- “Classic” by Pacific Ballroom Dance
- “NPR” by Can’t Stop Won’t Stop – Puppet Rap!
- “Grief” – A Dance Short Film
- “Run Away” – A Dance Short Film
- TV ads for Liberty Coin & Currency
- Republic Services Roosevelt: Generating Power from Refuse
- Blackmagic 4K tests: battery life, data and record time
- Timelapse for Buzzfeed
- Roxanne – Tango Short Film
- “Sharper Tool; Bigger Weapon” – The RA Scion redux
- Three web Spots for Familyshare.com
- Garrett Gibbons Demo Reel 2013
- Ayron Jones & The Way – Feedin’ From the Devil’s Hands
- You don’t know what the word “Storyboard” means, do you?
- Dance choreography films for Katie Baillie
Tag Archives: how-to
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.
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?
The latest from Theoretics: “Lights On”!
This is Casey Sjogren‘s music video debut as a director, though he’s been making quality content for a few years now. He directed, edited and co-produced this video. Domenic Barbero was our DP and RED Epic camera operator for the indoor footage. I co-produced with Casey, was I the gaffer for the indoor footage, and was the 2nd unit DP for the car footage (both Mark rapping in the car as well as the drivelapse footage of the city at night), which we shot on a 5D mark iii.
This track comes from their second release, “Plenty of Anything,” the same EP that gave us “Go.” Theoretics is a blast to work with, and I hope to continue collaborating with them in years to come.