What would you do with an extra day in the week? – Brian Storm
EVERYDAY from Gustav Johansson on Vimeo.
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Worth Watching #113: Everyday
UnionDocs Collaborative Studio Calls for Applicants
The UnionDocs Collaborative Studio (CoLAB) is now accepting applications for a 10-month program for a select group of media artists from the U.S. and abroad. Based in Williamsburg, Brooklyn, CoLAB offers a platform for exploring contemporary approaches to the documentary arts and a process for developing an innovative collaborative project.
Program Description
The program consists of weekly production meetings, seminars, screenings and other public programs, along with regular masterclasses and critiques with visiting artists. Key benefits include:
- Dynamic interaction among a network of talented peers
- Direct exchange with visiting artists and industry experts
- A structured environment for research and experimentation
- Mentoring on the production of original work and regular group critique
- Exhibition opportunities for the year’s collaborative project
Learn more at UnionDocs.
Deadline
June 15. Apply online.
About CoLAB
CoLAB is a new and alternative fellowship model, offering residency and visa support for six participants coming from abroad and an equal number of spots for local, non-resident participants. It is designed to be affordable and, although participants are asked to make the CoLAB their primary creative focus, the schedule does accommodate full-time or freelance work. Rather than applying with a project proposal or rough cut, all participants are selected on the basis of previous work and enter the program at square one, open to discovery and fresh connections.
The CoLAB has presented original work at premiere venues such as MoMA’s Documentary Fortnight, TEDxBrooklyn, BAMcinemafest, the Harvard Film Archive, the Visible Evidence Conference, Camden International Film Festival, Hot Docs, and Direktorenhaus, Berlin, among other venues. Learn more at UnionDocs.
Posted in Industry News, Jobs, Multimedia Jobs
Tagged documentary, fellowship, media artist jobs, UnionDocs
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MediaStorm Guide to Organizing Assets with Color Labels
This article is part of a new series of posts with tips and tricks from our producers’ experience working with Adobe Production Pro after years of working in Final Cut Pro. To read more about why we made the switch, check out this post.
Today’s post was written by MediaStorm producer Tim McLaughlin.
At MediaStorm, we use tracks to organize by asset type on the timeline. It gives our timeline a level of organization and visual clarity that allows us to find specific items quickly. Additionally, because we often work on each others timelines, it gives us an immediate sense of familiarity with one another’s projects.
One of my favorite options in Adobe Premiere Pro is the ability to color code assets directly on the timeline, making the visual organization of the timeline all the more obvious. Below you’ll see a timeline color coded by asset. This post will teach you how to replicate this color coding, and how to get Premiere Pro to automatically color assets correctly on import.
First, let’s take a look at the options we have in Premiere Pro’s options panel.
Go to Premiere Pro > Label Colors.
By default, this is what you’ll see:
Both the colors and the names of the colors are editable. Click on either cell, and you can change the name associated with a color, or you can change the color itself.
We tend to leave the colors as default, but we do change the names of those colors to match the assets we use on a timeline. The asset we associate with each color is listed in the photo below.
While in Preferences, let’s take a look at the Label Defaults pane. Label Defaults allows you to choose what colors Premiere Pro associates with specific asset types on import.
Below are the settings we use. We leave Bin and Sequence as default. Video, Audio, Movie, Still and Adobe Dynamic Link are all changed to reflect the colors set above.
It’s important to note that this will only change the Label Colors of those assets imported after you’ve changed them in Preferences. Anything you’ve already imported will remain the same.
To change the Label Colors of these assets, you can do so by right-clicking on the asset in the timeline, going to Label, and choosing the appropriate label for the asset. You can also follow the same steps for those assets in the Project pane.
To learn more about how our producers are using Adobe Premiere Pro see our other blog posts on the topic. Also, follow our producers’ twitter feed @PrProShortcuts for Premiere shortcuts.
To learn more about our production style, you can purchase a copy of our Post-production Workflow. Readers who purchase our current Final Cut Pro and Aperture workflow automatically receive the Premiere workflow when it is released.
MediaStorm offers several online and in-person training opportunities at mediastorm.com/train.
Have you made a recent switch in your editing software? Let us know about it in the comments below.
MediaStorm Presents the 2013 ICP Infinity Awardees
MediaStorm is pleased to present eight new films produced in collaboration with the International Center of Photography with support from the Harbers Family Foundation.
Since 1985 ICP’s Infinity Awards have brought attention to outstanding achievements in photography. The 2013 Infinity Awards films serve as a portrait of some of the important contributors to photography today.
Special Presentation: Jeff Bridges
Jeff Bridges is an Academy Award-winning actor. He is also an accomplished photographer. He’s been taking pictures on the set of his movies for more than 30 years, capturing intimate and surprising behind-the-scenes moments.
Young Photographer: Kitra Cahana
Blurring the line between subjects and friends, Kitra Cahana captures a rare level of intimacy with her subjects. As a documentary photographer, her images explore anthropological, social and spiritual themes through a human perspective.
Applied/Fashion/Advertising: Erik Madigan Heck
As a photographer, Erik Madigan Heck does not differentiate between art and fashion in his work. Adhering to no rules, embracing his fears and seeing endless possibilities, Heck creates images people remember.
Art: Mishka Henner
Looking, and trusting in that act alone, Mishka Henner explores photography as an appropriation artist. Through new and alternative technology, Henner inspects art from the past while innovating in the present.
