All Creative Alliance events take place at the Creative Alliance 3134 Eastern Ave, 21224
Info and tix/registration: 410-276-1651 www.creativealliance.org
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Upcoming Film-Video-Digital Workshops
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3 Thursdays: Oct 1, 8, 15
Final Cut Pro 101
Get started with Final Cut Pro! Learn system set-up, video and audio capture techniques, editing strategies, basic titling, transitions and output. Instr Instr Nick Prevas. 7-9pm. Adv reg $125, $100 mbrs. Walk-in $170, $145 mbrs.
Sat Oct 3
Shoot Like a Pro
Network cameraman Tim Keating shares survival secrets for the better, faster, cheaper, one-man-band business environment: lighting, interviews, formats, composition, best practices. Make your next shoot run smoothly. Designed to make you a better camera person from beginner to intermediate! 10am-4pm (w/ lunch break). Adv reg $105, $90 mbrs. Walk-in $140, $125 mbrs.
3 Wednesdays: Oct 14, 21, 28
Intro to After Effects
Adobe After Effects is the software of choice for pro quality motion graphics and special effects for video. Get to know the interface, tools, and applications. Craig Herron’s award winning shorts have screened at Maryland and other fests. 7-9pm Adv reg $125, $100 mbrs. Walk-in $170, $145 mbrs.
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Upcoming Networking Events
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1st Mondays: Oct 5
CAmm Cine Lounge
7pm. $8, $6 mbrs.
2nd Semi-Annual MEET & GREET
Mix and mingle with local filmmakers, actors, production companies, studios and more!
Attendance will include: Studio Unknown, The World Music & Independent Film Festival, Maryland Film Office, Be More Films, The Delaware Film Company... and more!
Meet & Greet starts at 7:00pm...
BRING PLENTY OF HEADSHOTS, BUSINESS CARDS, RESUMES AND REELS!!!
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We will also be screening the Top 3 Winners from
THE 29 DAY FILM FESTIVAL Plus! Bring your short film for critique that night! Bar will be open with specials all night long. See you there! (If you have a production company or organization and would like to have a table, contact Stacie Gentzler cammcinelounge@gmail.com)
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Mon Oct 12
CAmm Cage Happy Hour Talks
Free Natty Boh, pizza, and a demo! Plus discount coupon for your next rental! Visit the CAmm Cage & Media Lab, have a beer, munch on pizza, meet some folks, and learn something new! Sep 14: Visiting filmmakers Ben Balcom and Josh Weissbach, Oct 12: Cage sale – buy our old gear! Nov 12: HD & YouTube, Dec 14: Bolex Demo. 6-7pm. Free!
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Upcoming Deadlines
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Tue Oct 6
Call for Entries: Jan-Apr ‘09 Screenings, Workshops
Got an idea for a CAmm workshop, or one for artists? A new short, feature, or concept for an evening program? Ideas considered for our Jan-Apr ‘09 season. Visit creativealliance.org & click “Booking and Submissions” or 410-276-1651.
Fri Oct 16
2010 CAmm Fellowship Proposal Deadline
CAmm offers FREE access to our gear and facilities to one local artist or filmmaker each year! Access our editing suite, iMac lab, production gear, one free workshop, plus a screening in our theater. Fellows accepted on the basis of a specific project. Info & application guidelines: http://www.creativealliance.org/events/eventItem1935.html
Creative Alliance at The Patterson
3134 Eastern Ave 21224 | www.creativealliance.org |410-276-1651 |
Monday, September 28, 2009
Friday, September 18, 2009
Take 5 w/ Filmmaker Adam Nemett (The Instrument)
Adam Nemett is a filmmaker and fiction writer with a BA (Religion and Creative Writing) from Princeton University, and an MFA in Writing (Fiction & Screenwriting) from California College of the Arts. Adam is an Adjunct Professor of Film Studies at Maryland Institute College of Art (MICA) and works as a Senior Idea Engineer at The History Factory, adapting filmic story structure for organizational storytelling. He is also finishing his first novel, Minor Gods, an excerpt of which was published in The Apocalypse Reader (Thunder's Mouth Press). Check out The Instrument, Friday, Sep 25 at The Patterson! Click here for screening info and tickets!
