As a few of you may know, I’m currently New York City recovering from a broken arm. The recovery is going well, I’m happy to say!
I’ve been thinking of a good way to spend the next 6 to 8 weeks while somewhat immobilized, and a few weeks after that taking it somewhat easy as I get back to work. As a result I’ve accepted an opportunity to do a cross-country tour in late April thru early June that will focus on “Directing Motion.” This is with the same group, MZed, that did an incredible job with Alex Buono’a tour in 2013, to rave reviews, including my own review.
The purpose of the tour, is to focus on the most important aspects on how, when, and why we move the camera and to what effect. One of the most important decisions that a director or DP can make, is not only the speed, direction, and duration of a camera move, let alone the apparatus that they use to move the camera in a certain fashion, but also how to block out a scene with actors in conjunction with the camera(s) . While the role of director involves so many aspects and decisions, be it music, an actor’s wardrobe, the color palette, location, lighting references, lens choice, camera selection, and so much more, the way they direct motion within their pieces is one of the most critical aspects of their craft and style. The last commercial that I shot for example (a big thank you to the readers of this blog who helped it reach 2 million views in a little over a week on YouTube!) involving a very heavy use of camera movement, and a huge collection of camera platforms/support to make those moves possible…
Many of you may know that I began my career as a photographer, and that I naturally focused very heavily on the visual aspect of any commercial or film that I have produced to date. One of the steepest learning curves, along with learning how to work with actors and a very keen focus on the critical Importance of story, has been to study, practice, and understand when and how to move the camera and the action that takes place in front of it, and notably how that motion can help convey an idea or emotion to the audience. I have been frankly fascinated by the movement ever since I can remember, and have come to understand how universal of a language it can be in taking an audience on a visceral journey in almost any piece of motion, be it a commercial, short, or feature film.
There will be a lot more detail on this coming within the next few weeks. For now, if you are interested in being kept up to date, you can check the following site out.
To that end, I’m looking for someone to help me prepare a lot of the materials for this workshop. Given the cast that I’m wearing on my arm, and the fact that I can only work with two fingers at a time, I am looking for someone, or perhaps a combination of two people who have experience with the following, and who would be available to help over the next several weeks in New York City:
1. Experience with Video Graphics/VFX – mostly graphic overlays etc (After Effects for example.) I’m looking to overlay graphics, geometry, and text over video clips to better visually explain many of my favorite scenes, camera moves etc. in commercials and cinema. It doesn’t have to be that complex, as I prefer simple and elegant, some would say a more minimalist approach especially for education, regardless.
2. Experience with Apple’s Keynote, putting together presentations. I have a bit of experience in this area myself, but can only do so much of my injury. Note: you need not have experience in both the VFX and/or Apple’s Keynote, I may choose to work with people who have individual expertise and either of these very different disciplines naturally.
3. Any design experience is an obvious plus what should be obvious reasons (good-looking presentations, and/or VFX never hurt anyone…)
4. Being a film buff definitely would not hurt either, as this gig will involve watching and analyzing dozens and dozens of hours of the best films out there. The good news is you will actually getting paid to do it…
If you are interested please send email to: production (at) directingmotion.com with the following information:
Please include your resume, or a short paragraph or two about your experience in this area. More importantly, please include examples and links of your work in this area. Lastly, this job can be full-time, or part-time depending on the applicant’s schedule. We could potentially start as early as next week.