NOTES FROM FILMMAKER ROBERTO MIGHTY, continued

LIGHTING
Lighting is the single most important element in film. I like to have total control over all lighting elements. I also use an array of special filters, lenses, etc. on my digital camera. The gallery has lots of windows and skylights. This presented the issue of dealing with mixing color temperatures (pure sunlight, clouded sunlight from the windows; different types of tungsten bulbs in the gallery, and my own lighting instruments).

As it turns out, the mixed light worked in my favor. With Craig’s assistance, I was able to filter, balance, shade and diffuse the various lighting sources to create the illusion of mist in the air above the dancers. It’s a subtle effect, but it’s definitely there. Without the mixed light as a starting point, I could’ve spent a whole day trying to get that look!

Of course, as the sun moved across the sky, I had to make a variety of adjustments—including aperture, color balance, filtering, lenses, shutter speed, aspect ratio, etc.-- while shooting and dodging the flying dancers (see below). But it was well worth the effort.

THE BALLET DANCERS
Sara Knight, via London’s Royal Ballet School and Russia’s Kirov Ballet School -- teaches at the Boston Ballet; Shayne Gottdenker is working with the Company on their upcoming production of Maina Guilgud’s "Giselle"; and Marissa Gomer is training at the Ballet School.

FILMING
The young ladies were quite patient with me. My filming style involves getting the camera extremely close to the dancers as they jump, glide and run about the stage. I get in front, behind, and sometimes practically under them. This style is maximally intrusive, yet it allows me to get shots from unusual angles. The dancers are all much taller than I am, and of course, they can move very fast. Luckily, I only got hit once, and then only lightly! I thank them for looking out for me as I worked.

ENJOY
It was a pleasure working with Rebecca Rice. I dug her choreography, and I liked her innovative use of the Media Gallery space and of Martin Case’s exquisite sound design. I hope you enjoy the clip. Let me know what you think.—Roberto Mighty