Join this 2-day online course discussing the power of the moving camera.
Jun 5, 2021 - Jun 6, 2021
Workshop Fee: $350
Class Size: 12 (Max)
NOTE: This course will be held in a live, online format using the Zoom platform.
Class meets 12-6pm ET
Image by Amanda Piela
This course is for emerging cinematographers and filmmakers looking to explore the fundamentals of camera operation and movement. Through lectures and demonstrations we will break down the many ways in which we might move the camera, and the emotional impact these moves can create in telling visual stories. We’ll discuss various camera support systems and their application, including the Steadicam, the dolly, the handheld rig, and the 3-axis gimbal. An emphasis will be placed on the motivation for the use of each piece of camera support. We’ll also talk about the value of the handheld camera, and that of the camera that doesn’t move at all. We’ll discuss the challenges of executing the physical and ergonomic aspects of a shot while composing a strong frame.
Instructor: Paul Taylor
Paul Taylor works out of Los Angeles and has been teaching Steadicam workshops for the better part of his 25+ years in the motion picture and television industry. In addition to Steadicam operating his career path includes working as an award-winning editor, director of photography and 3D stereographer. His multi faceted entertainment industry background has given him the tools to create an advanced Steadicam workshop unlike any other. The unique teaching methods he developed and the comprehensive production information he shares have proved invaluable to the careers of almost a thousand Steadicam operators.
Instructor: David Martinez
David Martinez is a producer and cinematographer known for his cinematic approach to visual storytelling. David has traveled the world as a cinematographer and colorist. His immersion in film productions, both in the camera department as well as the post-production department, has given him a great perspective on the relationship between the creative and technical aspects of visual storytelling. As a media producer, his clients include The New York Times, Universal Music, Warner Music, McKinsey & Company, and Volvo.