Story training · Every room we teach it in Storylab is hands-on training in the one thing that was never commoditised — the story underneath the shot.
Same craft, taught in different rooms: creatives, ministry, schools. Pick the room that matches the work you actually make.
Film school, in a room near you Storylab is the most comprehensive professional story training in Australia — and anywhere in the world. Film-school depth: story, camera, lighting and edit, taught hands-on, on the gear you already own.
Run by a team whose work has reached hundreds of millions of people, and who still shoot it for a living.
Story works the same way whoever is holding the camera — but what you do with it doesn't. Every Storylab teaches the same process, built around the work you actually make.
You already know your camera. This is the part nobody taught you — the story underneath the shot, and what it's worth when clients can feel it.
Explore Creators · Rote, IndonesiaThree residential days on Rote Island with Nikon Z Cinema. Script, shoot and cut real documentary films — and screen them on the final night.
Explore MinistryTestimonies that reach people instead of documenting them — a repeatable process your volunteers can run every week.
Explore ArtistsThe story around the release. Why people follow the artist and not just the song — taught to whoever's already filming the road with you.
Explore BandsVideos, doc series and tour films that build a world instead of filling a feed. The training behind them, shot on the road you're already on.
Explore NFPThe story shape behind giving. One film that moves a donor further than a year of updates.
Explore SchoolsFilm-school depth for your media students and staff, taught in your own rooms and on your own gear.
Explore BusinessWhy a story out-earns an ad — and the brand films we make so people finish, share and remember yours.
See the work Something elseIf you make something and it needs to reach people, the craft is the same. Tell us what you make.
Tell usWhen something is built as a story instead of a summary, the brain does something measurably different with it — it stays, it trusts, and it acts. Three findings sit underneath everything we teach.
Get someone lost in a story and their own world goes briefly quiet — and attitudes shift further than any argument can move them. Green & Brock, 2000.
A character in real struggle releases oxytocin, the neurochemical behind empathy and generosity. In Paul Zak's lab, viewers who felt a father's story gave away part of their earnings.
During a well-told story, the listener's brain activity synchronises with the teller's. Hasson, Princeton. Nothing about a good-looking shot does that.
A film with a real before, a real turn and a real after is the exact arc that triggers all three at once. That's the whole reason a modest camera in the hands of someone who understands story out-performs a cinema rig in the hands of someone who doesn't — and it's why the shape is teachable. It's a process, not a gift.
Sources: Green & Brock 2000 (narrative transportation); Zak, Claremont (oxytocin and narrative); Hasson, Princeton (speaker–listener neural coupling). The mechanism is real — Storylab is built to trigger it on purpose.
Producer, director, filmer, and editor. 25 years refining the craft of story, and a RED Digital Cinema trainer and ambassador. A billion views and millions of comments — a bucket load of data on what works and what doesn't when it comes to creating stories that reach and transform.
Storylab is the process behind that work, taught to the people who want their own to reach further than it does now.
Most working shooters are self-taught, undercharging, and quietly convinced the problem is that they aren't hustling hard enough. They're carrying a client list, a delivery deadline and a calling all at once — with nobody above them to learn from.
Peter has spent fourteen years in those rooms. The work he cares most about now isn't another film — it's mentoring the people behind the camera: helping them find a simpler way to work, get the craft properly under their hands, and remember why they picked it up in the first place.
Fewer things, made well, by people who aren't running on empty.
Book it Tell us what you make and where you are. We'll point you at the right Storylab, and come back with the next session near you — or what it looks like run privately for your team.
A hands-on three-hour intensive in the craft of story — finding it, the sit-down interview setup and technique that captures it, and the edit that makes it land. You leave with a repeatable process, not a folder of presets.
Working photographers and videographers who can already operate a camera and want the part nobody teaches. If you shoot weddings, brands, music, docs or commercial work and your edits look good but don't move anyone, this is the gap.
No. We teach the interview build on Nikon Z Cinema because the colour science makes it easy to see what good looks like — but every principle transfers to whatever you already own. Bring your own body if you'd rather work on it.
No. We don't spend the three hours on exposure triangles. It assumes you know your camera and takes you into story, direction and the edit — the things that separate a technician from a filmmaker.
Nikon-hosted sessions in each city, plus private sessions for studios, agencies and in-house teams who want it in their own building. Tell us which you're after below.
It depends on whether you're joining a city session or booking one privately for your team. Tell us what you're after below and we'll come straight back with dates and a price.
Most people start with the flagship — the one built for photographers and videographers.
Storylab for Creatives →