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Introduction to Da Vinci Resolve Lite
Guillaume Millet

Workshop

23, 24, 30 and 31 march 2019 from 10am to 6pm
Vidéographe

185$ member / 225$ non-member



Class Outline

This introductory course of the DaVinci Resolve Lite software is designed for people with little to no experience with the program. During the four day training, each participant will be provided with a computer so that they can complete the practical exercises that will allow them to better understand the theoretical content.

This course will be given in French on an English software. The latest version of the software will be used.

Below is a brief overview of the lesson plan. Thank you for reading the course outline completely before signing up.

Day 1 – 6 hours – Theory day with PowerPoint and Resolve.

The first day of training will be essentially dedicated to the general introduction of the software, the creation and fine-tuning of an editing project, and importing and preparing media for editing. In parallel, in the various chapters of the software settings, we will discuss, if necessary or at the request of the participants, more technical points regarding the basics of video and cinema (image size, rhythm, colour calibration, compression, Raw, Log, interlaced or progressive images…) in order to consolidate these very important steps in the software.

Day 2 – 6 hours – Media and editing day.

During the second day of training, we will dedicated ourselves to the editing portion of the software by discovering the interface, the different tools and possibilities, the aesthetic components, versioning and importing/exporting to other editing platforms, all punctuated by practice sessions (participants may bring their own images for exercise purposes).

Day 3 – 6 hours – Colourisation day.

The third day will be entirely dedicated to colourisation. We will address the principles of colourisation through the different methods of image selection, of work in nodes, the management of Looks, of Luts, the automation of correction work, the aesthetics and the bias of a document, as well as some fundamentals on the proper procedure to follow when colouring it.

Day 4 – 6 hours – Overview day of Fairlight and Delivery.

The last day will begin with an overview of the Fairlight section of the software. We will look at how to assign audio tracks, apply basic audio correction effects such as equalisation, reverberation, gain, compression, and the basic principles of sound editing and mixing. This part of the course will be very punctual due to the lack of time and qualification in the field by the teacher.

The Delivery page, the last section of the software, will be addressed for any work of various output of editing or associated images, with a look at the different types of outputs (Dailies, editing, Mastering…). We will also look at how to manage the different types of compression (H264, ProRes, DnxHD) as well as the management of embedded elements such as the embedded timecode or Watermarks. We will also look at the production of DCP for movie theatres.

Computers will be at participants’ disposal on demand and subject to availability.

To attend

For further information or to reserve a place, please contact Olivia Lagacé on  (514) 521-2116 (ext. 221) or at info@videographe.org

The classes can accomodate 8 persons maximum and the classes are between 10am and 6pm with a hour for lunch break.

Policies

Reservation/payment
Reservations can be made by telephone or email; please note that payment must be made in full before registration is confirmed. Payment options are:
– via internet: Paypal
– via telephone: Visa credit card. Call 514-521-2116 ext. 221
– in person: debit card, Visa credit card or cash.

Cancellations and refunds
Should you wish to cancel your place on the course, prior notice must be given. If notice is given more than two weeks before the course begins, Vidéographe will retain 15% of the total course fees to cover administration costs.
If notice is given more than two working days and less than two weeks before the course begins, Vidéographe will retain 50% of the total course fees.
If notice is given less than two working days before the course begins, no refund will be given.

Cancellation of course
Vidéographe reserves the right to cancel courses at any time and without prior notice. Registration fees will be reimbursed in full.

 

 

Guillaume Millet

Guillaume has more than 25 years’ experience in the field of postproduction as an online and offline editor and, more particularly, as a colorist and motion graphic designer. He also works as an advisor and supervises production flow.

As he is passionate about technology and always on the lookout for new products, Guillaume is often consulted for projects from conception to delivery.

Guillaume has worked in various production and post-production companies in Europe as well as in Canada in fields ranging from documentary, feature films, international co-productions, television series, commercials, animations, and filmed stage shows.

© Charlotte Clermont, Plants Are Like People, 2018

Technical Support Program

Call for submissions

Deadline : March 1st, 2022



CALL FOR SUBMISSIONS

Deadline : March 1st, 2021

* New: 4 calls for submissions per year

Program description

The Technical Support Program is intended to support artists interested in experimentation and in pushing the boundaries of the moving image in all its forms.
This support can be used in the production phase of the project or in the post-production phase.

A total of 4 calls for submissions per year will be made, for which the following are the deadlines;

  • March 1st (for projects that will start between April and June)
  • June 1st (for projects that will start between July and September)
  • September 1st (for projects that will start between October and December)
  • December 1st (for projects that will start between January and March)

Please note that 2 projects per call for submissions will be selected.

Artists selected under this program have free access to:

  • Our editing suites, sound booth and digitizing equipment for a maximum of two weeks. These two weeks can be contiguous or spread over 3 months.
  • Free access to available equipment belonging to Vidéographe.
  • Two meetings with Vidéographe’s team to discuss the project and its circulation potential: one meeting at the start of the project in order to specify the needs and a second meeting at the end of the project.
  • The possibility of organizing a private screening at Vidéographe.

