Tessa Ying’s Revolutionary Approach to Content Creation and Music Education

October 22, 2023 Lorraine Wilder Leave a comment

Music producer, engineer, and recording artist Tessa Ying, whose musical passion ignited at the tender age of 4, is revolutionizing the landscape of music education by reimagining both its curriculums and delivery methods.

A talented Boston-based Singaporean musician who has led notable music education projects across the globe, Ying is well known for creating in-the-box productions, arranging, playing, producing, and recording music education content that would otherwise be tackled by a large group of musicians.

This gives Ying an edge over other creators, as she can produce numerous tracks without worrying about the cost of studio booking or hiring musicians. It also increases the speed of her production and flexibility in accommodating her client’s needs.

But how are the contributions of this Jill of all trades re-shaping the music education industry?

“I grew up with a fast paced, achievement-oriented approach to learning music,” recalls Ying. “It was not until I moved to the US that I really learned to appreciate the process of learning, of developing students’ metacognition and viewing music education from a holistic perspective.”

Through her personal learning journey Ying developed an insightful understanding of what methods of learning are most supportive to others, specifically when it comes to music– insights she has since contributed to “Kinder Notes,” a top music education curriculum, and “KB SAX,” a leading sheet music publisher and creator of saxophone lesson tutorials.

Producer Tessa Ying (Photo by Mountain Leaf Photography)

Ying has been a musician for most of her life. She has been teaching piano for the past ten years and has been playing for over 20. Her original releases as a solo-artist have included hits such as “Baby Bear’s Idea” and “Be on My Own.” As a producer who runs her own production company, Tessa Ying Music, which she founded in 2018, she has worked with standout artists including the likes of singer-songwriters Elisabeth Waters and Angelique World. Their collaborations include Waters’ popular tracks “Blue” and “Pet Names,” and World’s live shows “Unplugged” and “The Voice Within.”

In addition, Ying’s recent projects “Hold,” which she co-produced with Grammy Award nominee Abhi Acharya, and “Dreaming in Flight ” with Hollywood composer Tomasso Annoni, have been released to critical acclaim.

In 2020 Ying was approached by award-winning pianist Rosy Chua, who is the principal of the prestigious Prelude Music Studio in Singapore, to work on a new music education project, “Kinder Notes.” Ying, who taught at Prelude 12 years prior, had previously worked as a consultant helping Chua to compose her famous works “Kaleidoscope” and “Rhapsody.” These works have been played all over the world, from Carnegie Hall in the United States and the Esplanade in Singapore to the SCECGS Redlands Piano Competition in Australia.

“Kinder Notes,” Chua’s music teaching curriculum series, was designed for young preschool through elementary school aged children, and Ying was the perfect music educator and producer to join on the project.

Complete with supplementary materials and tracks, “the curriculum includes three modules based on the developmental stages of various age groups. Since its release, the “Kinder Notes” curriculum has transformed the way music education is being taught in preschool and kindergarten in the country and has been adopted by schools across Singapore. It is quickly becoming the number one child-centered music education program available.

“When I first started teaching at Prelude 12 years ago, that was when I started working with children. Through this experience, I knew I wanted to work on this project because of our history and because I love working with children,” said Ying. “It is something magical when you connect with a child and make a positive, lasting impact on them.”

“I also believe strongly in the importance of music education especially in early childhood,” she continued. “There is strong evidence that effective music education supports brain development in many ways. I was excited to use my music production skills to support these children so they can become the best version of themselves.”

Producer Tessa Ying creating sheet music (Photo by Mountain Leaf Photography)

Ying was brought on the project to consult on its development and produce the musical tracks needed for classroom teachers to utilize the materials in the syllabus. The design process of “Kinder Notes” included first choosing and writing educationally relevant pieces that follow a specifically designed set of steps, such as introducing a new note at the right time and in the right way. They then needed to choose the purpose of each activity to be introduced, for example training the ear or sight-reading notes.