1. What’s the last movie you loved and what was the last movie you hated?
Loved: Synecdoche, New York (2008), Charlie Kaufman's directorial debut. I'm not sure if "loved" is the right word here; but if you consider "existentially confused in a way that made me want to drink myself into a catatonic stupor and/or call my grandma" a positive outcome, then, yes, I loved this one.
The film features a bunch of my favorite actors (Philip Seymour Hoffman, Catherine Keener, Emily Watson, Samantha Morton, etc.). Hoffman plays a struggling theater director who receives a MacArthur Grant and launches a multi-decade semi-autobiographical theater project involving a life-sized replica of New York City (yes, life-sized). It's basically a time-warped poem about all the very big things in life -- illness, death, art, love. But in typical Kaufman-esque fashion it somehow accesses this weightiness without feeling preachy or "arty." There's dark humor and surrealism throughout, plus hefty doses of passion and pain. The relationship drama for the main character (so many women, so little idea how to handle them all) and self-referential handling of the artistic process reminds me of Fellini's 8 1/2, and there's probably a ton of other intellectual and psycho-spiritual references that went over my head. The film is such a grand achievement, likely lost on most mainstream viewers, that it almost feels beyond its medium. I'm not sure what I mean by that, exactly. But I like a film that challenges me, that stays with me, forces me to return to it. Recent Viewing Honorable Mentions: Chicago 10, Waco: The Rules of Engagement, Lars and the Real Girl...
Hated: Vicky Christina Barcelona (2008). It takes a lot for me to hate a movie, but this one did it for me. Penelope Cruz feels like she's playing Penelope Cruz. ScaJo is nice to look at, but she hasn't been good in anything since Ghost World. And it's a shame because the potential "main character" -- the city of Barcelona -- is such an amazing place in the world and even that somehow got lost in this nonsense...It kind of felt like a 17-year-old girl made this, after spending a semester in Barcelona (and even though, like, some crazy sexual stuff happened she TOTALLY had soooooo much fun there!). If this was written by a student in my screenwriting workshop I'd have written things like "Too obvious!" and "Meh..." all over the script. But instead, it was Woody Allen. Who I usually love. Either he's not trying anymore or else he's trying way too hard.
2. What’s your guilty pleasure movie or TV show?
I never really feel guilty about watching movies or TV shows, even goofy stuff. I'm self-righteous enough to believe that everything I watch is kind of awesome. There's plenty of drivel in either medium, but I'm one of those people who thinks there's a lot of fantastic stories being shown on television these days, and I think in ten years it's going to finally be socially- and artistically-acceptable to talk about TV as a serious artistic medium. I'm not a trash-TV fan -- not into The Real Housewives of Wherever -- but I like a good reality-show every now and then. Especially when it's a fictional series, but the verite style is part and parcel of the storytelling, like Reno 911! or The Office. I also DVR reruns of The Cosby Show, which some people think is silly, but Cliff Huxtable is the best TV dad in history, so I think those people who laugh at me are silly. Also, my friend met the guy who plays Elvin in an airport and ended up going to his Oscar Night Party which turned out to be a recruiting gathering for some Christian cult, and she won the Oscar pool but they wouldn't pay her unless she took the vow to join them...which is a fantastic tidbit of information to know about Elvin from The Cosby Show.
Maybe the closest thing to my guilty pleasures are Adult Swim cartoons: SeaLab 2021, Frisky Dingo, Aqua Teen Hunger Force...But they're just so funny.