It is not necessary to be a member of Vidéographe to apply; however, should your proposal be accepted, we will ask that you become a member. Once you have signed the agreement, you will have three months to take advantage of the benefits that this program has to offer. Regular membership fees are $50 + tx per year and student membership fees are $25 + tx per year.

We are looking to support independent experimental or documentary works that stand apart for their currency and endeavour to renew the artistic language. We will accept proposals for single-channel video, installation, Web-based work, and all other forms of moving image. We consider all genres—video art, experimental work, fiction, documentary or essay form, animation, dance video, and videoclip. Please note that all works must be independent and non-commercial. Projects of a conventional nature, such as classic short narrative film or television documentary will not be considered.

Once your project is finished, you may submit it for active distribution by Vidéographe. Please note however that acceptance into the Technical Support Program does not guarantee that your work will be distributed.

Required

  • Candidates must possess full editorial and creative control of the project.
  • Projects must be independent and non-commercial.
  • Projects that have received support through this program may not be re-submitted.
  • Student projects are not admissible.
  • We encourage traditionally under-represented artists to submit a project. Vidéographe is driven by the conviction that multiple points of views are necessary to enrich society and the discipline we work in.

Selection process

Works will be chosen by a selection committee made up of Vidéographe staff and members.

Projects that are retained will be subject to a contractual agreement between the artist and Vidéographe. Schedules, revised budgets, and requirements regarding equipment, rooms, and technical support will be planned and clearly laid out, as will the terms and conditions relative to each party.

Application file:

  • Contact information and website if applicable
  • Project description (500 words)
  • Schedule; (Overall project timeline and detailed timeline for support for creation).
  • Technical needs; (Please consult our website for more details on our editing suites and equipment).
  • Resume.
  • Supporting documentation (current or past projects);
  • Maximum 10 minutes of video footage. Please send a link to your video(s). Do not forget to include the password if applicable; and/or maximum 15 images (max: 1024 px wide, 72 dpi); sketches, plans, and mock-ups may also be submitted in PDF format.

Submission of your file

Applications will be accepted by email only. An acknowledgment of receipt will be sent. Please write TECHNICAL SUPPORT PROGRAM in the subject heading of your email and send your file to info@videographe.org. Please send your file as a SINGLE PDF document (including links to videos). Files found in the text section of the email will not be taken into account.

Please allow three weeks for a response. Vidéographe chooses eight projects per year.

© Traces, Chantal Partamian, 2022

IN SITU : Chantal Partamian, thisquietarmy and Guillaume Vallée
la lumière collective x Vidéographe

PROGRAMMING

January 9th, 2024 at 7:30 pm
7080, rue Alexandra, #506 Montréal, QC H2S 3J5

10,00 $ – 50,00 $



Proposed by la lumière collective, IN SITU is a series that focuses on unique audiovisual works and live sound performances by local artists passionate about cinematic material, experimental moving images and sound art. This third IN SITU season is curated by Emma Roufs.

 

Click here to get your tickets [+]

 

PROGRAM

  • L’arbre, Chantal Partamian, 2021, 2 min 28 s
  • Sandjak, Chantal Partamian, 2021, 9 min
  • Solace, Chantal Partamian, 2021, 1 min
  • grand-maman Piano, Guillaume Vallée, 2019, 5 min
  • are you haunted, daddy? (about anxiety), Guillaume Vallée, 2020, 2 mins 07 s
  • Binge, Chantal Partamian, 2016, 40 s
  • elles s’élèvent, ces forteresses éponges, Guillaume Vallée, 2022, 7 mins 12 s
  • Traces, Chantal Partamian, 2022, 8 min 45 s
  • One Day I’m Gone, Chantal Partamian, 2020, 2 min 40 s
  • Monsieur Jean-Claude, Guillaume Vallée, 2021, 7 min 51 s

 

SYNOPSIS

L’arbre, Chantal Partamian, 2021, 2 min 28 s

Super 8mm and 16mm footage and expired cartridges found and shot in Quebec reflect on words written in Beirut to create a melancholic postcard between both worlds.

 

Sandjak, Chantal Partamian, 2021, 9 min
In 1939, following an agreement signed by France, the Alexandretta Sandjak in Syria was annexed to Turkey. Thousands of Armenians, including my grandmother, flee Alexandretta for Aleppo or Beirut. In the fall of 1939, a small number moved inland to an already established « quarantine » zone near Burj Hammoud, which at the time was farmland.
The camp takes the name of their homeland, Sandjak.
Navigating three types of images, shot in three different periods, the film explores the poetics of haunting through compositions of images that attempt to create an entanglement between the past and the present. An intimate but detached voice, a little stoic even, speaking of countless losses. The repeated affirmation of belonging to a place that is no longer.
It is an exercise in the dismantlement of the Sandjak camp space.
The haunting of the present by absences.
The fragmentation of history and memory.
The experience in the margins and the historical anachronism of a people evolving in temporal landscapes.

