W listopadzie i grudniu Dział Edukacji NCKF zorganizował cykl warsztatów online.

Warsztaty dźwiękowe "Nagranie i obróbka dźwięku we vlogu i w podcaście"

Prowadzenie: Katarzyna Szczerba.

• Jak nagrywać? Nagranie głosu w podcaście i vlogu – rodzaje urządzeń, mikrofonów i technik realizacji.
• Odrobina teorii - sposoby graficznego przedstawiania dźwięku (waveform i spektrogram).
• Jak montować głos? (wywiady dokumentalne; voice-over/off w filmach wideo, słuchowiska aktorskie i wybór oraz montaż dubli).
• Co można uratować? Naprawa i czyszczenie audio w kontekście ludzkiego głosu.
• Co zrobić, żeby brzmiało lepiej i wyraźniej? Postprodukcja: korekcja głosu (EQ), procesory dynamiki i efektów.

Katarzyna Szczerba - reżyserka dźwięku, prowadzi firmę Studio PUK. Ukończyła akustykę i filmoznawstwo na UAM w Poznaniu. Na swoim koncie ma wiele filmów fabularnych i dokumentalnych, m.in. "Wszystkie nieprzespane noce" (reż. Michał Marczak), "Komunię" (reż. Anna Zamecka), "Las 4 rano" (reż J.J.Kolski) czy “Nasza mała Polska” (reż. Matej Bobrik). Nagrodzona Cinesonika Award, Fisheye Best Use of Sound Award i "Andrei Toncu" Best Sound Design Award. Absolwentka Berlinale Talents 2017. Współtwórczyni audio serialu “Lodowa Przełęcz”, pracowała przy pierwszym polskim audio serialu dokumentalnym “Czarny romans” oraz przy dokumentalnej serii o muzyce eksperymentalnej "Antyfonie", realizowanej dla TVP Kultura. Współscenarzystka krótkometrażowego filmu “Monika W. Od 2017 roku współpracuje z NCKF przy warsztatach “Historie przyszłości”, zarówno na planie zdjęciowym jak i podczas zajęć z postprodukcji.

Warsztaty eseju filmowego "Back to the Future | reimagining the future by reshuffling the past"

Workshops on film essay with Sabine Groenewegen and Stanisław Liguziński.

In the frame of the workshop, we want to invite participants to explore open source audiovisual archives and experiment with editing, appropriating, remixing and transforming existing footage towards short science fiction video essays. In the workshop, we explore ‘the essayistic’ as a method of engagement with cinematic material. The online workshop combines history and context of essayistic filmmaking strategies with a lab setting encouraging playful hands-on filmmaking, in which the participants are supported by a filmmaker/editor Sabine Groenewegen and a video essayist Stanisław Liguziński. Together, we will use the format of a video essay as a flexible, customizable and fun-to-use frame of thinking through making, which allows for defamiliarization of the images at hand. Instead of looking at the archival material as the testament to the past, we will free the images from their historical contexts and use them to speculate about our future(s) through montage.

In his famous essay “On the concept of history” Walter Benjamin speculates about the nature of the historical development. Revolution, he says, is “the tiger’s leap into that which has gone before”. To explain how something new, innovative and potentially groundbreaking can come out from the retrospection, he brings up the example of fashion - the art that “has an eye for what is up-to-date, wherever it moves in the jungle of what was”. For what we observe around us - our cities, technologies and clothes were once fantasies of those who came before, and the only way we can access those fantasies is by projecting our own desires on the past through speculation. That process is in fact not a source of remembering but a powerful exercise in imagination which brings us “back to the future”.

If the “French revolution thought of itself as a latter day Rome (...) and cited ancient Rome exactly the way fashion cites a past costume” then we should might find it useful to take a deep look into our archives and search for the materials that will help us speculate on our future(s). We further propose to treat the archives, after Gloria Wekker, as cultural archives, which implies they are not only collections of objects that we chose to preserve but repositories of cultural patterns that govern how we think, do things, and look at the world as societies.

Sabine Groenewegen is a visual artist, filmmaker and editor. Her feature-length debut film ODYSSEY was selected for festivals including Doclisboa, New Horizons and FidMarseille and curated in art centres including the Institute of Contemporary Arts (ICA) and Bozar. Odyssey won the 2019 Doc Alliance award for Best Film and Best Feature at the Istanbul Experimental Film Festival. Sabine’s work is supported by production and distribution structures including Spectre Productions and Light Cone in Paris, Argos in Belgium, and near/by film in The Netherlands. Sabine is a lecturer at the MA Artistic Research in and through Cinema at the Amsterdam Film Academy where she teaches several seminars including The Essayistic as Method with Stanisław Liguziński.

Stanisław Liguziński is a teacher at the Netherlands Film Academy in Amsterdam, a PhD fellow at the Institute of Audiovisual Arts of the Jagiellonian University in Poland, a video essayist, festival programmer and a film critic. Being a graduate of academic programmes in media, film and critical theory but also the Master of Film programme in the Nederlandse Film Academy, he combines practical and theoretical expertise to develop credible forms of practice-based research in and through cinema. He wrote for major Polish media outlets, edited journals, curated retrospectives, screenings and XR experiences for international film festivals and cultural institutions. He is researching videographic forms of thinking. Aside from developing the FilmArcades Project (workshops, VR installation, graphic novel, dissertation), he’s currently collaborating with the Essay LAB of the National Film School in Łódź.