musicians considering the process to be outstanding , it is clear that the project fostered a rewarding creative environment for both filmmakers and musicians. Figure 2 Rat ing of the creative process as a whole by participant subgroups Source: LOST ANALOGUE project , project evaluation survey, 2024 In terms of involvement in the creative process ( see Figure 3 ), filmmakers also reported feeling deeply engaged. 14 out of 27 filmmakers felt completely involved in the process, while 9 indicated that they were involved to a great extent. Only 3 participants felt moderately involved and just 1 participant felt their involvement was limited. This suggests that most filmmakers experienced a high level of creative participation, with more than half feeling fully integrated into the project. Similarly, the musicia ns reported a strong sense of involvement. 5 out of 11 fel t completely involved, while another 4 felt engaged to a great extent. 2 musicians reported feeling moderately involved, but no one indicated feeling less connected than that. These results further indicate a cohesive and inclusive creative environment, where participants felt their contributions were valued and integral to the overall process. Figure 3 The feeling of involvement in the creative process 7 4 Musicians Outstanding Good 16 9 2 Filmmakers Outstanding Good Average

16 Reflective Evaluation Study Lost Analogue project Source: LOST ANALOGUE project , project evaluation survey, 2024 I NNOVATION IN THE PROJECTS CREATIVE PROCESS ES The project was also widely regarded as a source of educational innovation and an innovative creative process by both filmmakers and musicians (see Figure 4 ) . Out of 27 filmmakers, an overwhelming majority 23 participants agreed that the project gave a completely new perspectiv e or was innovative in many ways. This positive feedback highlights the freshness and originality that the project brought to the filmmaking process, particularly for younger professionals. Similarly, all 11 musicians involved in the project expressed that the creative process provided them with new approaches and innovative elements. However, there was a slight divergence in opinions among other professional contributors and teachers from the filmmakers side. With one exception (one of them being a young professional) , three felt that the innovation was less emphasised. One professional contributor marked the option that there were innovative elements in the filming, but not in all areas, while another two participants, one profes sional contributor and a teacher stated that there were only a few new elements in the filming, mostly similar to a traditional creative process . This difference in perception could be attributed to the professional background and level of experience of these individuals. Probably h aving worked on several projects in the past, they may have encountered similar methodologies before, making the innovation less striking for them. In contrast, younger filmmakers or those less exposed to such interdisciplinary c ollaboration likely found the project s approach to be a refreshing departure from more conventional practices. 14 9 3 1 Filmmakers Completely To a great extent Moderately To a small extent 5 4 2 Musicians Completely To a great extent Moderately

17 Reflective Evaluation Study Lost Analogue project Figure 4 Perceived innovation in collaborative / joint filming and rehearsal processes Source: LOST ANALOGUE project , project evaluation survey, 2024 W ORKING WITH ANALOGUE FILM TECHNIQUE F ILMMAKERS E XPERIENCES PARTICIPANTS REFLECTIONS ON ANALOGUE FILMMAKING AND INNOVATION For many young filmmakers, the opportunity to work with analogue technology was the projects most significant innovation. Almost unanimously, they emphasised how using celluloid, rather than digital, demanded a new mindset, bringing both creative constraints and opportunities. As one participant explained, The use of celluloid was new... the sketch film nature of the project was also unfamiliar territory for me. Others noted how the limited film stock necessitated precision and discipline, contrasting simply with the more forgiving nature of digital workflows . On the one hand, it taugh t us moderation and precision... we didnt have an infinite amount of raw material, observed one participant. Another remarked, Working with finite resources... you had to be very careful about the scope. The projects hands - on and largely self - directed approach was also appreciated, as participants managed all stages of production while still receiving guidance as needed: It was hands - on, we could try everything on our own, we organised and planned the shoots ourselves, but we always got help when we asked for it. This experience led to a deeper appreciation of film as a medium, with some noting how 10 13 2 2 5 6 0 5 10 15 20 The filming / rehearsals gave me a completely new perspective The filming / rehearsals were innovative in many ways There were innovative elements in the filming / rehearsals, but not in all areas There were only a few new elements in the filming / rehearsals, mostly similar to a traditional creative process Filmmakers Musicians

18 Reflective Evaluation Study Lost Analogue project celluloid improved their understanding of visual storytelling and actor movement: It underlined very nicely the importance of the actors movement in space, whether it was silent or sound film. For some, this experience felt like time travel as it required more meticulous preparation a slower, deliberate process that encouraged experimentation in a structured way. As one participant reflected, It required more humility, attention, and preparation... while also giving room for experimentation, and that was very good for us growing up in the digital age. Teachers and experienced filmmakers found the project similarly enriching, although with a different focus. Many had previously worked with analogue technology but appreciated the chance to revisit it and observe how younger participants engaged with the m edium. One teacher expressed the value of meeting and thinking together with a number of young professional directors and cinematographers. Another emphasised the collaborative learning experience : Ive had the opportunity to work with a lot of director s and cinematographers during the shoots and Ive learned a lot about the possibilities of directing actors. This blending of analogue and digital methods was also a highlight, as it allowed professionals to explore a fusion of traditional and contemporary techniques. The projects combination of analogue and digital techniques created a unique opportunity for experimentation and learning in filmmaking noted one experienced contributor. The scale and complexity of the production, with multiple locations, large numbers of extras, and intricate scheduling, further enriched the learning experience from a logistical and creative standpoint. Reflecting on the challenges, one participant shared, Shooting on analogue was an extremely new experience as a whole... with a large extra cast, lots of locations, time shifts, and countless shooting phases . In summary, the projects analogue approach offered young filmmakers an immersive introduction to celluloid, while experienced professionals found value in re - engaging with the medium alongside a new generation of learners.

