 You kind of collect these things, these experiences, and then they're communicated through our bodies. So the other body that I'd like to talk to you today is about the cinematic body. So the cinematic body would be considered the body of space of the spectators and have it while they're observing a film. So today the cinematic body would be the screens, the seats, the projectors, the lights. The whole thing is the cinematic body. So I want you to think about the cinematic body the same way we actually think about the physical body. So the tactile eye, so there's an amazing book, and if you guys are interested in this at all, the tactile eye is an amazing book written by Jennifer Berger. She talks about the cinematic body language. And she says that our bodies must deal empathy with the film's body emerges partly from experience. So basically we may experience the film in a visceral way due to our past experiences. We actually feel the film in our body. So we really began to discover a lot of the similarities between the human body and the cinematic body, finding these connections to movement avenues. For the purpose of this discussion today, the cinematic body would be considered the body of space that we talked about here. And I said yes, this includes all the scenographic elements. So more about the cinematic body. So through camera and editing techniques, a video can actually take on the body of itself. So it generates movement similar to human movement. And we understand these movements because of our bodily reference and identification. So basically what this means is there's some sort of kinesthetic empathy. And what I mean by that is we understand what a person on the screen is going through because we ourselves have felt those similar things. So by this I mean when you see somebody in a film, so we see somebody running in a film. So for example, we know what that feels like because we've experienced that before. We've all been running before. Or if somebody on screen is falling in love, we might understand those same feelings within our body because maybe we've fallen in love before. Now if we see, say for example, a car chase in a film, we don't necessarily understand what a car chase feels like because maybe we actually haven't been in a car chase. But we still understand what it feels like to have adrenaline and have sudden starts and sudden stops. So that actually can take us in this sort of motion through our body that we feel on screen. Does that make sense? Yeah. Okay, cool. Just so I'm all along with everyone. And also if you guys want to stop and ask questions as we go along, please feel free. Yes, amazing. Can I say again? Can I say again if you're responding? Absolutely. You're still having a lot of responses? Yeah, absolutely. It doesn't matter what the response is, but in some way your body is reacting to that. So say for example, you've been in a wheelchair and you actually haven't run before. Your kinesthetic response is, well, I don't actually know what that means. Your kinesthetic response is going to be sort of stale in comparison to somebody that maybe is a marathon runner. So for example. So we all have different levels of it. And the most amazing thing about it is it's completely individual. So when I go see a film, say for example, I'm going to see The Avengers or something like that. Because I am a dancer and as you guys can see, I'm probably like jumping around here. I move quite a bit. When I go see a film like that, I am all over the place. Like I cannot sit still. Because the film is actually moving in because I have that response and the movement in my body. I move along with it. So but if somebody doesn't actually have maybe that body identification, they might sit there and have their own specific response to that. Does that answer your question? Cool. Amazing. Yeah, if you guys have any other questions, please feel free. I'd like this to be over a small group. So it would be cool if it's like kind of relaxed and enjoy. I don't want to bore you. Also, I don't want to bore all the people watching because we're being livestreamed right now, which is really exciting. So hello to having had a watching. That's exciting. So yeah, so that's essentially what kinesthetic empathy is when we're talking about the cinematic body. So this quote, this is what really got me excited about this. This is kind of what opened my eyes to the idea of movement in the film. So a lot of people think, oh yeah, Carla, she makes dance films or dance for the camera when it actually has nothing to do with dance, but it has a lot to do with movement actually in the screen. So this quote right here really brought that home for me. So it says, again, this is Jennifer Berger in the tactile eye. She says, when a film swivels with a sudden whip or pan and moves slowly with a long hand, we take a tracking shot or stretches itself out in the right screen to take the vast landscape. We choose, excuse me, we feel those movements in the muscles because our bodies have made similar movements. So it's not actually about doing the exact movements, but we feel, we can sense what the movements are in the screen because we've made something similar within our own body. So that to me was amazing. And I totally gived out over this for months. And so I thought, okay, how can I actually take advantage of this in an artistic way now that I know this information? So I just drove into it head first. And I call this, I call this, moving forward, the confidence of ignorance. So basically, because I didn't know anything about film at all, I just, I came from a dance background that I just said, okay, I'm going to take advantage of this. I'm going to learn as much about this actual subject that I can. So I