EchoTheaterSuitcase

LRP had the privilege of working with artist and director Krista DeNio to produce a short film about her project EchoTheaterSuitcase (formerly the CONTACT project) which brings together mixed ensembles of veterans of war and military service with non-veteran civilians in various communities/cities, to co-create audience-interactive performance installations.

This film captures what the project is about and the positive impact it has had on veterans and non-veterans involved in the project alike. As Krista herself says at the end of the film,

"rather than being passive as we often are in feeling like the war is over there [somewhere else] - the military is not part of us (if we're not participating in it directly) - that actually we DO have a responsibility, we ARE directly involved. And what IS our responsibility in the process in healing our society?"

Very powerful and important work - please have a look and share!

DeNio and her collaborators are continuing to refine the project working model, with contributions from each community/ensemble. They will continue serving multiple communities, nationally. For more information: kristadenio.com/echotheatersuitcase/

Venue and Event Production Credits:

Canal Gallery, Holyoke Massachusets

CounterPulse as part of the ARC Program

Deirdre Visser / Arts @ CIIS

Department of Theater and Dance, UC Davis

VIDEO TIP: Two-Camera Video Documentation

We encourage clients producing full evening-length shows that include one's investment into set, light and costume design and of course many many many hours of rehearsal with the cast in the performance creation, produced in any theater venue to also invest in solid multi-camera video documentation. Usually, good clear documentation of said productions can be accomplished with 2 cameras, one Wide Camera (usually located in the back, centered) that captures the full scene of the show/event and one Medium/Close Camera (usually located in the front row on the far left or right side) that captures more of the intimacy of the performance/performers and provides an angle that allows the viewer to feel close to the show. Having both angles allows this intimacy (that mimics the live experience) as well as the full scale and full coverage of one's production. Then we can make an edit of the full show utilizing both angles for ample documentation of the work.

There is always a balance between ideal camera location/s and keeping the disturbance of the cameras to a live audience at a minimum.

Things to consider when choosing camera locations: 1. staging of the show/set If symmetry of staging and large set and/or lighting design is a major component of the work, getting a solid centered wide angle shot is important. If there is a 2nd camera in the front row at an angle, the staging can really dictate which side would be best for capturing closer angle. We want to make sure nothing will be majorly upstaged from a sharper angle for the majority of the show. 2. exit signs in the venue This may seem like a minor detail, but exit signs are actually quite bright, legally cannot be turned off or covered during a show, and are really annoying to look at when constantly in the frame of your documentation. Often venues, especially when curtains are taken down for a show, have exposed exit signs. Sometimes this completely dictates the angle of the Close Camera in order to avoid the exit sign in the frame. 3. curtain wings Sometimes camera locations have to take sharper angles on either side of an audience in order not to block anyone else's view of the show. However, we have to be careful that if there are wings/curtains and performers waiting in the wings during the show, that we try and avoid the camera capturing those performers "off stage". 4. audience heads This one is really really important. Even though we do care about the experience of the live audience (especially when they are one's regular paying patrons), we also cannot compromise the documentation by placing a camera behind an audience member too low so that the heads are in the frame and blocking the camera's view of the performers. This is why we usually place the Wide camera in the back of an audience where it is high enough to stand to get a shot over heads without blocking any audience's view. Then we usually place the 2nd camera in line with the front row (usually sitting in one of the chairs alongside audience) so that the camera is just as high as another head, blending in with the audience and completely free of any audience heads in the way (and also usually at a similar level as the performers, aiding in a more intimate document).

LRP is also very familiar with adapting camera locations and documentation plans for site-specific and/or moving performances or when the artists have re-arranged the typical audience/staging relationship in a venue. We also have lots of experience in figuring out best camera locations in many specific venues in the Bay Area - like Z SpaceODC TheaterJoe Goode Performance AnnexCounterPulseFort MasonYBCA, etc. - so feel free to reach out to us if you ever have questions or ideas on this topic or are interested in getting a quote for a 2-camera shoot of your upcoming show/event!

foolsFURY on diaspora

Deborah Eliezer wrote and performed (dis)Place[d] as a reflection about the complexities of identity as a creation of foolsFURY Theater Company. Here's a snipped of her words to contextualize this video: Who has the right to tell stories? In 2008, my father was invited to give his oral history to the National Holocaust Organization. There are two hours of video of my father’s story, one he never spoke about with us kids. It took me 8 years to finally sit down and watch it, because some part of me understood that once I heard the stories, I would be responsible for asking more questions. (dis)Place[d] is my way of grappling with those questions about my own identity through an artistic conversation with my (recently deceased) father.