3. How’d you get into filmmaking?
By accident. I've always loved movies, but I'm a fiction writer first and foremost. I was doing a lot of work with music in college -- I'm not a musician myself...I just do a lot of "work" surrounding music to overcompensate for the fact that I'm not a musician myself -- living with musicians and promoting concerts and raves and writing lyrics and such. I was also writing a lot of fiction at the time (still am) and began writing a long-ish story about a group of college students who inherit an interactive musical workshop that was created by their mentor before he died (the character is loosely based on James Hampton and his amazing work of visionary art, The Throne of the Third Heaven of the Nations' Millennium General Assembly). My story relied so heavily on music and elaborate ritual, and I kept wanting to hear and see the story instead of just reading it. I believe you can do a lot with words, but I also believe the line, "Writing about music is like dancing about architecture" (this quote is attributed to everyone from Steve Martin to Elvis Costello to Gertrude Stein to Frank Zappa...who actually said this?)
So I'm writing this piece in a fiction workshop taught by Joyce Carol Oates, and I'm young and foolish and desperately trying to impress her. So when she (jokingly?) suggested that I should make the piece into a movie, I kind of went with it. I'd never made a film before, not even a short, but I bought some books and developed the prose into a feature script, and I was surrounded by so many talented kids at Princeton, and had access to some of the school's equipment, and found a guy who owned a 3-chip DV camera, and knew lots of musicians who wanted to create the original score, and I was watching a lot of Dogme 95 low-budget movies in those days, and...all of a sudden the thing snowballed and I was actually making a movie.
A giant part of what made the project possible was the Maryland Institute College of Art. My father, Barry Nemett, has taught at MICA for several decades and he's always been a giant inspiration to me -- through his own work as an artist/teacher and his undying support for my own creative work -- and we began talking about collaborating on this film project, using MICA as a backdrop for the story and utilizing some of the undergraduate students and faculty to create the insanely complex sets for the film. His support, and the support of MICA, made the film a reality.
This was obviously a key element of producing the film on such a minuscule budget: overcoming my anxiety about asking people close to me for help, especially my parents. But this became, perhaps out of necessity, my philosophical/logistical/financial approach to the film in general: shamelessly convincing people to join the party, for free, please please please. And, in the process, if I could surround myself with enough young and talented people who were looking to gain some experience or be part of a piece like this that could showcase their skills...maybe we might actually finish this thing.
4. What’s your fave piece of gear?
My computer. It's nothing special, just a computer. It helps me write words and the internet is good for occasionally-accurate research.
Otherwise, I'm a minimalist, not really a film gear geek. It's all so expensive and a pain in the ass to move around and I'm scared I'm gonna break everything.
5. What’s the one thing you’d warn a new filmmaker NOT to do on their first film?
Don't skimp on sound, especially production audio. I shot my feature for under $10,000, and then spent almost the same amount on post-production sound, partially because it's a music/sound-based film but partially because I had to do a bunch of audio clean-up. Audiences will forgive raw, low-production-value camera work, but crappy audio is almost impossible to get away with. Getting pristine sound on set isn't always easy, but investing the time and energy and money to do the best possible job is hugely important. Our sound guy was a pro and he did a great job, but I probably made some rookie directorial decisions about shooting in non-ideal circumstances. So...don't just hand your 11-year-old neighbor a boom mic and don't assume you can fix everything in post. ADR and sound cleanup is expensive and time-consuming.
Also, don't watch Vicky Christina Barcelona.
Otherwise, my advice would be to DO everything you can. If it's your first film, you're going to make rookie mistakes and you might as well do them while taking chances making art with people you like. You've got nothing to lose but your sanity.
1. What’s the last movie you loved and what was the last movie you hated?
Loved: Synecdoche, New York (2008), Charlie Kaufman's directorial debut. I'm not sure if "loved" is the right word here; but if you consider "existentially confused in a way that made me want to drink myself into a catatonic stupor and/or call my grandma" a positive outcome, then, yes, I loved this one.
