Archive for the ‘education/learning’ Category
Two Sundays of Kinetic Cinema
Kinetic Cinema is back!
This Sunday choreographer Aynsley Vandenbroucke will present a screening and discussion at Moviehouse on the ways artists form relationships and navigate their personal lives and their art. The following Sunday dance filmmaker Zena Bibler will teach a down and dirty DIY dance film-making workshop at Green Space Studio in Long Island City.
Exploring Artistic Relationships
A screening and discussion with Aynsley Vandenbroucke
Moviehouse @ 3rd Ward
Sunday November 13th, 7pm Doors and Food, 8pm Screening
$5 suggested donation
In research for her new piece, Vandenbroucke’s program will examine artists’ relationships between personal partnership and artistic practice. From documentaries and films featuring New York based artists like Patti Smith and John Cage, freedom and commitment, presence and absence, public and private, mobility and stability will be questioned and the debate will be recorded.
3rd Ward (map)
195 Morgan Ave
Brooklyn, NY 11237
718.715.4961
events@3rdward.com
The One-person Crew: Techniques and strategies for getting it all done yourself
Kinetic Cinema Workshop with Zena Bibler
Green Space
Sunday November 20th, 3-6pm
$30 in advance, $35 at the door
Want to make a dance film but don’t know where to start? In this workshop filmmaker and choreographer, Zena Bibler will teach strategies for making dynamic films through use of camera positioning, perspective, rhythm, and movement composition. This workshop is especially geared towards dance filmmakers interested in filming and editing themselves. Register Now!
Green Space (directions)
37-24 24th St. Suite 301
Long Island City, NY 11101
718.956.3037
Dance Film Lab with Zach Morris
Organized and directed by Zach Morris of Third Rail Projects, the Dance Film Lab is a community-building, monthly series for dance filmmakers to gather; share information, methods, and tools; and address technical, practical and artistic challenges, co-presented by Dance Films Association (DFA) and Dance New Amsterdam (DNA).
For full schedule and information visit Dance Film Lab
The event is free for DFA and DNA members. For non-members, there is a $10.00 drop in fee. If you are interested in attending, please email brighid@dancefilms.org, with Dance Film Lab in the subject line to RSVP.
Dance NYC: Personalizing the Marketing Experience
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Monday, November 14, 2011 ~ 5:30pm – 7:00pm
Joyce SoHo
155 Mercer Street (between Prince Street and West Houston)
New York, NY 10012
RSVP: http://dancersvoice.eventbrite.com/
Featured Speakers
Ashley Bouder, Principal Dancer, New York City Ballet
Misty Copeland, Soloist Dancer, American Ballet Theatre
Larry Keigwin, Artistic Director, Keigwin + Company
Megan Sprenger, Choreographer and Director of Marketing and Public Relations, New York Live Arts
Dance Film Lab Master Class at DNA
Camera Operation and Shooting Strategies with Amy Greenfield & Jeremiah Story
Amy Greenfield
DNA (Dance New Amsterdam)
280 Broadway, Studio 6 (entrance on Chambers)
New York, NY 10007
212.625.8369
October 12, 2011
7:30-10:00pm
Topics will include: basic understanding of camera operation, shooting strategies, and concrete concepts and methods to enable artists to have a more formalized approach to their filming process.
$10 for Dance Films Association or DNA Members; $25 fee for Non-Members.
RSVP to brighid@dancefilms.org with Dance Film Lab in the subject line to reserve your place.
For more information visit the Dance Films Association website
Next Dance Film Lab events:
November 7- Dance Film Lab Screening
November 19 & 20- Moviehouse presents: Curated Screening of works by Dance Film Lab Participants
DSLR cameras vs. HD camcorders for the Dance Filmmaker
We’ve all heard the hype. DSLR cameras are the new darlings of Indie and DIY filmmakers. The gods of technology have allowed us to take a still camera and use its high-end lens and gorgeous shallow depth of field to make videos that rival the look of big budget films.
The biggest advantage of using a DSLR over a camcorder is the shallow depth of field. When filmmakers talk about depth of field, they are referring to the amount of the image in frame that is in focus at any one time. When the depth of field is deep, everything in frame is in focus, and it is very difficult for the filmmaker to highlight the parts of the shot that are important to the story. The shallower (or narrower) the depth of field, the more ability you have to pinpoint the crucial parts of a scene, and draw viewers attention in. Most camcorders, including the highest end, have deep depths of field. Now, with the new DSLR cameras, videographers can achieve a cinematic look without needing to break the bank or lug around a huge piece of equipment. Read the rest of this entry »