Ying would then produce a track for each activity using her in-the-box production techniques. The tracks were designed to be highly interactive, so children will want to sing and dance along to the music, and they include plenty of repetition to reinforce each concept.

“Without the music recordings Tessa created for the “Kinder Notes” curriculum, we would not be able to complete the activities in the course. There’s a lot of singing and movement activities, and the recordings are designed to help to reinforce the children’s solfège and pitch training. It also teaches them to keep on the beat,” explained Rosy Chua while discussing how “Kinder Notes” tailors music education to fit best practices for engaging younger children.

“By using Tessa’s recordings that she thoughtfully arranged and recorded using appropriate pedagogies for group activities, my students reap the benefits of group learning,” she continued. “This is so important at their age because it teaches them teamwork and helps to build their social skills. I am a firm believer of training these skills at a young age because it is so important for laying the musical foundation.”

Innovating music education content delivery online

Another example of how Ying is reshaping the industry is through her work with leading sheet music publisher and saxophone lesson video tutorial creator KB Sax Lessons. This partnership cemented her place as an innovative music education content creator, particularly in the online space, as she married traditional best practices with technological advancements.

Founded by professional saxophonist Kevin Busse, KB Sax Lessons began as a music transcription and publishing company. In 2016 they brought Ying in to help them elevate the quality of their product by having her consult on the creation of videos, tutorials, and backing tracks for their audiences to play along to.

With Ying’s help, they grew to become number three on SheetMusicPlus’s “Top Publishers for Digital Sheet Music Downloads” list in 2019, outperforming popular publishers like Alfred Music. As of 2023, KB Sax Lessons continues to hold its place as one of the “Top 99 publishers” on SheetMusicPlus.com.

Thanks to Ying’s guidance, which advised them to offer a wide variety of notated transcriptions, accompanied by the content on their Youtube channel, such as saxophone videos of popular pieces, KB Sax Lessons was able to scale-up. Their model is to first release the notated transcriptions for purchase, then collaborate with Ying to film saxophone tutorial videos of exactly how to play these transcriptions. Next, they give a performance along with the background tracks Ying arranges and performs on a variety of instruments to give listeners an example.

Part of what drew Ying to this project was the innovative way it furthers music education. “I was excited to learn about how other music educators were utilizing platforms such as youtube to deliver content in a multimodal way,” Ying explained. “The internet’s reach is truly amazing and its potential uses for music educators is in its infancy.”

Tessa Ying working on sheet music (Photo by Mountain Leaf Photography)

Tessa Ying has since built upon this model on her own YouTube channel, Tessa Ying Music, which she started in 2022. The channel is an extension of her production company founded in 2018 and includes original releases, performances, and piano playing tutorials. Ying’s channel serves as a study in innovative best practices for music education content creators, garnering over 100,000 views of her 40 music videos in only a year.

Using what Ying calls a holistic approach to music education, she focuses not only on the subject matter of her lessons, but also on the well-being and continual improvement of the learner. Informed by best practices in music education psychology for creating a positive and engaging learning environment. Her ethos and teaching methods give particular importance to student’s motivation, self-efficacy, and the role of emotions in learning. Compared to the endless “scroll traps” of typical social media, her content motivates people to get up, gain a new skill, and improve themselves.

The true innovative genius of her channel is the multitude of ways she presents content to her audience. This includes creating audio and visual learning aids, as well as composing level specific sheet music arrangements to accompany her piano video tutorials. While a lot of popular songs have sheet music available, Ying found them unsuitable for her audience’s skill level and abilities, creating a mismatch that would often frustrate her students.

“People have varied learning styles and preferences, making content that is accessible and inclusive takes this into account. This, in turn, makes music education more effective, helping students progress faster and stay motivated,” explained Ying.

“Some people prefer written materials, while others do better with audio or visual content. That’s why I create and share supplemental sheet music for my audience to read, pairing them with my video tutorials.”