The film features a bunch of my favorite actors (Philip Seymour Hoffman, Catherine Keener, Emily Watson, Samantha Morton, etc.). Hoffman plays a struggling theater director who receives a MacArthur Grant and launches a multi-decade semi-autobiographical theater project involving a life-sized replica of New York City (yes, life-sized). It's basically a time-warped poem about all the very big things in life -- illness, death, art, love. But in typical Kaufman-esque fashion it somehow accesses this weightiness without feeling preachy or "arty." There's dark humor and surrealism throughout, plus hefty doses of passion and pain. The relationship drama for the main character (so many women, so little idea how to handle them all) and self-referential handling of the artistic process reminds me of Fellini's 8 1/2, and there's probably a ton of other intellectual and psycho-spiritual references that went over my head. The film is such a grand achievement, likely lost on most mainstream viewers, that it almost feels beyond its medium. I'm not sure what I mean by that, exactly. But I like a film that challenges me, that stays with me, forces me to return to it. Recent Viewing Honorable Mentions: Chicago 10, Waco: The Rules of Engagement, Lars and the Real Girl...
Hated: Vicky Christina Barcelona (2008). It takes a lot for me to hate a movie, but this one did it for me. Penelope Cruz feels like she's playing Penelope Cruz. ScaJo is nice to look at, but she hasn't been good in anything since Ghost World. And it's a shame because the potential "main character" -- the city of Barcelona -- is such an amazing place in the world and even that somehow got lost in this nonsense...It kind of felt like a 17-year-old girl made this, after spending a semester in Barcelona (and even though, like, some crazy sexual stuff happened she TOTALLY had soooooo much fun there!). If this was written by a student in my screenwriting workshop I'd have written things like "Too obvious!" and "Meh..." all over the script. But instead, it was Woody Allen. Who I usually love. Either he's not trying anymore or else he's trying way too hard.
2. What’s your guilty pleasure movie or TV show?
I never really feel guilty about watching movies or TV shows, even goofy stuff. I'm self-righteous enough to believe that everything I watch is kind of awesome. There's plenty of drivel in either medium, but I'm one of those people who thinks there's a lot of fantastic stories being shown on television these days, and I think in ten years it's going to finally be socially- and artistically-acceptable to talk about TV as a serious artistic medium. I'm not a trash-TV fan -- not into The Real Housewives of Wherever -- but I like a good reality-show every now and then. Especially when it's a fictional series, but the verite style is part and parcel of the storytelling, like Reno 911! or The Office. I also DVR reruns of The Cosby Show, which some people think is silly, but Cliff Huxtable is the best TV dad in history, so I think those people who laugh at me are silly. Also, my friend met the guy who plays Elvin in an airport and ended up going to his Oscar Night Party which turned out to be a recruiting gathering for some Christian cult, and she won the Oscar pool but they wouldn't pay her unless she took the vow to join them...which is a fantastic tidbit of information to know about Elvin from The Cosby Show.
Maybe the closest thing to my guilty pleasures are Adult Swim cartoons: SeaLab 2021, Frisky Dingo, Aqua Teen Hunger Force...But they're just so funny.
3. How’d you get into filmmaking?
By accident. I've always loved movies, but I'm a fiction writer first and foremost. I was doing a lot of work with music in college -- I'm not a musician myself...I just do a lot of "work" surrounding music to overcompensate for the fact that I'm not a musician myself -- living with musicians and promoting concerts and raves and writing lyrics and such. I was also writing a lot of fiction at the time (still am) and began writing a long-ish story about a group of college students who inherit an interactive musical workshop that was created by their mentor before he died (the character is loosely based on James Hampton and his amazing work of visionary art, The Throne of the Third Heaven of the Nations' Millennium General Assembly). My story relied so heavily on music and elaborate ritual, and I kept wanting to hear and see the story instead of just reading it. I believe you can do a lot with words, but I also believe the line, "Writing about music is like dancing about architecture" (this quote is attributed to everyone from Steve Martin to Elvis Costello to Gertrude Stein to Frank Zappa...who actually said this?)
So I'm writing this piece in a fiction workshop taught by Joyce Carol Oates, and I'm young and foolish and desperately trying to impress her. So when she (jokingly?) suggested that I should make the piece into a movie, I kind of went with it. I'd never made a film before, not even a short, but I bought some books and developed the prose into a feature script, and I was surrounded by so many talented kids at Princeton, and had access to some of the school's equipment, and found a guy who owned a 3-chip DV camera, and knew lots of musicians who wanted to create the original score, and I was watching a lot of Dogme 95 low-budget movies in those days, and...all of a sudden the thing snowballed and I was actually making a movie.
