Chapter 11 of Kubilai Khan Investigations' "Sorrow Love Song", an intriguing adaptation of Haruki Murakami's best-seller novel "The Wind-Up Bird Chronicles".
This is one of the chapters in which I best recognized what I had read before shooting. I particularly like this charming duet, and I used more of the camera-on-stage shots than in many of the other chapters.
Looking forward to your comments and likes :-)
"Les Racines du Désir" is Chapter 5 of Sorrow Love Song (see Jellyfish on my Channel), a choreographic free adaptation of Haruki Murakami's bestseller novel The Wind-Up Bird Chronicles perfromed in Paris by French dance company Kubilai Khan Investigations.
The opening title mistakenly says Chapter 6 – not that it matters :-) I particularly like this piece for Emilio Urbina's remarkable solo. Working with him was an immense delight, as it was with the the whole company.
Thanks for your comments and ratings :-))
Les Méduses du Monde Entier (The Jellyfish of the World) is Chapter 9 of Sorrow Love Song, a freely interpreted choreography of Haruki Murakami's best-seller novel The Wind-Up Bird Chronicles.
Originally it supposed to be a simple one-cam demo recording for the French dance company Kubilai Khan Investigations., but it got very inspiring and addictive, so we got carried away with ourselves (as usual) and recorded live 3 times (x 2 cams), then another afternoon without audience in order to work with the cameras on stage at the Maison de la Culture de Créteil (Paris) in 2005. Hence, it turned into a camera re-work that I've considered entering into dance film festivals and competitions but never really got around to.
You'll forgive me for the mediocre video quality that is not really up to Vimean standards, but the hard disk I used at the time broke down on me with no salvaging options, and I have had no other need to reload the footage and re-capture. So for uploading purposes I ripped the DVD I had made at the time and put it back on a new timeline to re-export.
I subtitled only the text that is not repeated in order to leave some space for the wonderful artists I had the pleasure of recording.
We shot with an XL1s and and an XL2, and back then that was luxury! I'm especially grateful to my DP Sébastien Kriloff for having fought for 0 dB in spite of the often low light that I had thankfully managed to deal up about 10%.
Edited on FCP 4.5, audio and pre-mix came from the on-stage musician/composer/DJ Rui Owada. I ended up superimposing 9 video tracks (and about 20 audios) for the editing (and in fact I still work that way today). FCP Effects and titles took me up to about 16 V tracks that kept me on my toes and in my seat for 5 or 6 weeks for the full hour show.
If you like what you see, let me know with many comments and likes, and I'll add chapters to make a little Vimeo series out of this.
Best from the Shack in snowy Hamburg!
PS: Recently added! see Chapter 5 of Sorrow Love Song: The Roots of Desire
José Galván's amazing footwork is only one of the reasons why aficionados around the world call him the "King of Bulerías". It's a unique example of traditional flamenco as it is seldom performed today.
When my editor and I worked on José's footage – who we lovingly called "Raging Bull" behind the closed doors of the editing suite – I didn't want to believe it was in sync and he argued it was. Some footage was in Pal (@ 25 fps) and this was in NTSC (@ 30 fps). We had quite a row about this until we ended up comparing the two and jokingly agreeing that it was indeed in sync, but that 'Raging Bull's' footwork was just too fast for the Pal standard's 25 frames per second.
You can see more of this collector's item concert recording in our indie production Petenera – a Flamenco Drama in Music and Dance at musicfilmfactor.com.