19 Reflective Evaluation Study Lost Analogue project Source: LOST ANALOGUE project, photo by Orsolya Salamon EXPERIENCES AND LEARNINGS FROM ANALOGUE FILM TECHNOLOGY When filmmaker participants were asked about the novelty of using analogue film technology in their workflow (see Figure 5) , the responses reflected a wide range of familiarity. For 11 participants, the experience was completely new, indicating that a significant portion of the group had no prior exposure to this technology. 8 participants found it very new, suggesting that wh ile they had some limited awareness or experience, working with analogue film presented many fresh challenges and learning opportunities. 4 participants rated the experience as moderately new, implying a balance between prior exposure and learning new techniques. 2 participants felt it was new to a small extent, having more familiarity with analogue workflows. Finally, 2 participants (1 prof essional contributor and 1 teacher) marked it as not new at all, highlighting that for some experienced professionals, working with analogue technology was already a routine part of their practice.

20 Reflective Evaluation Study Lost Analogue project Figure 5 Novelty of using analogue film technique by filmmaker participants Source: LOST ANALOGUE project , project evaluation survey, 2024 Participants generally found working with analogue film technology a rewarding experience, with varying benefits across production, theory, aesthetics, and technical skills (see Figure 6 below). Most found the hands - on production process rewarding, reflecting a high appreciation for the tactile engagement that analogue film offers. However, a few participants may have found challenges in managing the logistical or operational demands of analogue t echnology, suggesting areas where additional support or guida nce might improve the experience. Analogue film was also valued for its theoretical learning potential. Many participants recognised it as a powerful tool for understanding cinematic history and deepening their grasp of fundamental film principles. The aes thetic qualities of analogue film were overwhelmingly well - received, with participants consistently valuing the mediums unique visual appeal. From a technical standpoint, responses were equally enthusiastic, with most participants indicating the significant skill - building opportunities that analogue technology provided. This suggests that analogue methods not only engage filmmakers artistically but also strengthen their technical capabilities in ways that contribute to a well - rounded professional skill set 11 8 4 2 2 It was completely new It was very new It was moderately new It was new to a small extent It was not new at all

21 Reflective Evaluation Study Lost Analogue project Figure 6 Usefulness of working with analogue film technique from different aspects Source: LOST ANALOGUE project , project evaluation survey, 2024 Participants noted that working with analogue film introduced both unique aesthetic qualities and technical challenges that enriched their creative process. Many young filmmakers valued the imperfections of celluloid, seeing unplanned elements in the footage as adding authenticity: The images that happened against our will, the images that were out of concept, found their way into the film. They also appreciated the structured nature of analogue production, which required meticulous planning and discipl ine. One participant observed, the abandonment of colours and therefore the creation of contrast... was very useful, reflecting how black - and - white film deepened their understanding of lighting, contrast, and composition. The hands - on learning process was frequently highlighted, with participants citing skills like light metering and film handling as essential new knowledge: It was useful to learn the operation and handling of analogue cameras. Many noted that the tangible texture and aesthetic depth of analogue film fostered a sensory and immersive experience beyond digitals reach. Comparing the digital image to the analogue, the texture of the film is much nicer, one participant remarked, underscoring how celluloid en riched their visual storytelling. Teachers and more experienced filmmakers found the analogue approach beneficial for bridging traditional and digital film methods. Several teachers emphasised that analogues demands greater care in lighting, contrast, and production choices offered a valuable contrast to the ease of digital automation. One teacher described the projects exploration of combining analogue aesthetics with 2 4 2 3 1 5 7 6 9 20 20 16 13 0 10 20 30 From a technical aspect From an aesthetic aspect From a film-theoretical aspect From a productional aspect It was less useful It was moderately useful It was useful It was very useful

22 Reflective Evaluation Study Lost Analogue project digital tools: Part of the project involved experimenting with how to authentically reproduce the visual world of analogue film using digital tools. This exploration not only renewed their appreciation for analogue films aesthetics but also highlighted its historical significance, allowing them to pass on valuable lessons in film theory and history to the next generation. For professional contributors, the analogue process underscored the importance of advanced decision - making, as fewer takes meant choices were made carefully and deliberately on set. This requirement elevated the sense of intentionality in their work, a contrast to the flexibility of digital editing. As one participant noted, In terms of the workflow... you cant shoot several versions and then have a choice in the editing room. Overall, the professionals found that the analogues distinct aesthetics and p lanning demands made for a challenging yet rewarding experience that underscored the art forms history and the beauty of film as a medium. Source: LOST ANALOGUE project, photo by Rbert Lakatos