I grew up thinking I would never be allowed to visit the place my father’s birthplace. Aba never taught me Arabic, and we didn’t speak Hebrew together until I went to live in Israel during college. When he finally sent me a letter while I was on kibbutz in answer to some questions about his kibbutz life, he wrote it in Hebrew which my Hebrew teacher translated for me.

What is the price of forgetting? The Jewish people and the land of Iraq no longer exist, save in the hearts of the diaspora. What was once a thriving culture within a culture is now no longer. We can say that of many peoples. When you displace a people from a place, the voices vanish, too. Iraqi Jews spoke their own Arabic dialect that included Iraqi Arabic, Hebrew, Aramaic, Persian, and Turkish words. They had their own style of liturgical chanting—a beautiful, soulful style which was passed on from one generation to another.

Today, one language dies every 14 days. By the next century nearly half of the roughly 7,000 languages spoken on Earth will likely disappear. Yet many peoples continue to survive without living on the land that binds their identity. The diasporic heart is united by memory, ideas, food, stories and history, the aspirations of our ancestors. The present, while recognized or not, is moving forward only in reference to it. And the land keeps calling.

Iraq was home to the largest and oldest Jewish diaspora, dating back 2500 years. Jews were highly educated, and integrated in Iraqi society. In the early 20th century, 130,000 Jews lived in Iraq, 50% of them in Baghdad. Most left for Israel in a mass exodus forced by the Iraqi government and largely motivated by growing growing anti-semitism in WWII, and the mounting support for the creation of the state of Israel, which came into being in 1948. My father fled Baghdad in 1949, was caught on the Iran-Iraq border and lived in a concentration camp for 2 years, before finally reaching Israel. Today there are fewer than 10 Jews that now live in Iraq.

What are the politics of language and place? A Jew is a Jew is a Jew, right? The predominant perception of Jews in America is that they are from Eastern Europe however there are actually 3 major diasporas (or “dispersions”) of Jews that left ancient Israel based on their migratory tie to the land: Ashkenazis in Eastern Europe who speak a mix of Hebrew and German called Yiddish, Sephardis in Spain and North Africa who speak a mix of Hebrew and Spanish called Ladino, and Mizrahi (or Middle Eastern,) who speak Hebrew, Arabic, Farsi and many other Jewish dialects specific to each country. Iraqi Jews spoke a dialect that was written in Hebrew but spoken Arabic.

What do I claim? This play is a reflection of the complexity of identity in today’s world. It is a journey of map-finding, heart searching and claiming both the light and shadow of who I am.

It is my hope that this play will spark conversations and inspire others to share their stories. I welcome hearing about what you received from the piece and what it sparked in you.

written and performed by Deborah Eliezer

directed by Ben Yalom

camera: Rachel Marks and Jacob Marks

VIDEO TIP: deciphering video files

the difference between "high res" and "web res" files

 

We've received some confusion about the various files we send our clients and which is for what. Here is a simple breakdown of the 2 types of files we send after your shoot:

Web ready files (.mp4) These are usually sent via a Vimeo Link. Once an edit is finalized, we encourage our clients to download the web video file if one wants to upload the video to another account/online location.

High res files (.mp4) These are usually sent via WeTransfer or by mail via a returnable thumb drive. Once all editing is finalized, we prepare both the final edits and all the raw footage into high bit-rate H.264 MP4 files (that can be played on any computer) for the Client's archives (on an external hard drive dedicated for video), both for archival purposes and for possible future editing. If the Client were to edit/work with this video on their own or with another editor, these are the files that should be used. We always recommend that everyone get high res files from their videographers when investing in documentation! AND we recommend backing up your video archives in an additional location. Check out more info on that on our Blog.

LRP can support your crowdfunding!

Did you know that we also make crowdfunding campaign and other promotional videos? Crowdfunding has been a very successful means of raising money for many entrepreneurs and artists! I wanted to share with you a few recent campaign videos of some meaningful campaigns this season - check them out!

Nourish2Thrive's Window Aquaponics:

 

Author Rachael Maddox's new book "Sex After Trauma"

 

Smuin Ballet's annual shoe campaign:

The Fourth Trimester

As a baby is born, so is a new mother. Kimberly Ann Johnson's book The Fourth Trimester (published by Shambhala Publications) details how to care for the postpartum mother. The task is essential, and she will guide you through it. Loren made this short video, so take a peek if you are (or if someone you know is) crossing the threshold into motherhood or if you're just open to the wisdom of the mama.

Music: Dan Phillipson

Featuring: Wendy Taylor, Maria Slocum, Centehua Sage, Elizabeth Griswold, Kristin Hauser, Thomas Hauser

A special thanks to Circe Wallace

 

Smuin: Shoe Vitality!