essentially just took a camera and started filming, filming everything, filming dancers, filming non-dancers, filming people on the tubes, on the street, going to and from work, just everything, just filming everything that I could. And so we books about body language and about film theory and about collage, which I'll get into that as well. Doing lots of collaborations, so working with musicians, working with other filmmakers just of anybody that I could. I just started, do you guys know FilmSchool.com? It's an awesome website. So if anybody's ever wanted to make a film and you have no idea what you're doing, this is a great site. Actually, I also went to Lake FX last weekend with anyone else go to this amazing conference. And I said, I sat and watched a panel of professional filmmakers and they said, you don't need to go to FilmSchool, just go to FilmSchool.com. And I was like, oh, cool. I'm not going to clap here. So that was pretty exciting. So basically the confidence of ignorance. So one thing if I can give to you guys today is if you're wanting to do something like this, just go for it. Just do it. So that's everything I just said. Cool. So I'm about at this PowerPoint stuff. Okay, cool. So moving on, editing as choreography. So as a dancer, choreography is something that I said me quite a bit of. I did quite a lot of choreography. And when I started making these films, when I started getting into the editing process, I actually realized that editing in choreography was very similar. I realized this because I started just making these films. Like I said, I didn't really have a way of doing it, but I just started making them. And what I noticed was it actually came quite easy to me. So I did a little research and I found this amazing film editor, Walter Merch. Does anybody know him? Yeah, exactly. Great guy. Super great. And he said one of the key factors to being a great editor is having this innate sense of rhythm. So I was like, oh yeah, I'm a dancer. I have an innate sense of rhythm. Maybe that's why. But it's not only the innate sense of rhythm, but it's really understanding the body. So when I was observing the bodies and observing the movements and then putting that in with the editing, it sort of came really naturally to me. So I was like, this is great. I'm good at this. And then I kind of had to backtrack a little bit to learn a little bit more. But Karen Prowman around here. Yeah, so I'm not going to read this for you, but Karen Prowman, wonderful. She actually started as a dancer. So he danced her in New York and then moved out to Australia. And wrote this amazing book on, it's called Cutting Rhythm. So it's basically an understanding rhythm in film every day. And it came from a dancer. And I was like, oh, this is amazing. So she was one of my major resources throughout this research. So I'll let you guys read that. And I won't waste your time with it. But super amazing woman. So without further ado, I am going to show you this film that I made. It's called The Collectors. So it's basically a documentary style that you'll experience based on how the body carries a story within our habitual environment. So it seeks to exploit the understanding of non-vibral communication to carry the story through the out of editing. So the movement score was developed through the manipulation of the rhythmical structure surface areas, spatial relationships and time. The investigation looks deeper into the editing choices in each sequence focusing on gestural movement connections as well as the relationships between the screens, quadrants and surface areas. So I'm going to actually talk about all of those breakdowns after this. About exactly how I made it. Sound in the film was by Maxwell Citron. Super cool guy, Sanford grad, Chicago musician and sound artist. Humhumhum is his record label. If you guys have heard of him, he's a super cool dude. Any questions before we show the film? No? Okay, cool. Awesome. So I think we've got our guy back there. So this is called the cinematic body, right? As the lights will hopefully dim. Hopefully dim. Cool. Okay, cool. So I'll be back in about 15 minutes. Thanks so much. Okay, so I am going to press on and talk about some of the sort of methodologies and ideas behind this, behind what I made. So the first thing I want to talk about is something called Choreological Frameworks. Now this is something that's really specific to a lot of lab and studies. So Choreology is essentially the scholarly study of dance. So he created a language very specific to dance rather than pulling from other art forms. So I was really actually challenged by my colleagues to distill my editing choices. So I was talking a little bit before about, okay, how I was making these. I was just kind of putting these clips together. And so instead of just doing that, they said, okay, distill your choices so you can theoretically articulate what you've been doing. So I decided I was going to make a comparison between Choreological Frameworks and editing. And I essentially looked at these frameworks because Choreology and editing actually are really similar. So yes, so Choreology and editing. So I found there was an interchangeability between Choreological Ideas and Cinematic Editing techniques. So the methods that were utilized that I'll talk about were repetition, modulation of rhythmical structure, proximity, relationships, and interactions. I found the interchangeability between these two, specifically in editing the clips, the screens, the surfaces, and the quadrants, which I hope you guys were able to see throughout the film. So you could actually see the desired battle expression relationship or encounter. So thus allowing the narrative to unfold through these elements. The transitions could