23 Reflective Evaluation Study Lost Analogue project ANALOGUE FILMMAKING THROUGH THE LENS OF DIGITAL TECHNOLOGY Participants found the analogue filmmaking process to be a deeply emotional and unique experience, contrasting sharply with digital technologys immediacy. Many described it as thrilling yet challenging: A fantastic experience... that I have been longing for, one remarked, while another acknowledged the initial apprehension: Scary at first, but I was very excited throughout the project. Holding a 100 - year - old technology in their hands felt powerful and transformative, especially in the slower, more deli berate atmosphere required by analogue processes. One participant noted how the mediums inherent limitations honed their focus and precision: It sharpened my attention and precision, as I had limited shooting minutes, no margin for error. The analogue approach encouraged deeper creativity and patience. The need to pre - visualise scenes and plan each shot meticulously since scenes could not be instantly reviewed or reshot fostered a greater sense of responsibility and discipline. Particip ants found this to be both refreshing and thought - provoking: I loved the whole process... when the camera was rolling, it took everyones breath away. The slower pace of analogue film required deliberate compositions and fostered a more intense level of en gagement, which many young professionals appreciated for its grounding effect. For educators, analogue filmmaking provided a reflective return to their roots, allowing them to rediscover the materials aesthetic potential. One teacher described this experience as a return to the original, a rediscovery of the potential of the material. Educators found this slower, less flexible medium demanded increased focus and precision, highlighting how essential it is to carry these fundamental skills into digital contexts : Digital techniques should help and complement the knowledge gained fro m analogue technique, not replace it. Other professionals agreed, noting that analogue required a concentrated and disciplined creative approach, especially since reshooting scenes was limited. The finite nature of film stock also required innovative solutions and forced participants to be eco nomical with their decisions. A participant explained , Limiting your options always leads to creative solutions. Working within these constraints led to a more structured, measured approach to decision - making, deepening their commitment to each shots in tention. This tactile, physical quality of analogue film stood out as a major contrast to digital. The delayed feedback, where footage was only viewable after days of processing, created a sense of anticipation and mystery not present in digital. For teachers, this lack of immediate gratification required a higher level of preparation and pre - visualisation. Everything has to be imagined in advance and cannot be corrected immediately, noted one educator, underscoring the discipline required in an analogue setting.

24 Reflective Evaluation Study Lost Analogue project Many young professionals appreciated the unique aesthetic of the analogue film, recognising its distinct beauty. However, some doubted they would use it in future projects, preferring the flexibility and efficiency of digital technology: Shooting on celluloid is a curiosity... but I dont think Ill be using it in the future unless motivated by some narrative element. Finally, other professional contributors noted additional technical challenges, such as the effects of weather on analogue equipment, especially in cold conditions, which affected camera performance. The limited shooting time imposed by analogue also inten sified the need for tight coordination between directors and cinematographers and demanded an intense, focused presence from actors who had fewer opportunities to perfect their scenes. Source: LOST ANALOGUE project, photo by Rbert Lakatos BENEFITS AND CHALLENGES OF ROTATING ROLES IN FILM PRODUCTION During the filmmaking process, participants had the unique opportunity to take on multiple roles, an approach that diverged from traditional filming methods and offered an improved learning experience. Out of 26 filmmakers, 14 reported holding more than on e position (i.e., acting as both camera operator and camera assistant, director and assistant director or production manager) . This group included teachers, professional contributors and young professionals, with young filmmakers forming the majority. As f or the perceived benefits (see Figure 7 below), the feedback was overwhelmingly positive: of the 14 participants who rotated roles, 7 found it very useful, 6 rated it as useful, and only 1 person felt

25 Reflective Evaluation Study Lost Analogue project neutral. This strong reception suggests the value of role rotation, as participants found it to be an effective way to enhance their skills and broaden their understanding of the filmmaking process. Figure 7 Filmmakers experience on the usefulness of rotating between roles Source: LOST ANALOGUE project , project evaluation survey, 2024 When asked what helped them most in fulfilling their various roles (see Figure 8 below), participants highlighted peer support and collaborative teamwork as the most crucial factors in navigating the challenges of role changes. Practical experience also pl ayed a key role, with many noting that prior hands - on work was essential in adapting to different tasks. Instructor explanations and theoretical knowledge were valuable as well, though peer support stood out as the most valued form of assistance during rol e rotations. While role rotation was not inherently designed to facilitate direct skill - sharing in every case, it offered participants a deeper understanding of the responsibilities and challenges of different roles within the filmmaking process. For examp le, a director taking on the role of a set designer gained insights that could improve their ability to communicate and collaborate with design teams in future projects. This highlights the broader benefit of role rotation as a tool for fostering empathy, adaptability, and a more holistic perspective on the collaborative nature of film production. 7 6 1 It was very useful It was useful It was neither useful nor useless

26 Reflective Evaluation Study Lost Analogue project Figure 8 Key factors supporting filmmakers in fulfilling multiple roles Source: LOST ANALOGUE project , project evaluation survey, 2024 For instance, editors who took on - camera work developed a new respect for the complexities of image capture: As an editor, I was able to try my hand at camera work and learn to appreciate the image. Similarly, directors who briefly took on assistant roles gained insight into the production process from multiple angles, which deepened their understanding of their collaborators needs. Switching roles also improved participants teamwork and time management abilities. Juggling multiple responsibilities, like being both a camera assistant and lighting technician, required careful time management and increased their ability to multitask: There was a moment when I was both camera assistant and lighting technician, so I learned to manage my time wisely. This experience also sharpened communication skills, as it underscored the need for clear, precise instructions to ensure tasks were effect ively understood by others. However, rotating roles had some drawbacks. One participant noted that managing too many roles at once occasionally distracted from their main responsibility, causing a slight division of focus: The different role changes gave me much greater insight into the whole creative process. But my main role (director) did not get the attention it needed because the many roles divided my energies and attention. Teachers also saw benefits in role rotation, noting that it provided a deeper understanding of the project as a whole and increased adaptability. This practice reinforced the value of a versatile skill set, helping them flexibly handle various tasks and si tuations on set: By taking on different roles, I gained a deeper understanding of the project as a whole and learned to adapt flexibly to different tasks and situations. In summary, rotating roles in film production helped participants develop a well - rou nded perspective, 12 7 6 10 The help of peers Explanation by the instructor The theoretical knowledge Previous practical experience