A giant part of what made the project possible was the Maryland Institute College of Art. My father, Barry Nemett, has taught at MICA for several decades and he's always been a giant inspiration to me -- through his own work as an artist/teacher and his undying support for my own creative work -- and we began talking about collaborating on this film project, using MICA as a backdrop for the story and utilizing some of the undergraduate students and faculty to create the insanely complex sets for the film. His support, and the support of MICA, made the film a reality.
This was obviously a key element of producing the film on such a minuscule budget: overcoming my anxiety about asking people close to me for help, especially my parents. But this became, perhaps out of necessity, my philosophical/logistical/financial approach to the film in general: shamelessly convincing people to join the party, for free, please please please. And, in the process, if I could surround myself with enough young and talented people who were looking to gain some experience or be part of a piece like this that could showcase their skills...maybe we might actually finish this thing.
4. What’s your fave piece of gear?
My computer. It's nothing special, just a computer. It helps me write words and the internet is good for occasionally-accurate research.
Otherwise, I'm a minimalist, not really a film gear geek. It's all so expensive and a pain in the ass to move around and I'm scared I'm gonna break everything.
5. What’s the one thing you’d warn a new filmmaker NOT to do on their first film?
Don't skimp on sound, especially production audio. I shot my feature for under $10,000, and then spent almost the same amount on post-production sound, partially because it's a music/sound-based film but partially because I had to do a bunch of audio clean-up. Audiences will forgive raw, low-production-value camera work, but crappy audio is almost impossible to get away with. Getting pristine sound on set isn't always easy, but investing the time and energy and money to do the best possible job is hugely important. Our sound guy was a pro and he did a great job, but I probably made some rookie directorial decisions about shooting in non-ideal circumstances. So...don't just hand your 11-year-old neighbor a boom mic and don't assume you can fix everything in post. ADR and sound cleanup is expensive and time-consuming.
Also, don't watch Vicky Christina Barcelona.
Otherwise, my advice would be to DO everything you can. If it's your first film, you're going to make rookie mistakes and you might as well do them while taking chances making art with people you like. You've got nothing to lose but your sanity.
Thursday, September 17, 2009
CAmm Fellowship! Free gear for a year!
CAmm Fellowship
Jan ‘10-Dec ‘10
The purpose of the CAmm Fellowship is to promote growth and expertise in filmmaking and time based media arts of all genres and to support the development of finished, professional film, video and media arts projects. Each year CAmm awards one Fellowship to a filmmaker or artist working in time-based media living and working in Maryland, for a specific film/video project planned for completion in that year. Fellows receive extended free use of CAmm Cage gear and the CAmm Media Lab and editing suite, for a specified time period. The Fellowship also includes a work-in-progress critique with established members of the film community (determined by the subject and format of the project) and concludes with a screening opportunity at The Patterson. Applications are evaluated on the strength of the proposed project and quality of past work. Works in progress are encouraged.
To Apply:
Submit the following materials by Fri Oct 16:
• Project description, including treatment, length of proposed work, budget and production timeline.
• List of gear and/or facilities you would like to access from CAmm. A complete list is available here www.cammcage.blogspot.com
• Reel of previous work, and/or excerpts from proposed work in progress (short films or clips from longer work, not to exceed 30 minutes total). DVD or Quicktime files are preferred.
• Written description of previous work, including title, date, media and running time.
• Resume, including contact information
• Three personal references, their relation to you and their phone number.
CAmm Fellowship Timeline:
Fri Oct 16 CAmm Fellowship Applications Due
Nov 2009 Selection Process (Strength of proposal and quality of past work evaluated by Jury)
Dec 2009 2010 CAmm Fellowship award announced
Jan-Dec 2010 2010 CAmm Fellowship (access to equipment scheduled, mid project critique, work completed and screening opportunity scheduled based on project timeline and description).