The challenges and opportunities of tailoring music education content to learner’s skill levels

It’s hard to overstate the expertise needed to create curriculum and supplementary materials, such as videos, tutorials, and sheet music of original releases and existing songs tailored for different skill levels. In addition to needing to have a deep mastery of musical theory, composition, transcription, and notation, the composer also needs to have a working understanding of musical education concepts and pedagogies.

For example, when adapting sheet music for their students, a music educator must be able to analyze existing sheet music and identify elements that may suit or challenge their students’ skill level and developmental stage, and make changes accordingly. They also will need to be able to know how to break down complex concepts into smaller, manageable parts and design instructional strategies that align with their students’ ages and learning styles. To accomplish this, music educators need to be able to quickly assess the difficulty of a piece of sheet music and determine if it aligns with a student’s playing and music reading capabilities.

Research has shown that learning to play an instrument has numerous positive cognitive, social and emotional, as well as cultural effects, so having programs and platforms that democratize music education and helps music educators expand their reach benefits everyone.

It is through the combination of content creation that is accessible and inclusive, non-discriminatory and user-friendly, that Ying has been able to successfully innovate music education curriculum and delivery. But most importantly, with the success of the projects she spearheads, lending her technical expertise and musical acumen, Ying has been able to achieve her ultimate goal. Sharing the joy of music with the masses.

“Music provides you the greatest joy when you play it,” Ying said. “Through rethinking how technology is used and lessons are delivered, music educators can help everyone, regardless of their circumstances or skill level, have the chance to learn to play music.”

Uncategorized

Editor Mengyao Mia Zhang Cuts Into the Darker Side

October 2, 2023 Lorraine Wilder Leave a comment

Perspective is everything. It shapes history. It determines sense of self. Quite often we sacrifice our own sense of this for what others dream of. Only the Good Survive, which premiered at the SXSW Film Festival, is a film that takes this concept into a very dark place and in doing so, challenges us to rethink our own identity and motivations. As the editor of this film, Mengyao Mia Zhang engages her own sense of perspective in a very powerful manner and establishes a riveting tone. Director Dutch Southern believed so strongly in Mia’s abilities that he often gave her free reign creatively. This is the filmmaking equivalent of offering your child to someone else to raise. Ms. Zhang concurs that this was the process stating, “Dutch would often say during our editing sessions ‘Whatever you think is best’ and ‘That’s up to you,’ which is quite uncommon. While he had a clear vision in the broader direction, he gave me a lot of freedom to play around with.” Certainly some of this belief is based on Mia’s enthusiasm for the story as she remarks, “Only the Good Survive has a very unique style, which was fun for me to work on because this kind of film doesn’t come along often. The first time I read the script, I was immediately captivated. The writing was exceptional and conveyed a distinct tone. I could almost see the film unfolding through the pages.” Only the Good Survive is a convoluted and bizarre thriller/horror with prominent dark comedy elements and moments, presented in a genre-blending punk-rock approach. To echo Mia’s statement, who wouldn’t’t be excited to see this manifested through the camera?