27 Reflective Evaluation Study Lost Analogue project improve teamwork and communication skills, and build a multifaceted skill set, even if it occasionally challenged the focus on their primary roles. Source: LOST ANALOGUE project, photo by Orsolya Salamon CREATING AND PERFORMING THE FILMS SCORE M USICIANS E XPERIENCES GROWTH THROUGH INNOVATIONS IN MUSICAL COLLABORATION Beyond offering new perspectives and innovations (as Figure 4 shows), the collaborative rehearsal process introduced many musicians to the relatively novel experience of live music accompanying a film (see Figure 9 below). For most, this concept was entire ly or very new, highlighting how the project exposed them to unfamiliar and innovative ways of creating art. Only a single musician found it familiar, underscoring the distinctiveness of this collaborative form for the group as a whole. This experience bro adened their artistic approach and opened avenues for creative growth within the projects interdisciplinary framework.

28 Reflective Evaluation Study Lost Analogue project Figure 9 Musicians perception of innovation in accompanying live music with film screening Source: LOST ANALOGUE project , project evaluation survey, 2024 Participants in the musical collaboration highlighted how this project pushed them beyond their comfort zones, especially through blending different musical styles and working across diverse professional backgrounds. Many classical musicians found that mov ing into improvisational music challenged their usual reliance on structured scores. One musician explained, Improvisational music is often uncomfortable territory as a classical musician, because there are fewer precise instructions, guidelines, not ever ything is written down in the score, but we have to invent much more on our own and incorporate it into the overall picture. This opportunity was a help and a very good opportunity for us to develop and grow as individuals. Musicians appreciated how the score was a flexible starting point, allowing them to embellish and improvise, making each performance unique: We were able to experience how to play improvisational music, we had a score to start from but we were free to embellish it, add to it and there were completely improvisational parts. The novelty of having to play a film live was a real challenge, the music was always a little different. We also got to experience other styles of music, and there was a lot to take away from the other musicians. The fusion of electronic and classical instruments, designed by composer Miquu Montanaro, introduced participants to new soundscapes. This blend encouraged creativity and provided a fresh, innovative experience that went beyond typical classical settings. Musicians also emphasised the humility and openness among their colleagues, which fostered a supportive space for experimentation: I liked the attitude of the musicians. They are humble... and let their spontaneous ideas play into their music. 5 3 2 1 It was completely new It was very new It was moderately new It was not new at all

29 Reflective Evaluation Study Lost Analogue project This spirit of collaboration allowed for a dynamic approach to performance, inspiring some classical musicians to be less bound by scores and more open to adding their own creative input. A key learning experience for many was performing live music in sync with a film. Musicians had to adapt in real - time to the films progressing dynamics, which helped them improve their improvisational skills and develop a more responsive approach to music - making. When asked about the value of rehearsals, participants gave overwhelmingly positive feedback: 8 found rehearsals very useful, and 3 found them useful. The rehearsals likely provided musicians the space to fine - tune their improvisation, collaborate effectiv ely with other musicians, and ensure the live music flowed harmoniously with the film. Source: LOST ANALOGUE project, photo by rdgkatlan Festival Association EXPANDING MUSICAL APPROACHES THROUGH IMPROVISATION AND THE "OPEN MUSIC" METHOD Musicians in the project expressed both excitement and a sense of challenge as improvisation became central to their music - making. Classical musicians, especially, found themselves pushed beyond familiar territory. Used to following scores, they initially struggled with the freedom of improvisation: As a

30 Reflective Evaluation Study Lost Analogue project classical musician, it was a challenge to break free from the safety of the score. Guidance from experienced colleagues helped some adjust: As I heard my fellow experienced musicians tell me how to improvise, I tried my best. It pushed me out of my comfort zone, which still encourages me to experiment while playing the violin. The transition from structured to more spontaneous music - making was scary for many used to detailed written instructions. One participant shared, Since most of our musical instructions and directions are written down... there are few situations where we have to improvise, so it was quite a challenge in the beginning. For other professional contributors, improvisation was more familiar, though collaborating with musicians from varied backgrounds and working within a loose score framework presented unique challenges: Improvisation was a familiar process, but connecting with musicians from different backgrounds and a fixed structure was a challenge I welcomed. Musicians with improvisational experience appreciated the blend of freedom and structure, allowing experimentation within guidelines: Id had to improvise before, but here we had a lot of freedom and guidance with a score, so it wasnt as challenging, but we were still trying something new. One of the participants summarised the growth potential as the following: The more styles a musician plays in, the richer his playing style becomes. For classical musicians, I recommend trying new genres; it helps them feel more comfortable when returning to classical works. Source: LOST ANALOGUE project, photo by Zsfia Makkai