Applicants are encouraged to contact CAmm Director, Kristen Anchor with questions and to discuss your proposal. 410-276-1651, kristen@creativealliance.org
About Creative Alliance MovieMakers (CAmm):
The Creative Alliance is a dynamic artists’ organization based at The Patterson, a multi-art center in a former 1930’s movie theater in Highlandtown. Creative Alliance MovieMakers is a programming division of CA, created by artists working in film, video, and digital media with the goal of establishing Baltimore as a national center for film and new media. CAmm currently presents approximately 40 screenings and 50 professional programs annually. CAmm Cage and Media Lab offers film, video, sound and photo gear rental, a digital editing suite, DVD duplication, an iMac Lab, and a flexible classroom/screening room.
Jan ‘10-Dec ‘10
The purpose of the CAmm Fellowship is to promote growth and expertise in filmmaking and time based media arts of all genres and to support the development of finished, professional film, video and media arts projects. Each year CAmm awards one Fellowship to a filmmaker or artist working in time-based media living and working in Maryland, for a specific film/video project planned for completion in that year. Fellows receive extended free use of CAmm Cage gear and the CAmm Media Lab and editing suite, for a specified time period. The Fellowship also includes a work-in-progress critique with established members of the film community (determined by the subject and format of the project) and concludes with a screening opportunity at The Patterson. Applications are evaluated on the strength of the proposed project and quality of past work. Works in progress are encouraged.
To Apply:
Submit the following materials by Fri Oct 16:
• Project description, including treatment, length of proposed work, budget and production timeline.
• List of gear and/or facilities you would like to access from CAmm. A complete list is available here www.cammcage.blogspot.com
• Reel of previous work, and/or excerpts from proposed work in progress (short films or clips from longer work, not to exceed 30 minutes total). DVD or Quicktime files are preferred.
• Written description of previous work, including title, date, media and running time.
• Resume, including contact information
• Three personal references, their relation to you and their phone number.
CAmm Fellowship Timeline:
Fri Oct 16 CAmm Fellowship Applications Due
Nov 2009 Selection Process (Strength of proposal and quality of past work evaluated by Jury)
Dec 2009 2010 CAmm Fellowship award announced
Jan-Dec 2010 2010 CAmm Fellowship (access to equipment scheduled, mid project critique, work completed and screening opportunity scheduled based on project timeline and description).
Applicants are encouraged to contact CAmm Director, Kristen Anchor with questions and to discuss your proposal. 410-276-1651, kristen@creativealliance.org
About Creative Alliance MovieMakers (CAmm):
The Creative Alliance is a dynamic artists’ organization based at The Patterson, a multi-art center in a former 1930’s movie theater in Highlandtown. Creative Alliance MovieMakers is a programming division of CA, created by artists working in film, video, and digital media with the goal of establishing Baltimore as a national center for film and new media. CAmm currently presents approximately 40 screenings and 50 professional programs annually. CAmm Cage and Media Lab offers film, video, sound and photo gear rental, a digital editing suite, DVD duplication, an iMac Lab, and a flexible classroom/screening room.
Wednesday, September 16, 2009
Sep-Oct Workshops!!
CAmm Sep- Oct FILM*VIDEO*DIGITAL Workshops
Wed Sep 23
Intro To Mac
Take a spin on the iMacs in the CAmm Media lab and learn basic Mac functions: effective file management, external drives, burning CDs/DVDs, shortcuts and keystrokes, iLife and Pro software tour. Instr Nick Prevas. 7-8:30pm $10, $5 mbrs Adv reg req’d.
Sat Sep 26
Fantasy & Horror Makeup
Take Halloween over the top, with special effects makeup from the pros! Steve Bauer and Marianne Wittelsberger, aka the Jokesters, produced a cable show in Hollywood for 12 years while working for Paramount, Fox, MGM, Universal and Disney. Learn how to apply powder, witch noses, elf ears and more! Expect to get messy, and bring your own makeup kit and noses/ears if you want. Basic makeup supplies provided. 10am-1pm Adv reg $60, $50 mbrs. Walk-in $70, $60 mbrs. Includes $20 materials.
