Dance Film Lab Recap

Monday, August 15th Dance Film Lab


13- Participants 9- End time 7- Start time 5- Studio we used at Dance New Amsterdam 2- Films screened

We started the night introducing ourselves-name, what we do, and what we NEED in relation to dance film.

People who would be interested in observing the rehearsal process Film editors Audience members for the Governor’s Island Art Fair in September Choreographers for dance film Suggestions for compelling dance films to watch Feedback (from one of the filmmakers screening their work) Funding A hi8 player A room filled with actual people to talk about Final Cut 10 Collaboration with others interested in the moving line (from a drawing artist) Readers: have any answers? have a hi8 player? also need to talk abut Final Cut 10? Share away below in the comment section!

Next Zach opened the floor to technical CHALLENGES the filmmakers faced.

How do we manage the quality difference between film and digital footage? Some suggestions included vasoline on the lens (has anyone ever tried this?!) or a filter either on the camera or applied during editing

Open discussion followed and the room descended into a CONVERSATION on camera reworks, or performances for the stage adapted for the camera.

A live piece is to a movie as a camera rework is to a book

With all technical difficulties worked out, the presenting filmmakers SHARED their works in PROGRESS.

View the films Positive feedback given to the filmmakers, what we liked about the films Questions from the filmmaker Questions from the audience Recap: The evening was a great opportunity to speak about dance and film, two art forms that are geared toward the visual product. I encourage you to emulate this model; a sort of DIY Dance Film Lab. Find time with your friends and fellow artists (or anyone who loves conversation, strength is in numbers!) to share your needs, challenges, and your progress. If you do attempt this at home, let us know how it goes! Next film lab: SPEED DATING. Make sure to Bring a Date!
1 Comment
  • Chelsea
    Posted at 18:01h, 18 August Reply

    I have some thoughts on your questions. Please excuse me if I am offering repeat information!

    The first being don’t put vaseline directly on the lens. You need to get a clear filter and put the vaseline on the filter. You can destroy the lens (and, thus, the camera if it is video).

    I am not sure how you are using film and video, but I am always in favor of playing up the film and downplaying the video. Film is beautiful so use it to your advantage. If it is for a documentary then the differences help to highlight the archival nature of the footage, which can help in understanding passage of time.

    My advice on FCPX is to run as far away as possible. Once filmmakers learn this new program who is to say Apple will not just screw us over again. I’d advise using AVID or Adobe Premiere. If the problem is migrating previous FCP projects, it is impossible because FCPX is an entirely new program from the previous FCP. They should have changed the name to avoid all this confusion. It would be like trying to open a FCP project in AVID.

    Also, finding a Hi8 deck may be difficult, but you should be able to find a camera and then use it as a deck. There are some used ones on Amazon.

    Hope this helps a little bit.

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