31 Reflective Evaluation Study Lost Analogue project PARTICIPANTS VIEWS ON I NTERDISCIPLINARY WORK AND C OLLABORATION B ETWEEN DIFFERENT FIELDS Musicians and filmmakers not only worked within their specialities but also collaborated across disciplines, enriching the project with insights from both fields. Only five filmmakers worked directly with musicians, yet each found it invaluable. Young filmmakers appreciated learning how music could enhance the films emo tional and narrative layers: It was great to hear their impressions and feedback on the film., It was very refreshing to see the composer understand and contribute to the chapter being fi lmed. One teacher focused on the visual aspects and noted that music workshops still provided valuable interdisciplinary exposure. The collaboration also strengthened participants communication skills, with young professionals noting improved adaptability and a deeper understanding of conveying vision clearly: My communication skills have definitely improved... I have also developed my flexibility and adaptability. They saw the power of combining music and visuals to amplify a films impact, realising the importance of alignment between disciplines: I learnt that there are many ways to approach making a film and how powerful it can be when each branch serves the same purpose, makes the film stronger, they dont really exist without each other. Some young filmmakers reported practical skills development, especially in cinematography and composition in filmmaking : In addition to the development of my organisational and directing skills, I have also focused on the technical and visual (cinematography) part, and I have improved a lot in terms of compositional challenges (how scenes are arranged in the camera frame) . Musicians, on the other hand, gained insight into filmmaking and learned to consider the context of specific scenes: It was an interesting experience... helped me get a better insight into how the film was made. While some musicians had limited interaction with filmmakers, they still valued feedback on how their music fits the visuals. The experience of blending film and music was described as innovative and full of surprises with musicians adapting to filmmakers needs while preserving their own artist ic expression. Teachers and professional contributors saw the project as a chance to bridge techniques across fields. Music was not just a backdrop but actively shaped the films emotional tone: Music not only played a complementary role... but also contributed organically and significantly to the mood and emotional world of the film. For both musicians and filmmakers, the project taught the importance of communication and mutual understanding in creating cohesive, impactful work.

32 Reflective Evaluation Study Lost Analogue project N EW PROFESSIONAL SKILLS ACQUIRED DURING PROJECT Participants largely felt that the joint filming and rehearsal sessions were valuable for their professional growth (see Figure 9). Many described these experiences as significantly contributing to their development, allowing them to acquire new skills and knowledge that they could apply in their careers. Others found the project beneficial in many w ays, illustrating the broad impact of this collaborative work on their learning. Even those who noted benefits in some areas indicated that the experience provided meaningful professional insights overall. Figure 9 Impact of joint filming and rehearsals on professional development Source: LOST ANALOGUE, project evaluation survey, 2024 Young filmmakers gained valuable technical skills specific to analogue filmmaking, including the use of analogue cameras, loading and threading film, light metering, and film development. Working in darkrooms initially posed challenges, but participants gr adually grew comfortable: I'm no longer afraid of working in the dark... Ive got used to it. Other technical skills included using colour filters, mixing developing chemicals, and operating analogue projectors. The constraints of analogue filming limited film stock, and lack of reshoots fostered problem - solving and adaptability. Participants learned to handle unforeseen challenges and think quickly on their feet: It took a lot more direction and organisation to shoot with a lot of unexpected challenges... it was an opportunity to look outside the box. Improved patience, flexibility, and concentration were frequently mentioned, alongside newfound skills in managing creative discussions, facilitating teamwork, a nd knowing when to step back and give colleagues space: Communicating to facilitate creative work, 14 8 5 3 6 2 It significantly contributed to my professional development, I gained new skills and knowledge It contributed to my professional development in many ways It contributed to my professional development in some areas Filmmakers Musicians

33 Reflective Evaluation Study Lost Analogue project dealing with creative discussion situations, making compromises. I also developed my ability to know when to be present and when to step aside. Teachers engaged deeply with the aesthetic potential of analogue film, incorporating hybrid analogue - digital techniques in post - production. They also experimented with teaching strategies that encouraged young professionals creativity and individuality, adapting their pedagogical methods to suit the demands and artistic freedom of analogue processes. Young musicians focused on learning improvisational and collaborative techniques. They reported improvements in listening to and tuning into fellow musicians energy, allowing for more unified performances. Learning to improvise on the spot and make sponta neous musical adjustments was especially impactful: I learnt to improvise and incorporate embellishments into the melody... it developed my flexibility musically. Musicians also became more comfortable deviating from the score to maintain fluidity in their performances, learning to adapt seamlessly if something didnt go as planned. For professional musicians, the project highlighted the importance of adapting their skills to suit other artistic disciplines, such as following film scenes with music or rehearsing without a conductor. They learned to prepare more thoroughly and apprecia ted the flexibility required for interdisciplinary work, which they planned to bring into future rehearsals and performances. O verall, participants developed both technical and interpersonal skills. Filmmakers expanded their technical abilities and problem - solving skills, while musicians honed their improvisational and collaborative techniques. Source: LOST ANALOGUE project, photo by Orsolya Salamon

34 Reflective Evaluation Study Lost Analogue project FUTURE PLANS Concerning, whether participants planned to use what they learned from the joint filming and rehearsal process in their future work or projects, all 38 participants responded yes, reflecting the universal value of the experience and its long - term applicability to their professional careers. Young filmmakers expressed a strong desire to continue using analogue filmmaking skills in their future projects. Many planned to use analogue cameras more frequently and to incorporate celluloid film into their films, valuing the discipline and precision required : Learning how to use an analogue camera is very important to me because I want to make a film shot on my own film stock. They also mentioned applying the organisational skills, pre - production planning, and the ability to work with larger crews t o future projects: The organisational and directing skills that I was able to practise during the workshop will be put to good use in my current work , and the use of analogue film material seems to be a more accessible tool than before. One participant highlighted how the need for precision while working with limited raw materials taught them the value of careful editing: Im going to use editing techniques to perfect cuts... the raw material is not infinite. Teachers focused on integrating the hands - on pedagogical methods they learned into their teaching, planning to design tasks that incorporate both analogue and digital filmmaking: Hands - on pedagogical methods have become more valuable to me. Some also planned to continue experimenting with analogue techniques like 16mm and Super 8 film, while one teacher emphasised using the hybrid analogue - digital post - production skills developed during the project in future visual works: Within the framework of LOST ANA LOGUE , I have mainly deepened my knowledge in the field of visual post - production. I am already applying what I learned here. Other professional filmmakers highlighted how the project helped them improve time management, organisation, and working with larger crews. One participant mentioned that working with a large extras crew would help them stay calm and organised on future la rge - scale projects: It will definitely stay with me and give me the foundation to stay calm in similar situations. They also planned to apply lessons from working with silent film acting techniques, appreciating the disciplined, focused approach required by analogue over digital shoots : I will return to an appreciation of the raw material. On digital shoots, you can record practically without limits, but that doesnt always work to your advantage. Analogue requires a more focused, disciplined, precise presence something I want to preserve. Young professional musicians focused on continuing to use improvisation and collaboration skills in their future work. They planned to carry forward their ability to tune into fellow musicians and spontaneously create music with mutual understanding: I want to pass on the right communication,

