To showcase their new cinema camera, the EOS C80, Canon commissioned our own founder, Tim Milgram, to make the first ever dance video to be used to announce a professional video camera and demonstrate what it is capable of.
“Singularity”: A Vision Realized Through Dance
Tasked with assembling the right team to achieve his vision, Tim reached out to Zoi Tatopoulos to choreograph, Jaxon Willard to perform the routine, and music producer Mumdance to create a unique piece of music to tie it all together.
A New Standard for Dance Cinematography
A piece this intense leaves not a moment to be missed, with camerawork that entertains but doesn’t distract from the choreography. Tim balances the technical aspects of cinematography with the raw power of dance – showcasing how brands like Canon are pushing the boundaries on what dance creatives can achieve with their cameras.
To delve into this unique blend of dance and filmmaking, check out the behind-the-scenes and experience “Singularity” through Canon’s YouTube channel.
We spoke to Tim about his experience working on this project for Canon:
This is the first Canon release video that’s centered around dance. How did it feel to be at the forefront of such a unique collaboration?
Tim: I’m honored to be able to represent our community in this way. I’ve shot a ton of dance since I started doing this, but it’s only a handful of times that I felt like it was truly breaking through into the mainstream in some way. There are many “demo” videos made by camera manufacturers to show off their cameras, and a lot of them are really good technical demonstrations of what these cameras can do. Being able to do something that I naturally do already, incorporating the artistry and talent of those I brought into the project, and have that be used in its rawest form as that type of demo, feels like a huge milestone and definitely a warm fuzzy feeling that my work is “good enough” for primetime. I don’t usually hire cinematographers/DOP’s on projects, so I almost always wear that hat as well as the director/producer hat, and for this work to be used at a commercial level feels like a big accomplishment. Lastly, and possibly most importantly, the fact that I get to hire the people I feel are right for this, and allow them to showcase their artistry, means a lot to me – the world needs to see what top tier dance skill looks like, and we got to show them that with this project.
Can you tell us about the inspiration behind Singularity and how this project came together?
Tim: I started with the notion that I wanted to work with Zoi and Jaxon, and went from there. I wanted to create a slightly eerie, slightly alien aesthetic, so finding a raw location with high ceilings and skylights was important to me (having some element of natural light would also showcase the camera’s sensor and how skin tones appear on camera, which was also important from a technical demo standpoint). That beam of light you see in the video is just a skylight that I scheduled the shoot around, making sure the sun was in the right position when we shot. The beam of light resembles the beam from a spaceship that you’d see in a science fiction film. Aesthetically, I was a bit inspired by “daytime spooky” movies like Annihilation and Birdbox. I didn’t necessarily want it to feel the way those movies do, but there’s something intriguing to me about the use of natural light in psychological thriller movies, which ultimately influenced the visual language of this video.
What’s something about this collaboration with Canon that felt different from any project you’ve worked on before?
Tim: What was truly unique about this project was the fact that we were shooting two videos at the same time. Canon was just as interested in the “Making of” video of Singularity as it was in Singularity itself. This was my first time ever prioritizing and making sure the BTS video was just as strong as the main film. This influenced a few decisions, such as how to structure the shoot, keeping it “simple” for the sake of having enough time to talk to the BTS camera, guide the viewer through the shoot, and talk about the C80. I essentially had to be the director of one video, and the on-screen talent of the other. BTS has usually been an afterthought for my projects, because when I direct videos it’s “not about me”, it’s about the work. In this situation it actually literally was supposed to about me which was exciting and terrifying all at once. I’m definitely not used to being the center of attention like that, and had no idea how I’d come across talking on camera. In the end I surprised myself, and now I actually really like the BTS video, almost as much as I like the main video… and am inspired to be on camera more often.
You’ve worked with both Zoi and Jaxon before, but this was the first time outside of the studio and on a larger cinematic scale. How did that change the creative process?