It’s immediately apparent that the editing has a strong presence in this film. The first few seconds are a mix of surreal animation with action scenes and a police interrogation, sewn together as a means of transference of the emotional state of the main character. Brea Dunlee (Sidney Flanigan of Berlin International Film Festival Silver Bear Grand Jury Prize Winner Never Rarely Sometimes Always) takes us along her journey during her “interview” by sheriff Cole Mack (Fred Weller of Oscar Award Winning Spike Lee film BlacKkKlansman). It’s one that involves romance, robbery, and an self-defined air of moral highground from many different characters. That’s true whether in regards to Brea, a local cult leader (Jon Gries of Primetime Emmy Award Winning Series The White Lotus and cult classic Napoleon Dynamite), or Faye Dunlee (Lachlan Watson known for her work on the Primetime Emmy Nominated Series Nashville). When sheriff Cole asks Brea “Have you ever heard of Faye Dunlee?”, Mia makes a masterful edit with a subtle pause which delicately hints that something is amiss without drawing too much attention or suspicion on Cole’s part. The moment is delicate while marking a pivotal moment for astute audience members. Even greater evidence of Mia’s gentle yet commanding presence is felt in the final scene of this film. She describes, “I believe that the ending of a film is just as important as the opening, as it is what the audience will be left with. The ending scene of this film is morally contradictory. On one hand, Brea loves the baby and her late sister wholeheartedly. We root for her successful revenge and trust that she and Ry will be good parents to the baby but at the same time, to achieve this she chooses to sacrifice two innocent people who have no idea about her plan. This seemingly twisted moral standard harkens back to the film’s title ‘Only The Good Survive’. What is goodness? Are they the good ones? I wanted to bring out their human and vulnerable sides the most so that the audience could temporarily set aside moral judgments about her entire course of action and focus on this small family, feeling joy in their reunion and a sense of triumph in ridding themselves of the cult monsters.” Audiences at this film’s SXSW Film Festival premier concurred that this is extraordinary filmmaking. Full of real world danger but careful not to be preachy, Only the Good Survive makes you feel and think.

Mia’s contributions to another morally nebulous story can be seen in filmmaker Michael Sarrow’s Smile As You Kill, winner of Best Feature Film at the Iowa Independent Film Festival. This crime thriller stars Rey Goyos (of Apple + Primetime Emmy Nominated Series Shrinking) as Rico Allende, a man willing to go to extremes to obtain proper medical treatment. A criticism of the present day healthcare system, Smile As You Kill combines realistic scenarios with a dark humor which seems to say, “This is what happens when business usurps medical treatment.” Mia communicates, In this film, one of the primary goals was to evoke empathy for Rico, allowing the audience to understand his motivations behind the kidnapping and to root for him in achieving his objectives. Simultaneously, it was important to make the audience like Terry’s character (Michael Teh of Primetime Emmy Nominated Series Criminal Minds), even though he displays some selfish and egotistical traits. I like the challenge of my work when it requires me to try and convince the audience to like a character when it would be so easy not to.”

Uncategorized

Music director-composer Ian Yan’s Executive Privilege

May 15, 2023 Lorraine Wilder Leave a comment

Music director-composer Ian Yan is a rapidly emerging force in New York’s highly competitive theater and music scenes. Yan’s dynamic mix of originality, raw talent and extensive formal training have allowed him to gain significant traction amongst his colleagues, and his impressive roster of credits was recently enhanced by serving as Music Associate for the White House State Dinner hosting the President of the South Korean Republic Yoon Suk Yeol.

“The Music Associate’s role is to assist the Music Supervisor and Music Director with any and all tasks that could arise,” Yan said. “This includes transcription, copy work, arranging, orchestrating, playing piano in rehearsals and conducting. Even though my work was remote, it was a once in a lifetime thrill, absolutely.”

President Biden enjoying President Yoon Suk Yeol’s performance (AP-Yonhap)

It was a glamorous, black-tie affair celebrating the two nations’ 70-year alliance. Attendees included Angelina Jolie and her son Maddox, Home Design stars Chip and Joanna Gaines, Olympic gold medalist Chloe Kim, cabinet members Antony Blinken, General Mark Milley and leading political figures such as Chuck Schumer, Mitt Romney and, of course, the President and First Lady.

The White House state dinner is a distinguished addition to his professional quiver of exceptional achievements—a resume which the Hong Kong-born Yan has dedicated virtually his entire life to. A child prodigy with perfect pitch, Yan’s prodigious skills quickly gained international attention, leading Britain’s prestigious Associated Board of the Royal Schools of Music to rank the 11-year-old at an impressive Grade 8.

At age 13, Yan was attending boarding school in England, where he added jazz and pop to his classical repertoire and began composing some strikingly original pieces. Moving on to New York’s venerable Columbia University, studying music theory, conducting, ear training, jazz orchestration and instrumentation while concurrently serving as Music Director for the Columbia Musical Theater Society, the annual Varsity Show and the Columbia Pops Orchestra.