be displayed through the juxtaposition of the repetition and stillness using montage as an opportunity to separate the narratives. So the feeling of the film, essentially, is derived from the spectator's perception. So it's from your perception. So whatever those interactions were to you or whatever the encounters were to you. So it's essentially us watching other people. So we all have our own experience with that. So something that means to me might mean something completely different to you guys. Does that make sense? Yeah, okay, cool. Awesome, we're on the same page then. So yes, I've already said that. Okay, so I'm going to talk about some of the ways that I actually put this together. So first is location. I get really excited about this. So if I start jumping around, I'm sorry. Okay, so location. So I place these into location categories. So I did all this documentary film. I did all the filming. And I did two sort of different ways of doing this. I did all the mystery scenes, which you guys saw. And then I also did the inquiry in a studio where I focused on gestures. There's a lot of hands. There's a lot of feet. And so when I had all that footage, I put it into location categories. This was a way for me to actually start distilling the information that I had. So when I went back to start editing, I could actually put it from the categories. So two location categories. The first was locations and space and time. So this would be if you see some, the clips walking away, walking towards, or environmentally. So either in like a town square, or on a train, or maybe time ribs away, so morning or evening. And then the other location category would be locations on the body. So this would be torso, chest, feet, hands, things like this. And by using these I was able to bring unrelated clips together. So location categories. I'm going to kind of skip through a lot of this because I don't want to talk too much. Okay, so here's an example. Space and time. So these I took specifically from the film. So locations in space and time would be walking, and locations on the body, which would be gestures and hands. So repetition. So one of the things that I talked about before was how we can see and we see a movement in the body that's floating at the thumbnail. So I found this to be the best way to do this is to repetition. So you guys probably saw lots of different clips in the film repeated. I found repetition from a chronological standpoint. It allows us to view and review moments with the repetitive nature, but it also leaves some sort of like residue or lasting memory. But most importantly, when we notice the subtle change in the repetition, that's when it actually draws our attention to that moment or body part. So this actually would demystify the technique and reveal what the creator is trying to express. So if I was going to do this, so for example, I was going to do this in a dance. I might go, I'll just do this. I might go like this. One, two, three, four, and then five. Okay. Just an example. Using repetition. So what I was trying to do was bring attention. Actually, maybe you guys know. Maybe anybody can say what they thought I was trying to bring attention to. Any guesses? Yes. I was going to stare at the thing that's in the center. But once I noticed that it was repeating, I saw the center. So I was like looking at everything that's not kind of the thing that was catching my attention. Cool. That's interesting. Yeah. Okay. That's super interesting, actually. That's cool. It's a little bit of both, but so say for example, in like a movement standpoint, if I was looking, say for example, at my foot, then I would be trying to bring attention to my foot. This is just a generic example. So I was trying to bring attention to my foot. And by doing that, I was taking my gaze and I was looking at my foot and I was repeating it. Now I did this say four or five times, and then I changed that repetition to instead of look at the outside of my foot, I look at the inside of my foot, which sort of then reveals what I was trying to show. And then if we talk back about location, which I brought up before, location, my gaze is looking at my foot, so that would give you the idea of the body location. Now if I was going to do this in a cinematic standpoint, in editing, I would say the camera would be the gaze. So the camera angle, the camera focus would be my, would be my face looking at my foot, and then the repetition would be my foot, the location would be my foot. Does that make sense? Yeah? Okay, cool. Awesome. So this is part of repetition. So obviously it is used quite a bit throughout. Now the second one is modulation of repetition. Oh sorry, I'm so bad at this. Modulation of repetition, which is super exciting to me. I'm just going to put this all up now for you guys. So modulation of repetition, this comes into, this comes into, start talking about rhythmical frameworks. So many of the frameworks manipulate, we're brought to the forefront by the implementation of multiple screens, as you guys hopefully saw here. So the method allowed the display of repetition and foreshadowing for specific moments. The clips took on a rhythmical sequencing of their own, bringing about movement between the videos themselves as well as in the duo of screens. So if repetition occurs for enough times, it draws attention to the specific point in the body or in the screen. Or also it can take you away from that and you can look at other things as this level really down here is pointed out. So if you think about repetition as well as you're looking at an object in that if you kind of get exhausted on it, I'm sure you guys felt that, that was the point, that was the goal. You get exhausted beyond into your sort of feeling