Tue Oct 6
Call for Entries: Jan-Apr ‘09 Screenings, Workshops
Got an idea for a CAmm workshop, or one for artists? A new short, feature, or concept for an evening program? Ideas considered for our Jan-Apr ‘09 season. Visit creativealliance.org & click “Booking and Submissions” or 410-276-1651.
3 Thursdays: Oct 1, 8, 15
Final Cut Pro 101
Get started with Final Cut Pro! Learn system set-up, video and audio capture techniques, editing strategies, basic titling, transitions and output. Instr Instr Nick Prevas. 7-9pm. Adv reg $125, $100 mbrs. Walk-in $170, $145 mbrs.
Sat Oct 3
Shoot Like a Pro
Network cameraman Tim Keating shares survival secrets for the better, faster, cheaper, one-man-band business environment: lighting, interviews, formats, composition, best practices. Make your next shoot run smoothly. Designed to make you a better camera person from beginner to intermediate! 10am-4pm (w/ lunch break). Adv reg $105, $90 mbrs. Walk-in $140, $125 mbrs.
1st Mondays: Oct 5
CAmm Cine Lounge
CAmm Cine Lounge is the hottest indie film event in town! Bring your new film or work in progress (max length 15min) and have a critical conversation with peers. Film industry guests share tips of the trade. Networking power hour finishes the night! Bring business cards, headshots, and press packets for our info exchange tables! Bar is open with specials! 7pm. $8, $6 mbrs.
Fri Oct 16
2010 CAmm Fellowship Proposal Deadline
CAmm offers FREE access to our gear and facilities to one local artist or filmmaker each year! Access our editing suite, iMac lab, production gear, one free workshop, plus a screening in our theater. Fellows accepted on the basis of a specific project. Info: 410-276-1651 or creativealliance.org.
3 Wednesdays: Oct 14, 21, 28
Intro to After Effects
Adobe After Effects is the software of choice for pro quality motion graphics and special effects for video. Get to know the interface, tools, and applications. Craig Herron’s award winning shorts have screened at Maryland and other fests. 7-9pm Adv reg $125, $100 mbrs. Walk-in $170, $145 mbrs.
Creative Alliance at The Patterson
3134 Eastern Ave
Baltimore, MD 21224
Info and registration: www.creativealliance.org or 410-276-1651
Wed Sep 23
Intro To Mac
Take a spin on the iMacs in the CAmm Media lab and learn basic Mac functions: effective file management, external drives, burning CDs/DVDs, shortcuts and keystrokes, iLife and Pro software tour. Instr Nick Prevas. 7-8:30pm $10, $5 mbrs Adv reg req’d.
Sat Sep 26
Fantasy & Horror Makeup
Take Halloween over the top, with special effects makeup from the pros! Steve Bauer and Marianne Wittelsberger, aka the Jokesters, produced a cable show in Hollywood for 12 years while working for Paramount, Fox, MGM, Universal and Disney. Learn how to apply powder, witch noses, elf ears and more! Expect to get messy, and bring your own makeup kit and noses/ears if you want. Basic makeup supplies provided. 10am-1pm Adv reg $60, $50 mbrs. Walk-in $70, $60 mbrs. Includes $20 materials.
Tue Oct 6
Call for Entries: Jan-Apr ‘09 Screenings, Workshops
Got an idea for a CAmm workshop, or one for artists? A new short, feature, or concept for an evening program? Ideas considered for our Jan-Apr ‘09 season. Visit creativealliance.org & click “Booking and Submissions” or 410-276-1651.
3 Thursdays: Oct 1, 8, 15
Final Cut Pro 101
Get started with Final Cut Pro! Learn system set-up, video and audio capture techniques, editing strategies, basic titling, transitions and output. Instr Instr Nick Prevas. 7-9pm. Adv reg $125, $100 mbrs. Walk-in $170, $145 mbrs.
Sat Oct 3
Shoot Like a Pro
Network cameraman Tim Keating shares survival secrets for the better, faster, cheaper, one-man-band business environment: lighting, interviews, formats, composition, best practices. Make your next shoot run smoothly. Designed to make you a better camera person from beginner to intermediate! 10am-4pm (w/ lunch break). Adv reg $105, $90 mbrs. Walk-in $140, $125 mbrs.