His career plays out on multiple artistic fronts. Yan’s remarkable versatility allows him to serve as music director in theatrical, concert and studio settings as well as composer for film and musical shows including—thanks to the honor of being selected for the inaugural cohort of non-profit musical organization Musicians United for Social Equity (MUSE)—composing music, lyrics and libretto for his groundbreaking socio-cultural themed musical Re-Orient. The spectacularly original show was created during a one-on-one mentorship with Tony-Pulitzer winning Broadway powerhouse Tom Kitt (Flying Over Sunset, Next to Normal), and caught the attention of influential Broadway lyricist-librettist Sam Carner, who invited Yan to join his new Musical Theater Writer’s Collective.

Yan’s expressive melodics and deep technical prowess unfailingly garner professional attention, and the White House state dinner gig is a classic example: he was working as music assistant for the annual, high-profile Broadway Cares/Equity Fights AIDS Easter Bonnet Competition show—the celebratory conclusion of six weeks of competitive, in-theater fundraising by 42 Broadway, Off-Broadway and national touring companies—where he quickly impressed renown music director Ted Arthur (Diana, Cyrano, Mean Girls).

“I was in the middle of rehearsals for the annual BC/EFA Easter Bonnet Competition, which was being Music Supervised by Ted Arthur, who was also the Music Director for the White House State Dinner,” Yan said. “I had proved my skills useful at Easter Bonnet, and so Ted brought me on to the White House State Dinner, as well.”

Arthur’s confidence in Yan constituted a sterling professional endorsement, and he eagerly rose to the occasion.

“I was brought in around a week before the dinner, and there was a rehearsal process that happened in the lead-up towards the event,” Yan said. “The music was performed by the United States Marine Band—’The President’s Own’—directed by Colonel Jason K. Fettig, who is also the music adviser to the President of the United States.”

Already notable as the Biden administration’s second state dinner and President Yoon Suk Yeol’s first official visit to the US, it was a major affair. With some 200 VIP guests being served in the East Room (largest in the Executive Mansion), everything, from the Korean-American fusion menu to the cherry blossom floral arrangements, had to perfect.

“I was in charge of creating the piano transcriptions that were used to do the full orchestrations,” Yan said. “The program featured Broadway stars Lea Salonga, Norm Lewis and Jessica Vosk and included hit showtunes such as ‘On My Own’ from Les Miserables, ‘Somewhere (There’s a Place for Us)’ from West Side Story, ‘This is the Moment’ from Jekyll and Hyde, ‘If I Loved You’ from Carousel and ‘American Pie’ by Don McLean.”

That last title was a special entry, one which made a minor bit of history—President Yoon Suk Yeol had indicated that he, himself, would like to perform the song (a personal favorite), and President Biden was also prepared—with a guitar autographed by composer McLean.

“We had been informed that Yoon wanted to sing the song but were unsure whether it would actually happen or not,” Yan said. “We prepared the arrangement in case he decided to—which he eventually did at the end of the night, singing a surprise encore of ‘American Pie,’ for which I prepared the piano arrangement.”

Yoon’s climactic performance made headlines around the world and Yan, despite his physical absence, had a direct hand in an extraordinary musical moment on the world stage, a clear signal that the talented, fast-rising young artist is capable of just about anything.

“It was surreal to see the videos of the President singing my piano transcription online and, in real time, getting hundreds of thousands of views,” Yan said. “I felt very honored to have been a part of this experience and for Ted and the White House music team to have trusted me with this huge responsibility.”

Dancers

Emerging Performer Shreya Rawat’s Season of Growth

July 27, 2022 Lorraine Wilder Leave a comment

New York’s contemporary dance scene is a fast-moving, kaleidoscopic arena where different genres and disciplines entwine in fascinating new iterations. And at its core are thousands of highly disciplined, fiercely competitive artists whose lives are dedicated to the pursuit of pure creative expression. Prominent among these is performer Shreya Rawat, who has distinguished herself as an emerging force with a singular athletics-informed aesthetic and high-voltage on-stage style.