redundant. And then just before you can really actually settle into a specific rhythm, it changes. So one example of this in here, which was probably one of my favorite parts of it, I call this scene Band of Brothers. And so I was just set up filming on the side of the street and these guys just happened to walk by and I caught them. And so the guy in the front would be close to the camera. He had this really rhythmical walk, yeah? So he kind of like had his hands in his pockets and he slumped into his left foot and then did like a little kick out of his right foot. So he kept this going. So when I went back and looked at the footage, I found this natural rhythm within the footage. So say for example, I'll call the natural rhythm. He walked like one, two, three, four. Okay, so he walked this way. So when I looked at modulating repetition throughout this, throughout my study or whatever, I looked at three different things. I looked at first to finding the natural rhythm within the clip. So that was the first thing I looked at. So when I looked through this whole clip, so say for example, this is one long film strip, then you could cut out the part in the middle, which would be his walk, which would be that four count that I just said. So his walk was one, two, three, four. Okay, so that was his walk. So that was the first thing I did. Then I looked at repetition, which I was just talking about. So not only do you have the four count that he talked about, or that I just talked about, because we have the four count, but now we have the four count repeated, repeated, repeated. These are things like just, you guys are saying all the time in the internet now, the little tiny four counts just repeated over and over again. I looked at quite a bit of that in the study as well. So that's just being repeated over and over again. Now we could go over this infinitely. So we have two rhythms going on now, the rhythm within the clip and the rhythm that's being repeated. So I thought, okay, cool. This is awesome. I'm really excited about this. But how can I create another rhythm? So I thought, okay, let's add another screen and then interplay between the two different screens. So there's a rhythmic interchange between the two. So I'm modulating the repetition between screen A, for example, and screen B. So now we have repetition one of the guy walking four that's being repeated, and then we have one, one, two, two, three, three, four. And I was like, oh wow, this is actually like a dance. So I was creating a movement between the two screens just like I would create a dance. And I started getting into this room with this. I was like, this is really fun, this is really cool. So not only did the clips have one rhythm within it, but it had a rhythm of repeating and then it had the modulation of that repetition. So that really excited me. So then I went on and started looking at relationships. So relationships within the clips. So this method suggests a relationship between unrelated shots. The technique allows a spectator to be psychologically guided by the visual metaphors. So relationship categories. Breaking this down a little bit more for you guys. So first thing I did was by observing the relationships within the clip, which would represent a relationship between people or bodies in space. So that could be, if we're talking back about band of brothers, that would be the guys within the clip. So it could be that or it could be my relationship to you all here in this space or my relationship to an object in space. Something like that. So that could be the first way of looking at a relationship. The second way to look at a relationship could be through the observation of a specific clip determining its relationship to another clip. So this kind of goes back to when I was talking about location. So how can you put two unrelated clips next to each other that don't necessarily go together? They're not in the same place or not in the same time, but by putting them together next to each other you kind of create this third narrative that then builds without actually saying anything or doing anything, but the clips next to each other build on that. In film theory they call this montage, but I'm comparing it to dance today so I'm going to talk about relationships. And then the last way is perspective on relationships is examined by how the clip's positioning and the specific screen can impact the relationship in the surface of formations. So as you saw, sometimes it was the whole... I call this surface. So it could be the whole surface, unless he's talking about the cinematic body, or it could be one singular clip, or it could be two clips, or it could be three clips. Now if I had one clip to the far right and one clip to the far left, it would create maybe some sort of distance in the relationship. Or if I had them right next to each other, it would create a closer relationship. Now I will say when I first did this and when I first made this, it was actually on three separate screens. So today I put it up on one surface for you because I didn't have access to three separate screens, but it was also sort of in a circular format so it kind of felt a little bit more curved and rounded. So it's a little bit different here today but still sort of the same idea. So those are relationships. So in this first clip, which I think is really amazing, it attends all three of those relationship categories. So the first one, by the way, this was just randomly filming in the middle of the square. So this was an actual event, not staged, nothing like that. So I'll try and explain this. So the first sequence in the collectors attends all three of these editing techniques. So the first is observing the relationship between the bodies