 Issue 19 |
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In this issue:
 HD EXPO talks with Alexis Krasilovsky about Women Behind the Camera
Making the documentary WOMEN BEHIND THE CAMERA became a decade-long, life-changing journey for Alexis Krasilovsky, a filmmaker, author and professor. Inspired by courageous women who sought and held jobs as camerawomen in the male-dominated world of cinematography, Krasilovsky set out to document 50 women DP’s and camerawomen around the world. In the process, she gained a profound appreciation for the resonance of their stories as well as a global obsession. WOMEN BEHIND THE CAMERA shot in Afghanistan, Austria, Canada, China, England, France, Germany, India, Iran, Japan, Mexico, the Philippines, South Korea, Senegal, and the US.
World Premiere of WOMEN BEHIND THE CAMERA: For more information about WOMEN BEHIND THE CAMERA, visit: www.womenbehindthecamera.com
First up is THE AMERICAN FILM INSTITUTE CONSERVATORY For more than 40 years the American Film Institute has provided education, conservation, and information about the art of the moving image. The Los-Angeles based AFI Conservatory program is divided by specialty: Directing, Editing, Cinematography, Producing, Screenwriting and Production Design. Top-level schools have rigorous admission policies, and entry into any of the AFI tracks is highly competitive. Each year 28 students are accepted into each of the directing, producing, cinematography and writing programs, and 12 to 14 into the production design and editing programs. There are classes and laboratories scheduled, but the emphasis is heavily weighted towards working in teams to create narrative projects. HDE: You've had a varied and successful career as a cinematographer. What has your career path been? Click here to read the rest of the interview with Stephen Lighthill, ASC. P2 Workflow Workshop Propelled By Content, Instructors and Attendees
The P2 workshop culminated with labs from Final Cut Pro and Avid, where attendees were given a look at the tools they would need to finalize their work. Plaster City's Steve Beres showed how to capture images (photographed by instructor cinematographer Suny Behar), import them to a workstation and edit them effortlessly.
As the technology evolves, so too will this Workshop. We look forward to seeing you on the journey, and sharing some serious (and not so serious) P2 Workflow knowledge with you. Click here to find out more about the P2 Workflow Workshops and how you can attend for FREE. |
HD EXPO EVENTS & EDUCATION: VariCamp P2 Workflow Workshop P2 Workflow Workshop VariCamp ColorCamp HD EXPO November P2 Workflow Workshop
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Registration form: audioholics.com/news/editorials/2007-state-of-the-ce-union/state-union-2007-registration.pdf
Don’t miss this chance to enter your best work and get recognized by your peers! Enter now! Submission period - May 15 - August 22, 2007. Gala celebration November 1, 2007 at the Skirball Cultural Center in Los Angeles
Reserve your advertising space in the 2008 print edition of LA 411 today -- Call 323.965.2038 For more information or to download a listing application, visit: www.LA411.com
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WOMEN BEHIND THE CAMERA chronicles known cinematographers including Ellen Kuras, ASC; Amy Vincent, ASC; and Nancy Schreiber, ASC; but also offers a global perspective, with interviews of Chinese camera operators who traveled with Mao, Russian documentarians, director Agnès Varda, and Afghan women who shot secret footage of the Taliban. What moved her the most? Krasilovsky remembers the day her perspective changed. “I was in Ahmedabad, India and was introduced to the camerawomen of Video SEWA, the Self-Employed-Women’s-Association. SEWA had arisen to help villages survive a devastating earthquake that killed nearly 20,000 people and was followed by a severe drought. Armed only with cameras, these women influenced policymakers and saved their villages. Their heroic actions drastically changed my outlook on the project as a whole, and made me profoundly aware of the interconnectedness of all of us.”
Krasilovsky noted that the feature was shot on Mini DV and edited in Final Cut Pro. Production utilized every format, but eventually converted to NTSC for editorial. Krasilovsky noted, “We started the project on a Nagra, thinking we’d go back to 16mm and sync. It didn't’t unfold that way, we didn't’t get the funding for film, and we had access to professional DV. If we were starting today, we would definitely shoot in HD, but it wasn't’t an option in 1998. SEWA was also the illustration of the digital revolution in action.” 
The HD Expo P2 Workshop launched with a bang and a flurry of excitement at the historic Los Angeles Center Studios in July. Cinematographers, post production supervisors, graphic artists, programmers, developers and educators attended the two-day beta lab-type workshop. In the first of a series of P2 Workflow Workshops, we set the tone for the July event to be a think-tank where learning is based on conversation and curiosity, with attendees encouraged to participate and question the panel. The conversation was lively, passionate and clearly committed to discovery.
Attendees, some of whom had traveled to attend the workshop, were treated to a detailed introduction to the P2 family, an in-depth discussion of the P2 data structure, several workflow examples, and some serious hands-on time with a host of equipment, ranging from the HPX500, the remarkable P2Mobile (HPM100), an HVX2000, and even a pre-production HPX3000. Attendees seemed to love experimenting - the equipment was rarely left alone!
As attendee and noted cinematographer Oliver Wood remarked: "The workshop was a great experience. It opened my eyes to a whole new recording medium which is obviously going to replace the tapes and reels which we have all become so familiar with. The guys who ran it really knew their stuff and could not be caught out by some very savvy members of the workshop."