Tim: There really isn’t much to the creative process on my end when it comes to filming dance classes. I could probably do it blindfolded (2nd Bird Box reference for you). Zoi makes up great choreography, teaches a class, awesome dancers show up, I film some people at the end of class. Very straightforward. In this instance, I gave Zoi a general outline of my vision, and we worked with Mumdance to develop a piece of music for it. Then I let her do her thing, and came to the 2nd rehearsal to study the movement a little bit. I don’t think I gave her any notes at all – she really gave me exactly what I was hoping for and then some. I did come up with what happens in the intro before the beat kicks in, with Jaxon starting hunched over and then rising up to “bask” in the light before Zoi’s choreography begins. I was very happy I got to contribute a tiny bit of movement in that way, and am honored Zoi liked my intro idea. I hold her in such high regard so that felt like a great collab moment for me.
Did Jaxon’s unique style or abilities influence the way you approached directing and filming the dance?
Tim: Jaxon made it easy and this was probably the least number of takes I’ve done on a conceptual dance video in a while… possibly ever. He was just so consistent and excellent at what he does that he made it easy for me. I’d say the most challenging part was getting closeup moments, because there was so much BIG movement in the choreography. I don’t usually do “inserts” (where we just film for a couple seconds to get a specific moment) as I generally try to find those closeups within the full takes. However, in this instance I did have to do 1 insert because I wanted a closeup of a moment I simply couldn’t physically get to in the full take.
What were some key themes or emotions you wanted to capture through this dance film?
Tim: Solitude, epicness, isolation, to name a few. The answer is really in the name. The word “singularity” has several definitions. One is, simply being alone. Another, in astronomy terms, is an infinitely small point of endless energy, which while left alone seems inactive, but when interacted with, creates the most brilliant, bright, powerful, and spectacular displays in the universe. Approaching Jaxon, the singularity, with the camera, is the metaphor which results in such a display.
What’s your favorite type of shot to capture in a dance sequence?
Tim: You know… I don’t think anyone has ever asked that. Lately, getting to use the jib has been super exciting for me. On this project, the up high shots allowed me to really establish the vastness of the space in the very first frame of the video. While the video is focused on making Jaxon look epic, the jib gets used sparingly throughout, to remind the viewer that no matter how big and epic someone or something is, there’s always something bigger out there. The video ends on a jib shot pulling away from him. Perhaps the space ship left him behind?
What were the most challenging parts of filming this project, especially given the complexity of the dance and choreography?
Tim: The most challenging part was just thinking about two videos at once. Making sure I interacted with the BTS camera (shot by Mason Williams) and narrating what I’m about to do before I do it. Filming “Singularity” itself was actually quite easy for me – being the subject of the BTS was a little more nerve wracking.
What techniques or approaches did you use to ensure the dance was captured in its full emotional and visual intensity?
Tim: A ton of low angles, making him look as epic as possible throughout. My back was a little sore the next day, but it was worth it. This video wasn’t really about emotion as many “contemporary” dance videos tend to be – it was intended to be a spectacle. Instead of telling the viewer what to feel by doing it on screen, it allowed the viewer to feel what they need to feel by watching it. Much like staring out into space. The music and the performance wasn’t particularly emotional by nature, but it evokes different things for different people… well… if I did my job right that is.
Can you share any memorable moments or unexpected challenges that arose while shooting “Singularity”?
Tim: The first hour of the shoot was dedicated to me speaking in front of the camera at that table. I’m pretty sure a whole blooper reel could be made from just that. I messed up the lines so many times and honestly had no idea what I was doing with my face. Somehow it all came together in the end, but I definitely burst out laughing / swearing / face palming myself more than once during shooting that segment.
What do you hope viewers take away from “Singularity”?
Tim: That we are both the biggest things in our own world and the smallest things in the universe, all at once. And being able to look at ourselves from all perspectives can help us get through even the most difficult times. Also seeing someone as impressive as Jaxon do his thing should inspire people to go out and practice and get really good at something they are passionate about.
Looking back on this project, what are you most proud of?
Tim: I’m proud to say Canon gave us no notes on the video. What you see on YouTube is literally the first draft I sent them. Knowing that they trusted my vision before and after it was shot, was a huge compliment and I hope to do more work with them soon.
What’s next for you after “Singularity”? Are there any upcoming projects or collaborations you’re excited about?
Tim: Whatever it is that I work on next, I hope I have the opportunity to bring such a wonderful team together again. That’s my favorite part about projects like this whenever I get them – being able to create opportunities for people to create alongside me. I feel very grateful for that.