35 Reflective Evaluation Study Lost Analogue project making music out of love and listening to each other. They also saw potential in applying their experience of matching music to film scenes to other genres and performances: This experience can be useful in different situations: improvisation, and bringing the mood of a scene , learning more musical styles, etc . Experienced musicians aimed to build on their improvisational and collaborative skills, planning to focus on conscious, collaborative work and continue testing improvisational techniques: Continuous rehearsal and testing of solutions... I would like to give it a greater role in the future. They also aimed to use their experience of adapting to different instruments and sounds to foster greater spontaneity and flexibility in future performances: I will take what I have learnt about improvisation further... pl aying with harmonics and electronic effects is completely different. Altogether, all participants expressed a clear intention to apply the skills and insights they gained from the interdisciplinary collaboration in their future projects, whether in filmmaking, teaching, or music - making. From improving technical skills like using analogue cameras to fostering better communication and collaboration across artistic disciplines, the experiences were seen as directly transferable to their professional careers. Source: LOST ANALOGUE project, photo by Orsolya Salamon

36 Reflective Evaluation Study Lost Analogue project P roject evaluation The main objective of the project was to raise awareness on the fact that knowledge of analogue techniques is useful for filmmakers professional development, as they can provide deeper understanding of now used digital technologies. This next chapter eval uates the collaboration and joint efforts made to implement this objective and disseminate its results. These take - aways aim to pave the way for more collaboration between different art and cultural fields in transnational education projects. RE CEPTION OF THE FILM PROJECT Beyond the actual film production and educational process, t he project aimed to create opportunities for presenting and disseminating The Death of Dracula to boost the projects educational reach. To evaluate these efforts, interviews were conducted with project partners to gather insights on their dissemination strategies and the reception of the film. A key focus of the projects dissemination was raising awareness about the decline of analogue techniques in education and the critical skills such as met hodological precision, a deeper understanding of digital technologie s and the pursuit of higher accuracy and quality that are often overlooked as a result. Additionally, through multiplier events, the project sought to engage the general public with broader messages. These included highlighting the importance of interdisciplinary collaboration, emphasi s ing the cultural and societal value of films and showcasing the impact of initiatives like the Erasmus+ programme. These combined efforts aimed not only to expand the reach of the project but also to inspire discussions about the relevance of analogue filmmaking in both education and the broader creative landscape . A core component of the projects dissemination strategy involved organising six transnational workshops, each with a specific purpose. The initial three workshops facilitated methodology exchanges between partners, allowing them to test new approaches wit h target groups . These sessions laid the groundwork for refining methodologies, which were then disseminated in the subsequent three workshops focused directly on different target groups. This approach ensured that each country could adapt and contextualis e the projects output, improving its relevance and appeal to local target groups .

37 Reflective Evaluation Study Lost Analogue project Source: LOST ANALOGUE project, photo by Zsfia Makkai In addition, the partners developed a comprehensive dissemination strategy, which included detailed outreach plans for key audiences. These target groups included not only film and VET (vocational education and training) professionals , providers and potential learners but also extended to broader local communities and art practitioners, educators. The strategy aimed to maximise impact by leveraging partner networks and synchronising with prominent festivals such as the Transylvania International Film Festival (TIFF) in Romania, the Mediawave Film and Music Festival in Hungary and the rdgkatlan Festival in Hungary. These festival collaborations allowed the project to connect with local t arget groups and to embed its outreach within popular cultural events, effectively promoting the projects educational and artistic objectives. M EDIAWAVE FILM AND MUSIC FESTIVAL , HUNGARY For the first time, the film s initial version was tested during the film music workshop at the Mediawave Film and Music Festival in Hungary , targeting a smaller, professional audience , and the early stages of the film also generated interest among those present. During the event, among others, Andrs Muhi ( President of the Hungarian Film Artists Association ) expressed interest in adapting the screening into a concert or dual screening event as Rbert Lakatos said.

38 Reflective Evaluation Study Lost Analogue project Source: LOST ANALOGUE project, photo by Mira Mrinca T RANS Y LVANIA INTERNATIONAL FILM FESTIVAL , ROMANIA At the Transylvania International Film Festival (TIFF) in Romania , the work - in - progress presentation of The Death of Dracula , a second digitalization of the film material , successfully engaged a distinguished professional audience. The event drew figures from the film industry, including Andrs Muhi, president of the Hungarian Filmmakers Association, who attended for a second viewing, acclaimed Hungarian director Ibolya Fe kete and cinematographer Rbert Maly, known for his work on the Oscar - winning Hungarian short film. The film received positive feedback, particularly for its innovative blend of analogue techniques and contemporary storytelling. This professional reception highlighted the films value as a case study for the potential of interdisciplinary and educational collaborations in the film industry.