within the clay. And the relationship is emphasized between the little boy and the street performer. And additionally emphasized when the boy, the little boy came in with a sort of like started reverberation. So you kind of came and I started down so you could really actually see this. He came in with this like curious excitement. And then as soon as he touched the street performer, he kind of reverberated back because he realized the street performer was actually a real person. So we had this sort of curiosity, which I thought was really interesting. So that would be the first relationship between the actual, between two people and the actual relationship. Now the second one would be the relationship between clips. So this would be when this clip moved on, you saw the sort of like the shadow effect where the second clip was overlaid over this one and it was at the man's hand that he was sort of swinging it back and forth. And it gave the impression of sort of like wiping this other clip away. And the reason that I actually placed these two clips together was if I go back to location, I was talking about location on the body. So in this first clip, you can see the little boy touching the street performer with his hand. And then I did the overlaid with the old man's hand and he just sort of started wiping it away. So when I went and talked about hands in location, that's how I put these two sort of juxtaposing clips together. And then the last one, talking about screens or positioning of screens, was that I decided to make it a full screen rather than a partial screen because I wanted to speed the center of attention. So that is relationships. Cool, this is very exciting. Okay, so proximity. I'll try to get through this quickly so I'm not boring you guys. But any questions so far? No? Cool? Okay, cool. So proximity. So proximity as articulated in dancing or performing live. So proximal behavior, articulated in the psychology and sociology of interpersonal sense shows how spatial orientation of people to each other carries meaning and culture. So we know this. If you're standing next to somebody, maybe too close to somebody, you feel sort of inverted, an example of that. The proximity of individuals can reveal something about the relationship. So if I'm standing quite close to somebody, that probably means I know them and sense with them. If I'm standing far away from them, I probably don't know them very well. My proximity to you says, I'm speaking right now and you guys are listening. So there's another example. So in the actual performative setting, when I did this, the proximity of the camera plays a big role in this. So I was over the looking over the person. So it kind of appears that I might be in some sort of position of authority as an adult or something like this. If I was down underneath, it might say that I'm a child looking up to the person simply like that. So that's a little bit about proximity. So basically what the director chooses not to show also in the frame can draw the spectator into the moment. So for example, by expanding the proximal distance between the spectator and the frame in a long shot, the spectator is intellectually and physically drawn in with inquiring curiosity. So I sort of did that here by not showing you what Lily was writing. So you can kind of see it. You can kind of see what she's writing, but then the frame changes quickly to profile so you can't really see it. And then so to the front. So you see that she's still writing, but unfortunately you can't see. So it sort of draws you in with inquiry. You're curious about what she's writing, but you don't really know. So proximal geometry. So space speaks. We know this in dance and theater, but so the distance between one another can say something about the type of relationship. So therefore the distance between the clips in relation to each other. So this, for the purpose of this research, I called it proximal geometry. So the term, yeah, it's basically a term I just made up. So most traditional films utilize one screen. However, this investigation uses several screens in conjunction to one another. The narrative can be manipulated purely on editing the screens within the screen surfaces. And the proximal geometry can discern in the way that the cinematic experience is felt and seen. So the collectors place high importance on this. Yes. So juxtaposing is a big thing. So basically seeing one screen means seeing what and how can a third narrative be born out of that. So this is another example of that with the man sitting next to the woman here, that they were actually from two completely different shots in two different locations, but the location of the body was similar to the torso up. So I decided to place him together here. It creates a relationship. And there's something really magical about this woman is looking that sometimes I feel like she's actually looking at this man, even though they weren't related. But by placing them next to each other they made a connection through it. So, okay, the last one that I'll talk about is quadrant geometry. Yes. Yeah, absolutely. Yeah, absolutely. Yeah, so that's a great question. So basically when I was talking about locations, I said instead of sort of like arbitrarily putting pictures together or putting film clips together, I said, okay, I'm going to separate these into location categories. And I'm going to use a location either in space. So whether it's the space that they're in. So for example, this man is on the train and this woman is out in the Republic Square. I'm either going to use that or I'm going to use a place in the body. And so for this specific clip I use place in the body. I'm going to start looking at torso. Just torso. So for the other ones I was