Category Archives: Film

Roxanne – Tango Short Film

I recently had the pleasure of filming this short dance film with Natasha and Umario for DanceShortFilms.com. We filmed in one of the oldest buildings in Seattle, located in Belltown.

“Roxanne” – A Dance Short Film from Garrett Wesley Gibbons on Vimeo.

Just for fun, I made a reverse version. It was fascinating for me to watch so I uploaded it as well!

“Ennaxor” – Tango in reverse from Garrett Wesley Gibbons on Vimeo.

If you’re in the mood for more dance media, check out DanceShortFilms.com, or if you want to see more that I have worked on personally, check out this album or look below!

Garrett Gibbons Demo Reel 2013

It’s been a while since I’ve updated my demo reel. Maybe I was just waiting for the right musical inspiration? This one is long – just over four minutes – but I also made a 90-second sizzle reel for those with less interest or shorter attention spans. Thanks for watching! It’s been an amazing last few years.

Here’s the full-length version, set to “On Saturnalia Eve” by RA Scion (feat. Blake Lewis):

Also, the 90-second version, set to “Woodwalker” by RA Scion (feat. Mark Shirtz):

Dance choreography films for Katie Baillie

Dancer, teacher and choreographer Katie Baillie hired me to direct, film and edit two of her pieces of choreography. She took care of the dancers and costuming; I picked the set, lighting, and the film-related aspects. The resulting two pieces are very different from each other, but showcase her diversity as a choreographer.

Carmen

“Carmen” – Dance Choreography by Katie Baillie from Garrett Wesley Gibbons on Vimeo.

Myym

“Myym” – Dance Choreography by Katie Baillie from Garrett Wesley Gibbons on Vimeo.

I primarily used a Canon 5D mkiii for these shoots, supported by an 8′ Kessler Crane, which was a lot of fun to haul out into the field. Thankfully, Luke Wesson helped me tote gear before he took behind-the-scenes photos.

Photo by Luke Wesson

Photo by Luke Wesson

How to film and edit dance

How to film and edit dance to convey spatial continuity

Why do dance-centric films and television vary so widely in their ability to engage viewers? What principles can we follow to better convey the energy, beauty and athleticism of live dance, even though audiences will view the film in conditions that are highly detached from the live experience?

This topic merits a long book, rather than a blog post, and I’m purposefully ignoring many aspects of dance on screen, including the arts of choreographing for the screen, creating or choosing a set that works well for filming dance, staging dancers within that set, costuming dance for film, and varying techniques of lighting dance for film. For today, my emphasis will stay on two aspects: the camera and editing.

I will add to this post over time, so if you have any questions or suggestions, please leave a comment below.

Filming Dance

1. Lens Choice

I have read a lot of discussion in the academic community about the supposed difficulty of translating a three-dimensional art form (dance) into a two-dimensional space (the screen). While those challenges would in theory apply to any performance art displayed on the screen, I suspect that this discussion stems from a generally-perceived flattening of 3D space and loss of location reckoning when audiences see dance on screen.

“Matched” (presented by The LXD, directed by Charles Oliver, DP Alice Brooks), was originally filmed and presented in 3D. Is its impact lessened in 2D?

Continue reading »

Garrett Gibbons – Director, Editor, Photographer – Demo Reel 2013

I’ve updated my demo reel! It has a bunch of projects I’ve done since my last reel (plus a few old clips that never made it into any previous reel). Enjoy it and let me know what you think!

2012: A year in photography

Garrett’s favorite photos from 2012, taken by either Garrett or Jill Gibbons for Aderyn Productions.

Aderyn Productions Commercial Portrait and Wedding Photography in Seattle
Aderyn Productions Commercial Portrait and Wedding Photography in SeattleAderyn Productions Commercial Portrait and Wedding Photography in Seattle
Aderyn Productions Commercial Portrait and Wedding Photography in Seattle
Aderyn Productions Commercial Portrait and Wedding Photography in Seattle
Aderyn Productions Commercial Portrait and Wedding Photography in Seattle Continue reading »

Chinatown Strut

My latest music video involves swing dancing, Chinese lions, and a dance battle. I present: “Chinatown Strut” by Good Co, a new Electro Swing act coming out of Seattle, WA.


Special thanks to the Columbia City Theater, where we filmed this entire piece. (We filmed several scenes of “Jekyll & Hyde” by Theoretics there as well.)

Demo Reel 2012 – Garrett Wesley Gibbons

Looking for a filmmaker, music video director, dance photographer or visual storyteller? I’m based in Seattle, Washington but I travel the world. Hit me up!

“Time Withers” at the LDS Film Festival

The LDS Film Festival in Orem, UT happens around the same time of year as the Sundance Film Festival, and just down the road, providing an additional venue for film exhibition and competition as Sundance becomes increasingly crowded and competitive.

I submitted “Time Withers” to the LDS Film Festival as an experimental narrative in the short films category. The film was accepted into the competition and ultimately was given the distinction of an honorable mention which placed it in the top few percent of films that were shown, and placed it alongside films with significantly higher budgets and larger crews. For a $1500 film that a handful of us made on short notice in the space of a few days, I’m thrilled!

“Santa Claus is Coming to Town” by Justin Bieber (Official Music Video)

I edited this music video (in 3D) in southern California in October during 3 sleepless days to get it delivered to Sony Pictures in time. You can view it in true 3D right now if you go see it play in theaters before Arthur Christmas. Even if you’re not a Bieber fan, check out the excellent urban dancing from many members of The LXD!

The music video was filmed on two RED Epic 5k cameras and we used Cineform’s 3D codec to edit the muxed files in 3D using Final Cut Pro 7 and a Blackmagic output box, viewing the stereoscopic picture on a passive 3D 1080p monitor (we wore 3D glasses).

The video is directed by Charles Oliver, who directed many episodes of The LXD. The director of photography was Alice Brooks (also the DP of The LXD) and it was produced by Kyle Sonia (also of the LXD family).