39 Reflective Evaluation Study Lost Analogue project Source: LOST ANALOGUE project, photo by Zsfia Makkai RDGKATLAN FESTIVAL , HUNGARY According to Lszl Brczes, the interdisciplinary and community - focused nature of the rdgkatlan Festival made it an ideal setting for the projects work - in - progress presentation of The Death of Dracula . The festivals mission to bring visitors and locals together aligned perfectly with the projects goals of fostering dialogue between different artistic disciplines and engaging knowledgeable, diverse target groups . As Brczes explained, All genres are present, and they meet providing a fertile enviro nment for testing and refining the film with the project participants . The presentation was structured as a workshop - style interaction, emphasi s ing the importance of feedback from both artists and target groups with expertise covering various creative fields. This interactive approach allowed participants to reflect on the interdisciplinary aspects of the production, such as the integration of analogue film techniques with live music. Accompanied by an exhibition and a discussion session, the work - in - progre ss presentation encouraged open dialogue, providing valuable insights that shaped the projects development. Brczes described the audiences engagement as a strange fascination illustrating the films ability to captivate and provoke meaningful conversations about the intersections of art form s.

40 Reflective Evaluation Study Lost Analogue project The festival setting not only provided a vibrant platform for testing ideas but also reinforced the value of interdisciplinary collaboration as a cornerstone of the project. Source: LOST ANALOGUE project, photo by rdgkatlan Festival Association FESTEJADA , FRANCE In France, the test screening with live music was part of a lineup of high - quality events, including music and film programs that drew local audiences from Correns and around. In evaluating this dissemination activity, Montanaro also spoke positively about the experience of the event in Correns, h owever, cultural differences led to mixed feedback in some instances. Sensitive topics, such as the portrayal of feminism and scenes depicting violence, sparked some reactions among a few viewers. For example, Mont anaro noted, In France, there was a feminist reaction... that the film was very tough and it was hard for many women to watch, that this woman (Mary, the main character) was being hurt like that. Additionally, some attendees expressed doubts about the absence of a content warning for violent scenes.

41 Reflective Evaluation Study Lost Analogue project Source: LOST ANALOGUE project, photo by Caroline Boghossian COOPERATION WITHIN THE PARTNERSHIP Rbert Lakatos (ACMT) viewed the teaching methods as a success, noting the value of working with older cameras and equipment, which enriched the creative process. Working alongside colleagues, partners gained fresh insights into collaborative film production, moving beyond com petition to embrace mutual support. As Rbert Lakatos put it, There is competition in this field and everyone wants to stand out and be better. The good thing about [projects like this] is that theyre (the filmmaker colleagues) not fighting against each other; theyre helping each other because they understand that the success of their chapter depends on the success of the others. The chapters dont compete they complement and strengthen each other. Miqu Montanaro (MIMO) appreciated Lakatos reliability and constructive feedback, which contributed to the projects progression and Montanaros professionalism. Both Montanaro and Brczes Lszl (rdgkatlan Festival Association ) noted that effective communication, often facilitated by online channels, was a cornerstone of the collaboration. Brczes also highlighted the interdisciplinary

42 Reflective Evaluation Study Lost Analogue project challenges that enriched the project, saying , Collaboration is always more difficult . However , the integration of different perspectives ultimately led to project success. Lakatos reflected on the project as a whole, describing it as his first significant adventure with the concept of artistic research. He explained that his role as project leader required him to reflect not only on the artistic quality of the film but also on its educational dimensions. As Lakatos put it , I am beginning to realise what artistic research is and what it can be. Leading this project meant guiding the participants toward certain artistic solutions, which compelled me to engage in reflections that went beyond those of an individual artist. I h ad to view the creative process from a broader perspective one that encompassed b oth artistic and pedagogical considerations. This higher - level view of the creative process, integrating artistic creation with educational objectives, offered me new insights into the perspective of artistic research. FUTURE PROSPECTS FOR COOPERATION Several filmmakers expressed interest in participating in similar projects in the future and many partners have developed valuable professional connections. Lakatos mentioned the potential for further collaboration with Christian Sebille ( director of GMEM, National Centre for M usical C reation based in Marseille; musical contributor to the project ) and other institutions highlighting the strong demand for continued cooperation. As Montanaro noted, musicians involved in the project also expressed interest in similar future opportunities, with some proposing a festival presentation in Budapest. Montanaro emphasised the growth of his and his team s musical network through the project, including a conductor who played a key role in recording the music for the film . Plans are underway to maintain these partnerships and build on them in future artistic initiatives. Brczes highlighted the opportunity to collaborate again with Cluj - Napoca filmmakers and Montanaro, with potential joint performances or workshops at th e next rdgkatlan Festival. According to the Brczes, maintaining and developing these relationships could contribute to the future success of the festival and the creation of new artistic encounters. On a broader level, there is motivation to distribute The Death of Dracula internationally. Smaller film festivals in Scotland and Switzerland have already shown interest and the groundwork for further dissemination is being laid , as Lakatos said.