Shoes are a vital part of the dancers' experience at Smuin Ballet. Not only do they provide support, but each type of shoe helps the dancer step into her character; you could say it has transformative powers. And believe it or not, a performer might wear 10 different pairs in one ballet! So each year the company raises funds for this essential part of work. If you'd like to help them put their best foot forward watch this video we directed and contribute to their campaign!

 

camera: Jenny Chu

performance footage: Rapt Productions

music by: Ben Beiny

"Ancient Children" for justice and healing

We are so excited to share this promo video we shot and edited for long time client, Embodiment Project. EP's latest work, "Ancient Children", is inspired by  Shakti Butler's film "Healing Justice" about how restorative justice can disrupt the school to prison pipeline. Artistic Director, Nicole Klaymoon, and her dancer collaborators talk about how they brought forth their own stories and also embody those of others to make this powerful piece. "Ancient Children" previews throughout the west coast in the upcoming months and premieres at ODC in June 2018.

Music: Tama Waipara - Pacifika (Cecil Beatdown)

Camera: Jenny Chu

Precarious SF

For its tenth anniversary season, Hope Mohr Dance responds to the current gentrification problem in the Bay Area with Precarious. A series, it began as a site specific work. It then re-framed and continued in a similar generative process, showing at CounterPulse with a walking tour and Mohr's signature intense and tactile thematic exploration. Check out this highlight edit!

Choreography: Hope Mohr in collaboration with performers

Sound Design: Theodore J.H. Hulsker

Lighting Design: Gabe Maxson

Video Design: David Szlasa

Costume Design: Tegan Schwab

 

Alonzo King: Blurring the "Lines" with Dance

Here's an example of how we can create an inspirational promotional film utilizing new and existing footage to motivate donors/potential donors. This was shown at Alonzo King LINES Ballet's annual Gala event and then was repurposed to live on the fundraising/donation section of their website:

LRP loves LINES!

Footage courtesy of:

Frank Thibault

Rapt Productions

Loren Robertson Productions/Jenny Chu

Andy Mogg/Dancing Images

BNP Foundation

Music by Jason Moran and Charles Lloyd; Scott Holmes

Tell Your Story with Lauren Marie Fleming

Our awesome client, Lauren Marie Fleming is a writer, educator, and the creator of Bawdy Love, a life-changing program in book form. Her book helps others articulate the stories of their own lives and the stories they want told, which frees them up to live those lives. As well as a book, Bawdy Love is an entire support program with access to a rich community of others who have more support on offer. The result? Positive and healthy living. Can't go wrong there, right?

video: Loren Robertson Productions

music: Gayle Skidmore

Dancing and Perceiving with Cunningham and Curtis

Leading UK disabled artist Claire Cunningham and international choreographer and performer Jess Curtis' "The Way You Look (At Me) Tonight" grapples with questions of how we perceive each other and the world around us. With dancing, singing, story telling, music, and video, this work is a living, philosophical and sensorial audience-engaged experience. Performed at CounterPulse. Here's an example of how we used a full show 2-camera edit to make both a quick sizzle reel and also a more in depth 5min. highlight edit for promotional and portfolio purposes:

Philosophical consultation by Alva Noe

Video by Yoann Trellu

Music by Mathias Herrmann

Texts by Claire Cunningham, Jess Curtis, and Alva Noe

No Dominion: The Ian Horvath Story

Loren had the pleasure to work with her beloved colleague Nel Shelby on a new film about the celebrated dancer, AIDS activist and arts advocate Ian Horvath. Check out this trailer she edited! To contribute to the fundraising campaign to fully produce this inspiring documentary, click here.

Cinematographers: Nel Shelby, Loren Robertson, Christopher Duggan

Faith Material Activism

FAITH MATERIAL: ACTIVISM performed at CounterPulse, is a body- and object-bed performance about the urgent importance of believing in things that cannot be proven. The work utilizes physical practices of mediumship, ontological re-animation of objects, and full expression of faith to present a number of intimate domestic scenes of queer solitude-turned-futurism. Jesse Hewit's work is clearly influenced by Haraway’s “new materialism” politics, by the queer re-imagining/survival project of Pee Wee’s Playhouse, and by the creative faith-practices of artist/priest Amara Tabor-­Smith, poet/theologian Marvin K. White, and artist/healer Sara Shelton Mann.

Concept, Choreography, Text, Scenography, Performance: Jesse Hewit

Choreography, Text, Performance: Keyon Gaskin

Choreography, Text: Abby Crain

Light: Zoe Klein

Sound: Robbie Beahrs

Cameras: Jacob Marks, Rachel Marks