The New Delhi-born Rawat radiates a warm, appealing confidence, and her exceptional skill as a dancer, singer and actor has allowed her to establish a strong professional reputation in the New York theater community. A performer whose dynamic presence unfailingly commands audience attention, Rawat can currently be seen on an East Coast tour with the acclaimed Gotham Dance Theater Company, and she couldn’t be happier about it.

“What makes Gotham Dance Theater so beautiful is how they don’t claim a single dance style, like a lot of other companies do,” Rawat said. “They are very experimental in the productions and projects they delve into, and it’s a very diverse company, from the members to the performances. I take pride in being a versatile dancer and I find Gotham to be the perfect place for me to embrace that.”

(From L to R) Gotham Dancers Khayla Mcleod, Shreya Rawat, Stephanie Shin and Sarina Gonzales (Photo courtesy of Shreya Rawat)

That remarkable versatility is the result of her near lifelong creative pursuit: she began dancing at six and resolved to make performing her career as a teenager. After high school, the ambitious Rawat attended Delhi’s renown DanceworX Performing Arts Academy, mastering ballet, jazz and contemporary dance and became an integral part of the academy’s Senior Repertoire Company. Following graduation, she headed for the United States and a Bachelor of Fine Arts in Dance degree from Point Park University in Pennsylvania. Then, it was on to New York, where she knew exactly which troupe to try out for.

“Gotham’s amazing work is what attracted me in the first place,” Rawat said. “I had them shortlisted when I was first planning on moving to New York, but they weren’t holding any auditions. I was pretty disappointed—but I guess it was meant to be, because a month later they sent out an audition notice, casting for their Spring and Summer Season.”

Rawat did not hesitate.

“The first step in their audition was virtual submissions,” she said. “Next, a select few were invited to an in-person audition and I was blessed to have been among those invited.”

Overseen by Gotham’s founder-director Marc Nunez and esteemed choreographer-dancer Candace Brown, the dancers were given a number tag, followed by company members demonstrating specific passages from the Gotham repertoire, which the competitors performed for the selection panel in successive rounds of auditions. Rawat ably rose to the occasion.

“They made some cuts along the way until the final round,” she said. “A week later I got the acceptance notice!”

Rawat’s exceptional skills and far-reaching capabilities virtually guaranteed such an outcome—on a similar occasion, auditioning as an ensemble dancer for the cabaret revue How I Almost Died at Prom, the show’s writer-producer, on the spot, handed Rawat the starring role.

As an official Gotham Dance Theater company member, Rawat happily fell into her new tribe’s embrace.

“I must say we are all extremely fun and it feels very much like a family,” she said. “Each member is so different and having those varied perspectives really add to what we are trying to achieve as a company.”

“Our current repertoire for the Summer Suite Tour comprises a medley of Lavani [a South Asian music and dance form], Dabke [a Middle Eastern folk style], Salsa and Street Jazz,” she said. “We have weekly rehearsals and extra brush up rehearsals closer to performance dates.”

The performer has a busy schedule at Gotham, with five upcoming dance festival performances scheduled across the city’s boroughs, appearances certain to further bolster her fast-rising professional stature.

“It has been a season of growth for me,” Rawat said. “Challenging myself not only with the versatility of the set but also the physical demands. The fact that I get to now perform with such a reputable dance company at prominent events and locations throughout New York is a dream come true for me.”

Producer

Producer Shlok Shukla Brings his Tri-Cultural Perspective to the Screen

March 18, 2022 Randall Head Leave a comment

Producer Shlok Shukla

As the film industry continues to expand and globalize, the teams behind Hollywood’s massive productions must continue to diversify their perspectives and experiences. That’s why talent like screenwriter and producer Shlok Shukla, with his tri-cultural background, are key to the evolution of this multi-billion dollar industry.