1st Mondays: Oct 5
CAmm Cine Lounge
CAmm Cine Lounge is the hottest indie film event in town! Bring your new film or work in progress (max length 15min) and have a critical conversation with peers. Film industry guests share tips of the trade. Networking power hour finishes the night! Bring business cards, headshots, and press packets for our info exchange tables! Bar is open with specials! 7pm. $8, $6 mbrs.
Fri Oct 16
2010 CAmm Fellowship Proposal Deadline
CAmm offers FREE access to our gear and facilities to one local artist or filmmaker each year! Access our editing suite, iMac lab, production gear, one free workshop, plus a screening in our theater. Fellows accepted on the basis of a specific project. Info: 410-276-1651 or creativealliance.org.
3 Wednesdays: Oct 14, 21, 28
Intro to After Effects
Adobe After Effects is the software of choice for pro quality motion graphics and special effects for video. Get to know the interface, tools, and applications. Craig Herron’s award winning shorts have screened at Maryland and other fests. 7-9pm Adv reg $125, $100 mbrs. Walk-in $170, $145 mbrs.
Creative Alliance at The Patterson
3134 Eastern Ave
Baltimore, MD 21224
Info and registration: www.creativealliance.org or 410-276-1651
Friday, September 11, 2009
Avant garde filmmakers Ben Balcom and Josh Weissbach @ The Patterson Monday 9/14!!
Avant garde filmmakers (they really shoot film!) Ben Balcom and Josh Weissbach stop by The Patterson on their US tour! Weissbach’s interiors of the liquid gap, an experimental doc, explores the lives of Cuban exiles before, during, and after crossing the liquid divide between Cuba and the US. Balcom employs optical printing and hand processing to shape his 16mm films into poetic visions, teetering on the line between reality and dream.
6pm CAmm Cage Happy Hour talk w/ Ben and Josh incl. free beer & pizza!
7pm Screening. $5, Cash bar.
Creative Alliance at The Patterson
3134 Eastern Ave
Baltimore, MD
21224
Info and tix: creativealliance.org, 410-276-1651
Check out their tour blog!!
6pm CAmm Cage Happy Hour talk w/ Ben and Josh incl. free beer & pizza!
7pm Screening. $5, Cash bar.
Creative Alliance at The Patterson
3134 Eastern Ave
Baltimore, MD
21224
Info and tix: creativealliance.org, 410-276-1651
Check out their tour blog!!
interiors of the liquid gap (exerpt 1) from heap us 'round our ruins on Vimeo.
anomie compendium (exerpt from part II) from heap us 'round our ruins on Vimeo.
Wednesday, September 2, 2009
Intern at CAmm this Fall!
We are currently taking applicants for Fall internships at CAmm! This internship offers filmmakers and moving image artists a great opportunity to build on the skills they already have, and most importantly-- networking and meeting some of Baltimore's film and video people! In addition to this, CAmm interns get special opportunities like using our gear for shoots, building DIY gear and organizing film screenings! This is an unpaid internship, but we can offer school credit. To learn more about two of our past interns, check out these interviews with Angie Young and Eric Gonzalez.
Job Description: CAmm Cage Fall Intern (Late September- December)
CAmm Cage is seeking part time (8-12 hrs/week) intern for our film and video production rental program and media lab. Responsibilities include assisting CAmm Cage Manager, some event documentation/video editing, and assisting artists/filmmakers in our iMac computer lab. Candidates must be friendly, organized, detail oriented and must have experience using both film and video equipment. Experience with non-linear editing and Mac troubleshooting also required. Creative Alliance strives to create an open and inviting environment for the community and to that end, this position requires excellent interpersonal and customer service skills. Send cover letter (include video/film skills and why you want to intern with us), resume and 3 references to jaimes@creativealliance.org (Work samples encouraged but not required.)
Applications will be accepted through Wednesday, September 16th at 5pm.
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