Cornell Capa Lifetime Achievement: David Goldblatt
David Goldblatt spent his life documenting apartheid in South Africa. While many photographers chased mass demonstrations and violent rebellions, Goldblatt focused on the cultural values that led to more than 40 years of repression.
Photojournalism: David Guttenfelder
Surreal and mysterious, North Korea was a black hole to outsiders wanting a glimpse of the country. That all changed in 2012, when AP photographer David Guttenfelder led the opening of the bureau’s newest office inside the hermit kingdom.
Publication: Cristina de Middel
The idea of an African space program may sound funny to some, but not to Cristina de Middel. Through a mix of fact and fiction, de Middel forces viewers to reinterpret a 1960s space program in Zambia in her photobook, The Afronauts.
ICP Trustees: Pat Schoenfeld
Pat Schoenfeld, 2013 ICP Trustees Award recipient and last remaining member of ICP’s original staff, shares stories from ICP’s earliest days and reflects on her continued involvement—though in a different capacity—nearly 40 years later.
Posted in Industry Events, Industry News, MediaStorm Announcements, MediaStorm Commissioned Work, MediaStorm Projects
Tagged Cristina de Middel, David Goldblatt, David Guttenfelder, Erik Madigan Heck, Harbers Family Foundation, ICP, international center of photography, Jeff Bridges, Kitra Cahana, Mishka Henner, Pat Schoenfeld
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Discovering Daylight in a Sea of Change
Michael Itkoff is cofounder and editor of Daylight, a non-profit organization dedicated to publishing art and photography books. He is also the 2006 winner of the Howard Chapnick Grant.
Michael and his partner Taj Forer founded an organization dedicated to a print product in 2003, when the industry was already moving to digital. In this interview, he discusses the growth and adaptation of Daylight in the evolving digital landscape and how winning the Howard Chapnick Grant helped him reach his goals.
Interview with Michael Itkoff
What led you to create Daylight back in 2003?
Taj Forer and I founded Daylight in part because we felt that our specific area of interest—photo-based work existing somewhere between the documentary mode and that of fine art—was not being properly addressed by the industry.
We set up Daylight as a platform for more subjective, personally experienced truths that were realized through photography.
You founded an organization dedicated to publishing art and photography books in 2003, when the industry was already moving to digital. How has Daylight worked within the massive shift in art and photography publishing over the last decade?
Although only 10 years ago 2003 is ancient history in the context of the print/digital shift. In those days it was not yet obvious that a sea change was on the horizon. In fact, it took us over a year after publishing our first edition to develop a proper online presence as we were so committed to the physical object.
Since that time we have anticipated and embraced the continued shift toward digital formats with our multimedia program and newly launched iPad publishing program.
As part of Daylight’s continued shift toward digital formats, they have recently launched an iPad publishing program.
Tell us more about your multimedia program. Is it integrated with your books program?
The multimedia program highlights the work of an individual artist and presents a portfolio-based slideshow of work along with the artists narration and a curated musical selection. We feature artists from the Daylight Photo Awards as well as from our books program in addition to artists from outside the fold.
We have been producing multimedia as a separate initiative since 2007. To date we have over 50 features available for free.
Now that you are producing both digital and physical products, do you find your audience shifting in one direction or the other?
It is too early to tell. I believe our core audience shares our commitment to print as well as our interest in experiencing work within the digital space.
“Jeff Jacobson: The Last Roll” is Daylight’s most recent multimedia project. They now have more than 50 features available for free.
You were awarded the Howard Chapnick Grant in 2006. How did you use the grant and what has it meant for you personally?
The grant proceeds went straight into publication of Issue #5 of Daylight Magazine. Our goal at that time was to remain in print and the Chapnick grant certainly helped offset the cost of our fifth edition!
It was also a benchmark for Daylight as it signaled public acceptance and industry recognition. I am still proud to have received the award.
Itkoff used the Howard Chapnick Grant to fund the fifth edition of Daylight Magazine.
Daylight runs an award program of its own. When did you start running it? And who does it seek to award?
We launched the Daylight Photo Awards in 2010 along with the Center for Documentary Studies, but have since proceeded to offer the awards on our own.
The DPA offers $1,000, a solo show and a multimedia feature to an artist with a developed body of work in order to showcase it and aid in its development.
About the Howard Chapnick Grant
In 1996 the W. Eugene Smith Memorial Fund announced a new award, the Howard Chapnick Grant, to encourage and support leadership in fields ancillary to photojournalism, such as editing research, education and management.
The Grant was established to honor the memory of Howard Chapnick, and acknowledge the value of his enormous contribution to photography.
The annual $5,000 grant may be used to finance any of a range of qualified undertakings, which might include a program of further education, research, a special long-term sabbatical project, or an internship to work with a noteworthy group or individual.
According to the Fund’s Board of Trustees, special consideration will be given to projects that promote social change and/or serve significant concerns of photojournalism. The grant is not intended to be used for the production of photographs, which will continue to be funded by the main grant of the Smith Fund.
Applications are due May 31, 2013. Learn more and apply at http://smithfund.org/howard-chapnick-grant.
Posted in Interviews, Storytelling
Tagged Daylight, Howard Chapnick Grant, Michael Itkoff, Taj Forer, W. Eugene Smith Fund
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