looking at hands. But for this one I was just looking at torso. And then when I came across both of these clips I found something really magical that it did actually feel like they were looking at each other even though they obviously weren't because they're in two different places. But I found that there was a connection so based on your personal experience maybe you make that inference that they might somehow be connected in some way. So that's the basic idea behind that. Yes. What's that I'm sorry? Really good, go ahead. Do you need some time? Oh, why in general? Because I was making this film and the whole idea started with looking at body language. So I thought what better way to look at body language than to look at people in space. Just people going about their everyday life. To make art. Yeah, anybody that wants to see it anybody that wants to listen to me here today talk about it. What would you say if I'm making art something that I'm questioning like what is art? Is it your perception of life? That's such a big question what is art? I've been feeling confused all day because I feel like that question needs to be answered. I think that's only a question that you can answer. So this is something I'm so passionate about and I'm so excited about. It's kind of nerdy because I'm talking about quadrant geometry but when you think about it it's just so exciting to me that when you actually can see a movement in a film a film can actually move you physically. But that might be something really different for you. So say for example what is it that you are interested in? Yeah. Yeah. I'm interested in making the motive of how did this I just want to know how your mind connected put these two images together. Yeah, well that's what I'm interested in. So my mind put these images together based on their location of the body when I took the film or when I videoed it. I think I'm just trying to be, that is a big one. Yeah. That's what I want. So I'm just observing your imagery that you're working on in the film and your background in LaVon. It's clear, I have a good background with LaVon as well. I can make a very strong lead to this with what she's looking at because LaVon is looking at movement through space and geometry within space and often points in the space. So like one of the things is the nine points so if you think of your body existing in a box around you and the connection to the box. Yeah, exactly. Like a sphere. Like you're the center of it and then think about the sphere around you. So I can definitely see these connections of the thoughts of a spatial relationship and movement to the body to the visual and then incorporating that your response to that as a part of it as well which is picking instead of responding. It's that whole idea of like I always when I talk about it I explain to people it's like when someone's speaking to you and they go like this and then you instinctually just go even though you may not have any of your face they were just doing it. That's a kinesthetic response you're responding to me so you're playing with that a lot. Yeah so when you saw the for me I always picked my nails. That was actually not anything in the film. But when you watch that what feeling does that bring you? It is disturbing right? Like even I watch it and I'm like that's disgusting. But that's the kinesthetic response you have to that. Some people might feel it's fine but that's the response that your body is having to that and it's an actual physical feeling. So that's the basic principle behind it. And thank you so much for saying that. Wonderful. And this is what I was trying to explain to my dad and it took a long time to get there so I know it's going to take a long time to get there but the basic principles are this. So I'll talk about one more thing here and then I'll close here. So I'm going to talk about Quadrant Geometry. So Quadrant Geometry. So out of the techniques you can be broken down even further looking at the geometry within the shot. So if you think about this screen think about this screen and draw a big X down the center. So draw a big X down the center and then across it. So this whole screen has when four quadrants. So we can look at top, we can look at bottom or we can just cut it and tap and then bottom. Or side to side. However you want to do it it's totally up to you. And so based on that you see the story in the specific quadrants. Really interesting. Now if you go see any sort of big motion picture they do this exact same thing. If you go see oh my goodness, what's Grand Budapest Hotel who's Wes Anderson does this all the time. This is like one of his big things and he's amazing. But the thing about that is they have this choreographed that's choreographed that out. And so I said okay how can I do this with documentary footage? I don't have any control over the factors here. I have no control. But how can I break this down? I've found some really interesting things. So Quadrant Geometry. So we're going to go back to that very first shot. So when we look at the top shot here. What do you see? You see the location. So you see the location. You can see the buildings. You can see the people. You can see the sun lights. You know what time of day it is. But then you don't know what else is going on. There's really no context in this at all. No context. But then when you add the bottom half, you all of a sudden get the context. Right? So then that's when you get the little boy and the touch. So without the bottom half of the screen, you have no context. Without the top half of the screen, you actually have no location. So you need both here. The composition of Bounce and Full of the Corpse as well as the spectator in because of the balance between the clip. So that