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I wrote the song and got it recorded. I decided I wanted to create a lyric video to work alongside it. I had the idea of a video focusing on the legs while cycling. I didn't want the video to be about moving forward or leaving things behind: it's about the push and the struggle to keep on top of the present. It's about working through the pain for your own greater good and that's reflected in the strong beat and rhythm to the guitar. I think the video would have worked better with a more stable camera setup and further away from the subject (myself!), plus less editing. The video worked well stand alone with the different points of view which I decided to capture spontaneously, but when I added the lyrics later it became too concentrated, too overwhelming in other words. I wanted to share it though, my first attempt at recording anything, and hopefully others will appreciate the song, which I am proud of and long for others to hear. http://www.soundcloud.com/sally_c/another-example The song is free to download via this link.+ More details
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BLACK DOGMA PRESENTS A Documentary by J Alan Love SIX CORNERS During the 1990’s Chicago experienced a creative arts renaissance that gave birth to a staggering number of successful careers that continue to flourish. One neighborhood in particular offered the right mix of geography, people and places for artists and creative entrepreneurs to fully realize themselves. Wicker Park on Chicago’s northwest side. Despite Chicago’s history of segregation and uneasy race relations, Wicker Park was diverse in the broadest sense of the word. Drawn by easy logistics, cheap studio lofts, hip small businesses and a growing nightlife scene, young people from all parts of the city migrated to Wicker Park to set up shop or visit with a frequency that made it appear that they were in residence. Within this urban enclave an arts and culture movement was built, entrepreneurship flourished, and everyone impacted seemed to benefit. Depending on where you stood at the time, this movement either pushed back against the prevailing winds of gentrification or it helped to usher in the coming seismic shift in the complexion of the neighborhood. six corners chronicles this history making era from the perspectives of the artists, musicians, presenters, promoters, business people and personalities who made this moment in time. Black Dogma is three men of the arts, J Alan Love, Jeffrey T Brown, D.A. Bullock. Black dogma endeavors to bring the voices and vision of city centers and rural areas alike to the masses through multi-media expression of that thing called SOUL. Producers: J Alan Love, Jeffrey T Brown, D.A. Bullock Director/Writer: J Alan Love Cinematographer/Editor: Jeffrey T Brown+ More details
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In promoting HBO Original Productions I built the concept around the opening title of Cinéma vérité. HBO always proudly takes the risk to produce shows and films out of ordinary. While the VO shares the core idea about creating exciting contents, we can see how this editing process could look like. It was an exciting challenge to take out the titles from the original opening of Cinéma vérité.+ More details
Dziga Vertov, the pioneer documentary filmmaker whose film MAN WITH A MOVIE CAMERA my video references, wrote extensively on his desire to capture life without the pretense of staging or acting. His method insisted “filming life unaware” and “life as it is,” to show the everyday experiences of the world around him. Vertov believed that recording the raw interactions of people got at a deeper truth, a kinopravda or film truth, that couldn’t be seen by the naked eye. Vertov’s kinopravda influenced a mode of observational filmmaking developed by Jean Rouch and Edgar Morin, who also saw fit to borrow a title from Vertov: cinéma vérité (French for kinopravda). My grandfather’s slides, which are at the core of my documentary, were taken in the context of an interesting intersection between all of these histories: as Rouch and Morin were developing their style of filmmaking in the 1950s and early 1960s, my grandfather was documenting his travels during a tour of duty stemming from a conflict with Vertov’s Soviet homeland. My vision for MAN WITH A KODACHROME was to bring these styles into a conversation with my grandfather’s images. Though I shot about four hours of interview footage with my grandfather as he told me stories about his Mediterranean naval tour during the Cold War, it was the moments when my grandfather wasn’t talking that I found most compelling. This is one of the reasons I chose to devote so much time to him setting up his projector; in these moments I feel as though I can really see him remembering – not for the camera, but with himself. His words were critical in giving a brief set-up to the slides, but the shots I chose to edit into his voice-over, like him grinning as he looks at a slide with a light box, were an effort to keep with an observational mode. Instead of being told about the past, we watch him straddle it.+ More details
A visual testimony of how the avidity of one family destroys the dream of a couple. Watch how my camera served as witness and guardian. The film that you will see is not a «set-up». It is the factual story of Andan (my spouse) who purchased land on the island of Bali and of the three men who deny us access to her property. Hope someone out there gets very upset of the way justice is carried on. P.S. If you wish to know more about this adventure, please click: http://www.arthousebali.com/ FRANÇAIS: Cinéma vérité : Voyez comment l’appareil photo et vidéo a servi de témoin et de «garde du corps». Le film que vous allez visionner n’est pas une mise en scène. C’est la vraie histoire de Andan (ma compagne) qui acheta un terrain sur l’île de Bali et des trois hommes qui nous en empêchent l’accès. Pour savoir comment tout a commencé, cliquez ici: http://www.arthousebali.com+ More details
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En 1991 o 92, si ma mémoire est bonne, Jean Rouch est l'invité de l'émission Ciné Court de la chaîne du cable Ciné Cinémas et on lui donne carte blanche pour inviter trois "jeunes" réalisateurs. A ma grande surprise je me suis retrouvé parmi ces trois. Je savais que Jean avait beaucoup aimé mon film "Désirée" mais pas au point de me considérer comme de "sa bande" En 1991 o 92, no recuerdo bien, Jean Rouch es el invitado del programa Ciné Corto del canal por cable Ciné Cinémas y le dan carta blanca para invitar a tres "jovenes" realizadores. Mi sorpresa fue grande al encontrarme entre esos tres. Yo sabía que a Jean le había gustado mucho mi documental "Désirée" pero no imagine que al punto de considerarme como de "su banda"+ More details
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