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Representing and Shooting Dance - version 32

Video by Mike Strong - Uploaded 29 Sept 2021 - Length 1:57

Note: this is version is final. It is simply getting too unwieldy in its current edit state.
I intend to supplant this version with another video on the same topics but with a different organization and arrangements.


Related (because once again, the difference between light at JCCC's NDP was so superior to light at UMKC's lighting students because they lost their way in seeing tonal ranges when they dark adjusted their eyes. This is an area I meant to include in this video. A section on lighting, following the territory I cover in the "Lighting vs Darking" page below, will probably come in after the new starting section in the remade version of this video (when I get there).

Lighting vs Darking - for stage cameras: Click HERE
Link directly to Vimeo location (opens new window) as displayed in Vimeo


(This version (18 May2021) is still under construction but ads a lot of material.

I still need to get to history, journalism, diversity as added richness, as exploration and I need to get to a few other items.
It adds a section "dethroning" multimedia as a term.

All shooting requires knowlege of your subject. (seldom done)
Knowing the camera is assumed. (too often assumed to be the only requirement)
Shooting dance means shooting in the music.
Listening tells you when to look and shoot.
Knowledge tells you what to shoot and select.
Journalism takes the time to understand and know the dancers and the pieces and their relationships.

I specifically:
1 - Show how to shoot in the music, listening
2 - stomp all over the use of "continuous" drive
3 - show that only "single" drive should be used for anything.
4 - give you the real history of 24 fps, 30 and 15 fps and
5 - debunk and destroy the worship of 24 fps as "cinema"
6 - attack the use of the term "multimedia" for prestige
7 - showing that we have always used all media available.

I go over differences between the way we perceive the world around us live,
the way we perceive recorded video and audio from the same physical locations.

This is also, at the end, a call to take in rehearsals.
You can't routinely parachute in when all rehearsals are
done and the company is on stage.
Remember, being a photographer means
being able to pick the right "moment"
at the time you are shooting
and that requires knowledge
with an embodied sense of the piece and of dance.

Timecodes and Chapter Labels

00:07:43.06 Transitive
00:08:41.07 Confidence, Confidence, Mastery
00:09:35.01 Dance Schools as 1-room schools
00:10:37.21 Representing Dance - Start
00:12:33.00 The Old Guy Story
00:13:57.23 Shooting on the count
00:16:45.29 Examples
00:17:53.27 Class
00:18:42.18 Shoot what you see
00:19:00.07 Over a Photo Shoot
00:19:55.15 Releves on Toe
00:21:08.08 C-Drive Example
00:21:29.07 S-Drive Example
00:22:08.06 Jete Poster
00:22:22.03 Rehearsal Reasons
00:26:56.07 Quick Tips
00:29:46.18 A Dance Lesson
00:30:50.25 Rescue Mission
00:32:21.23 Juan Pablo Trujillo
00:34:53.07 Subject Knowledge
00:36:56.29 Roxanne Poorman Gupta
00:37:37.24 More Examples
00:38:21.04 Getting Over
00:39:24.06 Zoom&Pan vs Brain
00:39:50.13 Panning & Zooming into picture
00:41:34.24 Notation
00:42:27.25 Benesh
00:42:37.13 Laban Opening Stretches
00:43:29.15 Computer Animation
00:44:04.18 Dance Tech Class
00:44:47.10 Handwritten
00:45:30.17 Cut & Paste
00:46:20.29 For Comprehension
00:47:40.26 Workspace
00:50:15.08 Multimedia DeThroned
00:55:24.20 Killing Web Page Bloat
01:00:22.24 Web Page INFORMATION
01:01:38.08 Film and Video
01:02:36.27 funding recording sightline
01:03:32.18 2 on sightline
01:03:46.25 The Sightline Camera
01:05:25.23 Perspective Live and Image
01:06:38.02 Shot Names & Frames
01:08:04.20 Letterbox
01:08:23.07 Rising Lens vs Tilted Lens
01:09:55.05 Sound
01:17:16.08 dance for cam only
01:17:21.17 Matching steps in music
01:17:33.18 Matching Sound Tracks
01:18:42.24 The Composer
01:19:43.16 Joan & Jack - Coat Tree
01:21:06.28 Cutting on the Count
01:21:34.25 Soundz of Africa Short
01:25:11.25 Montage Promo
01:26:09.05 Overland Park Ballroom
01:26:42.23 Suzie and Harrison
01:27:46.12 Carlye and Patrick
01:28:59.28 Hip Hop Honky Tonk
01:31:38.12 Gypsy Mozart - the edit
01:34:09.12 Gypsy Mozart, at hafla & at fringe
01:36:23.00 Ailey Motion Match
01:38:31.03 Sense of Motion
01:39:37.01 The Sacred 24
01:42:05.12 Vitaphone
01:42:34.29 rates in frames
01:44:17.21 Television
01:45:23.13 Between frame rates
01:47:10.11 He shot each movie at two frame rates
01:48:21.27 Location Examples
01:48:42.01 Tap with stills
01:51:53.11 Fast History, Last Notes


Lessons from masters of the past (here a self-portrait of a 28-year-old Elisabeth Vigeé le Brun in the late 1700's)

Notice Lonnie's white shirt. All the colors from warm white to light and medium blues.
White reflects so many colors it may not be a good source of color readings for color balance.
Look for medium grays as a neutral source area otherwise use reading from skin, red, green and blue readings.