 

Solace, Chantal Partamian, 2021, 1 min
When the Beirut explosion occurred, my first thought was that of relief that my grandmother had passed a year and some before. The best hours to sit outside among her plants and flowers were those of sunsets. How does one mourn when they are grateful for the occurrence of some deaths as salvation? How does one mourn when in separation, we spare the ones we love the end of their world?

 

grand-maman Piano, Guillaume Vallée, 2019, 5 min
This experimental autobiographical film, in which features the filmmaker’s family, questions the emotion of the faded moment through audiovisual memory. The artist reappropriates on Super8 film the last moments of Hélène Lamoureux, his recently deceased grandmother. The memory image crystallizes a chaos frozen around the inanimate body.

 

are you haunted, daddy? (about anxiety), Guillaume Vallée, 2020, 2 mins 07 s
A depiction of various anxious states of mind during isolation. Fragmented anxiety and existential thinking. Hand-processed Super8 reversal and black & white film. Based on an interesting discussion with my son about the possibility of being haunted.

 

Binge, Chantal Partamian, 2016, 40 s
Bipolar disorder is characterized by its sudden manic surge. It is now 3 a.m. A collage of found footage and stop motion.

 

elles s’élèvent, ces forteresses éponges, Guillaume Vallée, 2022, 7 mins 12 s
The cameraless animated short « they rise, these sponge fortresses » is made from a 35 mm trailer of the feature film »Water Lilies » (2007) by Céline Sciamma. Experimental filmmaker Guillaume Vallée explores and questions his sensory memory as a teenager, partially lost. This process of resuscitating buried experiences and forgotten memories is carried by the materiality of 35 mm film, the nature of the images filmed and the interventions of the filmmaker painting and scratching the film emulsion directly. In this reverse journey, the memory-images, the affects reveal their plasticity, their imperfections, their chaos, their sensuality and their significance. The soundtrack is by Stephanie Castonguay and the texts by author Gabrielle Boulianne-Tremblay.

 

Traces, Chantal Partamian, 2022, 8 min 45 s
This experimental essay is based on the discovery of a reel of pornographic film amid the rubble of Beirut during the 1980s, at the height of the Lebanese civil war. The ecstatic faces of two women having sex emerge from the debris, in contrast with the masked faces of soldiers. These men with phallic weapons glitch and fade through various visual effects. Toxic masculinity becomes white nothingness, while the actresses emerge from the dust and take on more and more colour. This found footage film, with its cyclical soundtrack, invites us to question how we look at film and at history, which is still passed on today through the intermediary of « important events » and « great men ». (SCV)

 

One Day I’m Gone, Chantal Partamian, 2020, 2 min 40 s
What started as experimentation using the « One day I’m gone » track by Kid Fourteen ended up being its official video. Super 8 of 80s porn reedited scratched bleached and queered

 

Monsieur Jean-Claude, Guillaume Vallée, 2021, 7 min 51 s
Jean-Claude Van Damme is back, and this time it’s personal. Seventy-two photograms constructed from a 35mm trailer of JCVD’s opus The Quest (1996). Re-examining conceptions of masculinity by deconstructing some of the images I watched repeatedly as a child

 

► Live sound performance by thisquietarmy (Eric Quach) – 20 to 30 mins

BIOGRAPHIES

Chantal Partamian is a filmmaker and archivist. Her films, mainly made in super 8 mm and from found footage, have been screened and awarded at numerous festivals, and are distributed by Vidéographe, Groupe Intervention Vidéo (GIV) and CFMDC. As an archivist, she is dedicated to the preservation and restoration of reels from the Mediterranean region (Katsakh: Mediterranean Archives), while conducting research into archival practices in conflict zones. Her written work is mainly published in Hors champ.

 

Thisquietarmy is the project of Montreal-based artist and musician Eric Quach. Evolving in the sphere of improvised music, he sculpts dreamlike soundscapes through his electronic experiments with electric guitar. Active for almost 20 years, he has created over 60 works published on many labels including Consouling Sounds, Midira Records, Aurora Borealis, Denovali Records, Shelter Press & P572. He’s closing on 1000 performances in 40 countries, including at festivals such as Mutek, FIMAV, Suoni Per Il Popolo, Red Bull Music Academy, Biennale Némo, Amplifest, Dunk! Festival & Le Guess Who. Key collaborators include members of Voivod, Godspeed You! Black Emperor and Amenra, as well as artists Aidan Baker, Dirk Serries and Noveller, and he also founded bands such as Hypnodrone Ensemble, Pangea De Futura, Some Became Hollow Tubes, Houses of Worship & Destroyalldreamers.

 

Experimental filmmaker, video artist and independent curator, Guillaume Vallée graduated from Concordia University with a Major in Film Animation and MFA in Studio Arts – Film Production option. He’s interested in alternative forms of moving images in analogue forms as a way of considering the direct interaction between different mediums. His work is an exploration of materiality within the creative process. In attempts of creating a more complex relationship with his subject matter, Vallée makes use of cross-medium forms that range from camera-less techniques to optical effects, glitch, video feedback, resulting in expended & hybrid pieces. He works mainly on Super8, 16mm and VHS.