to me was just exciting. So next time you actually watch a film, look out for this because it's very exciting. You can see, and it's not just with the top and bottom but you can be right and left. It can be up and corner and I will go down. So that's actually where the director is drawing your eye to. That's where you're drawing your eye. That's the exciting thing. And now when you're doing this in a choreographed way, it's even more exciting because you can really play with it. So yeah, that's pretty much is taking this into ensemble work. So basically how I'm going to continue doing this because this is what I'm passionate about as I said to you guys. And I'm going to start doing this with an ensemble. So working with dancers or other people to actually put this into more of a theatrical setting. So I actually did this once before in a film called Beyond the Frames where I had dancers set up and I was a choreographed dancer in three different video games. So essentially when I played it, it looked like they were walking through walls. But that's another story for another bit. So that's basically it. The one last thing that I did want to say is something about technology, essentially. It's just such a pleasure to work with film. So if you guys are interested in working with film it's a place to dance with theater and other like dramatic art. It has the ability to instantaneously displace an image. You have the ability to flip, rotate, repeat speed up, slow down, manipulate almost every aspect of it. So it's just really, really exciting. In addition to that I just think it's also really exciting to think that theater and dance has been around and most of the art forms have been around for so long but film and video is actually one of the youngest art forms and so if you're interested in any way it's such an exciting thing to explore because there's so many new avenues, so many different things that you can do with it now. And especially with the technology there's so many different things like you really have to keep up on it but once you do it it's exciting. So I guess any advice that I have to you guys if you're interested in doing anything with film is just go for it, give it a try. See if it's for you. So that's basically it. My references for your reasons. There's that. Do you guys have any other questions? Yes. Yeah. It is actually it is online somewhere. There. It's actually if you go to my website www.chinko.com it's a film called Beyond the Frames and it's basically I filmed it in the same place that it was shown so it appears that the dancers are actually in the space on the walls even though they're just being projected there. Kind of like more of a gallery setting. It's pretty cool. Any other questions? Yes? You have this guy? Not really. But I will say there's so much information out there it wasn't just no film just go to www.chinko.com it's amazing. There's just so much information out there it's almost overwhelming. I did a lot of YouTube tutorials and it's basically you just kind of like throw yourself in. I would say I was pretty overwhelmed when I first started because I was like when you look at like I was starting which is on Creative Cloud so if you guys have Creative Cloud Premiere is really great but when you first start looking at it it's really overwhelming and you're like I actually don't know how I'm going to do this but then when you start playing with it it's actually really really easy. You ask a few questions, there's tutorials and then you just kind of go. I would just say play with it, have fun with it make some funny videos. Like I made a whole film like this to Beyonce's EXO and it was really funny, I thought it was hilarious but Yes Question, where can I see some of like, do you have any more videos? Yeah, so this one because I'm actually I actually just showed it last weekend it was like the Chicago Premiere at this show called Dance Show too so this actually isn't up yet but you can see my other one be on the frames or my other dance choreography on my website www.chinko.com And I was going to ask what advice would you give someone to a young person Yeah, I don't know I love filming, I've seen movies a lot of movies and there's something that intrigues me about film that you want to learn more about and I want to learn how to make it and I'm just trying to figure out where do I want to get to from that So what would be the advice for that? Are you on school right now? Everyone's here at J. You're about to go to my school You're going to go to J. You're going to go to J. Well that's amazing, that's so exciting So I would say my best advice is when you're there, take advantage of all the resources they have because they're going to have a film department where you can probably go run to camera and run to projector and probably a ton of people there that you can go and talk to that will give you all the advice that you need but take advantage of that and ask lots of questions Lots of questions, yes So I'm someone who's really computer-directing Okay, cool Do you explore how we can use some of these concepts? You know what, that's actually what I'm doing So this is super awesome They're doing a live stream right now of this talk So hey, right? But how cool, I'll have to explore this How cool would it be? So for example, we're talking about quadrant geometry So we've got two screens up there that are pre-recorded with people walking in space and then the third one is actually a live stream of people walking in space right outside Pretty cool, right? So I'm actually playing with some of those ideas right now Yeah, that makes me very curious It's exciting Cool Okay, thank you guys so much Small but strong audience, I really appreciate your time Thank you so much