43 Reflective Evaluation Study Lost Analogue project Source: LOST ANALOGUE project, photo by rdgkatlan Festival Association INSIGHTS ON THE UPCOMING HANDBOOK The handbook, developed by three project partners, has offered Montanaro and others a chance to reflect on the projects knowledge and outcomes. Montanaro observed that the handbook will be a valuable resource, particularly on the open music improvisational method, contributing to ongoing music education and professional practice. As Montanaro described, The result was film music, but it was also teaching, a lot of experimentation, with psychology. This collaborative experience could become a model for other interdisciplinary projects rooted in artistic and cultural dialogue. For Brczes, the handbook exemplifies the successful model of rdgkatlans interdisciplinary approach. It highlights how diverse genres and participants can integrate into a festival setting, underscoring the importance of co - creation. He believes that th is production, which has resonated so strongly with audiences, could serve as an example for other festival organisers, inspiring them to adopt similar initiatives and foster unique artistic collaborations. Rbert Lakatos sees the Handbook as a valuable guide that can inspire professionals to experiment with analogue film, an area he hopes universities will increasingly recognise as essential in film education. He

44 Reflective Evaluation Study Lost Analogue project believes it offers foundational knowledge to help aspiring filmmakers work through complex challenges unique to analogue technology. While there are many technical guides available, Lakatos finds them lacking in depth, especially when it comes to tackling real - world issues and difficult s ituations that arise during filming. The Handbook aims to bridge this gap, covering essential techniques and addressing common challenges while leaving room for young professionals to develop deeper insights through hands - o n practice and guidance . Lakatos considers it an innovative resource that not only provides a practical roadmap for analogue film but also anticipates potential problems that young professionals might encounter. He reflects on how in - person lectures and consultations, which were part of the project, have inspired participants and given them confidence in problem - solving skills he sees as crucial to mastering analogue film.

45 Reflective Evaluation Study Lost Analogue project C onclus ion This evaluation study confirms the projects success in pioneering innovative educational practices, promoting cross - border collaboration, and improving vocational education through the revival of analogue film. By offering hands - on experience with cellulo id technology, the project engaged young filmmakers in the unique demands of analogue film production, cultivating qualities like precision, patience, and creativity elements that digital - only education often overlooks , as one participant observed. You ng musicians too, gained improvisational skills and developed real - time adaptability, learning to respond dynamically to cinematic narratives. Reflecting on this, one musician noted, It is important to be open, to communicate and to solve any problems that may arise quickly. The projects interdisciplinary approach brought together participants from diverse fields, including film, music and other forms, to create a collaborative audiovisual piece. This cross - disciplinary method allowed young professionals and educators to witness how historical techniques can merge with modern creative processes, improving their understanding of both fields . Feedback gathered from surveys and interviews highlights the professional growth participants experienced, as one filmmaker shared : It is never easy to harmonise the aesthetic ideas of different artists. I think the current process has taught me to adapt to each other. They also expressed optimism about integrating analogue techniques into their future work, highlighting the relevance of analogue film in todays digital age as a way to foster creative depth and hands - on expertise. As project leader Rbert Lakatos observed, the analogue medium s true potential lies not in attempting to compete with digital technology but in embracing its unique imperfections. He argued that analogue filmmaking should no longer aim for the unattainable perfection that has traditionally defined its rivalry with di gital formats. Instead, it must find artistic expression in its distinctive flaws qualities that digital technology inherently lacks and can only replicate artificially, if at all. Lakatos outlined a powerful analogy to the evolution of painting after the advent of photography: Photography, he noted, perfectly captured external reality, liberating painting from the need to replicate it. Released from realism, the painting was able to explore abstraction and the representation of internal realities. Similarly, the digital medium, with its unmatched realism, frees analogue filmmaking from its obligation to realism, allowing it to focus on subjective, abstract and internal content. T his insight points to a transformative future for analogue film, positioning it as a tool not for competition, but for artistic exploration and expression.

46 Reflective Evaluation Study Lost Analogue project Looking ahead, The Death of Dracula does not simply revive analogue filmmaking but reimagines its relevance for todays artistic and educational landscape. It inspires a shift in how we perceive and use analogue technology no longer as a rival to digital innovation but as an independent and complementary approach to creative expression. Its innovative methodologies provide a model for other institutions in film education and vocational training across Europe, offering fresh perspectives for future interdi sciplinary initiatives.

47 Reflective Evaluation Study Lost Analogue project 1. Appendix - Testimonies by project participants Less is more. To understand the creative workflow, we need to slow down the process to be truly creative. Digital technology takes you away and makes you more prone to using ready - made recipes. A filmmaker teacher For me, it was the process of working on the film itself that was the most useful. I couldnt single one out because one step led to another. The most important thing, I think, is that as a young professional, I was able to be involved in a project of thi s calibre and I had to take responsibility for my decisions every minute. The most useful thing is to give people (young professionals) the opportunity to be involved in such a project if they are determined and able to see it through. A young filmmaker (The most important lesson is) the fact that individual experimentation, trying out different techniques and processes with ones own hands, personal experience, results in much more lasting knowledge than hearing about them, reading about them, or even w atching a demonstration. A young filmmaker It encourages preparedness and precision in all creators, and there was much more of an aesthetic element in such a process than in digital projects. In my experience. What I saw here was that the directors rehearsed with the actors in a very careful way, meticulously planning everything. A young filmmaker In addition to the development of my organisational and directing skills, I have also focused on the technical and visual (cinematography) part, and I have improved a lot in terms of compositional challenges and visuals. A young filmmaker My communication skills have definitely improved during the project, but I have also developed my flexibility and adaptability. A young filmmaker It is difficult to single out a single key experience, as every aspect of the project was valuable. However, it was the visual post - production work that particularly caught my attention and I would like to delve deeper into it in the future. A filmmake r teacher The concept of a film concert certainly offers a completely different experience to watching a film than if you were simply listening to a recording. Its definitely a crucial part of this whole project. The different

48 Reflective Evaluation Study Lost Analogue project nationalities of musicians with ideas from different styles can also put together and create very colourful material, it was a very interesting and rich process overall. A young musician

49 Reflective Evaluation Study Lost Analogue project