Shlok Shukla was born in Russia, a country more known for its literature, dance and classical music than its movies. However, Shukla’s parents were avid cinephiles, so from a young age, he developed a love for movies.

“I always wanted to be in the film industry, for as long as I can remember,” Shukla reminisces. “Initially, I wanted to be an actor, but as time went on, I began to feel like I had stories to share with the world.”

Shukla’s story took an intriguing turn when, as a child, his family moved to India. Imagine having your whole life upturned, and being thrust into the heart of a land and culture so entirely different from your own! The young Shukla observed and absorbed India’s vast cultural riches, incredible sights and magnificent arts.

Shukla’s time in India eventually came to an end, when his family relocated to the USA, bringing Shlok within reach of the proper education, connections, and setting to realize his dream of working in Hollywood.

Now, years later, armed with experience, degrees, and a wealth of cultural experience, Shlok has thrust himself fully into the film industry. Two of his feature-length scripts, “All My Friends are Dead” and “Hangman,” have won multiple awards such as Best Script, Best Dialogue and Best Characters, among many others in festivals across the world, including the Rome Prisma Film Awards, Los Angeles Film Awards and Medusa Film Festival, among others.

In addition to telling his unique stories, Shukla has fallen in love with being a producer. “A producer’s tasks range far and wide, from finding projects and launching them, to budgeting, casting, post-production, and even release,” explains Shukla. “A producer’s job is never over, which makes it a lot of fun!”

Shukla began his production career while at the New York Film Academy, offering to assist his friends and classmates with their films. At first, he handled small tasks, such as location scouting and casting, but as he spent more time and effort learning the trade, he got involved in larger projects.

Recently, Shukla produced a music video for Los Angeles-based artist, Rocky Rose, titled “Let’s Ride.” Shukla was approached by the production team for this project and asked to come on board, and he jumped at the chance to help out. Shukla researched different artists and cinematographers to work with, and handled location scouting for the video, which takes place across various areas in L.A. Shukla also utilized his writing and storytelling skills to conceptualize scenes for the video that would hook the audience and keep them engaged.

“Working with Shlok means a project will be completed not only on time, but with the

highest quality possible,” remarked Elizabet Collins, co-producer of “Let’s Ride”. “If I could clone Shlok and work only with him, I would.”

Shukla’s experience working on this project made him a natural fit to work on another music video, this time for the Chilean rock band Temple Agents. Shukla’s company, I’m Not Famous Films, was hired by the band’s guitarist to create a music video in secret, titled “Young Soul,” as a surprise to Temple Agents’ frontman, Ale Solar. Solar’s father had recently passed away, and this project was meant to be a celebration of life, and a gift to Solar.

Cinematographer Joshua Fraser, Kevin Amaya and producer Shlok Shukla on set of “Young Soul” shot by Elizabeth Collins

Shukla wrote an initial script to capture the concept and vision for the video, then budgeted the video based on his script. After that, Shukla handled just about everything, from casting, scouting, and logistics to the video’s distribution and release.

“Shlok balances the creative and business mindsets in his empathetic approach to people,” said Julian Santiesteban, co-producer of the “Young Soul” music video. “He is honestly looking out for his crew and talent because he is really someone that goes beyond what is needed: he cares.”

Shlok Shukla’s unique view of the world is informed by his experiences; his childhood, spread across three wildly different cultures; his studies of business and screenwriting; and his experiences working in the film industry as he brings his stories to life. This unique vision, which only Shukla possesses, is what distinguishes him among other producers and screenwriters in the film industry, and is a big part of what makes his projects special. If you see Shukla’s name in the credits, you’re in for a treat. He is also the producer behind the films “ALonely”, “Love is a Game” and “Flesh Fresh.”

Actress, Singer

Actor-Singer Rebecca Codas’ Remarkable Musical Journey

March 15, 2022 severare Leave a comment

By Harold Norman

Canadian actress and singer Rebecca Codas

Although still at the dawn of her career, Canadian-born actor-singer Rebecca Codas is already recognized as a world class entertainer. Her high-voltage vocals command audience attention, effortlessly drawing her listeners in as she explores the full emotional depth of a lyric. A natural born thriller, Codas’ flawless execution and interpretive manner of phrasing supercharges each individual syllable with rich, empathic warmth—rare and valuable qualities for any singer—and has allowed Codas to appear before sell-out crowds at her own solo cabaret shows in hometown Toronto.

In Codas’ case, this sweet gift manifested itself very early in life. Unfortunately, so too did a bevy of emotional issues that the child was ill-equipped to deal with.

“Around age 3, I started developing a lot of anxiety, depression, and obsessive-compulsive tendencies,” she said. “As a kid I didn’t know how to handle it. Years later I was diagnosed with ADHD which explains it all.”

Yet these bouts of malaise were invariably offset by forays into her youthful passion, music and songs. And she never missed a chance to take advantage of this, albeit no matter how awkward the scenario may have been.

“At my brother’s bris—I was 3 years old mind you—I stole the microphone from the Rabbi and started singing ‘If You’re Happy and You Know It,’” Codas said. “All of those [mental issues] melted away when I was on stage. Relative getting married? School concert need a singer? I’m your gal! My poor brother was forced into so many living-room plays, I think he was relieved when I finally started doing them outside of the house. My parents quickly realized this performer-train was leaving the station and they needed to board or watch me go without them.”

Codas immersed herself in all things related to theater, performing in elementary school musicals (she played the lead in Joseph & the Amazing Technicolor Dreamcoat), gained valuable experience with the Toronto Youth Theatre, devoted 5 full summers to the Performing Arts Project, a theatrical training program where she enjoyed invaluable collaborations with some of Canada’s leading stage and film actors. At 16, she boldly entered CBC network’s reality TV talent competition Over the Rainbow, competing against over a thousand others for the role of Dorothy in a planned production of Sir Andrew Lloyd Webber’s musical adaptation of The Wizard of Oz. Despite the tremendous pressure, Codas joyously rose to challenge and made it into the top twenty finalists. The final step was study at the world-famous William Esper Studio, a distinguished NYC school dedicated to the groundbreaking behavioral-based post-Method Meisner technique. There, Codas, through intensive study of virtually aspect of theater, put the finishing touches on her deep well of stagecraft.

Returning to Toronto, she began preparing for a permanent relocation to New York and came across a golden opportunity for an onstage farewell—the offer to present an evening of solo cabaret at beloved venue Hugh’s Room, an intimate performance space known both for its great acoustics and attentive audiences.

“In Toronto, I’d always been known as a kid obsessed with movie musicals,” Codas said. “But this was my opportunity to introduce my whole self. I sorted the stories from my experiences as a kid going through those mental health struggles. The whole show was about how I came to be who I am and finally releasing all of that—I almost felt like I should’ve credited my psychologist in the show’s program.”

She assembled a team of her most talented musical friends and began to craft the evening’s flow through song selection and sequence.

“I collaborated with my friend, Broadway conductor Madeline Benson (née Smith) who flew in from New York to be my music director,” Codas said. “We’d formed a great bond and friendship years ago at the Performing Arts Project, and I knew there was no one else I’d want to do this with.”

Madeline, a music director, arranger, conductor, and instrumentalist based in New York, had made history in 2016 as the youngest woman to conduct on Broadway when she served as in that capacity for the hit show Waitress. Others drafted to participate included performer Paris Martino and the ensemble of Cameron Fox-Revett, Laila Kharouba and Allister MacDonald, but Codas sang the majority of the program’s 17 songs.

Shrewdly assembled for both maximum entertainment value and sheer emotional impact, it was an intimate set of Broadway and pop tunes from such diverse sources as Bonnie Raitt, Pink and Beyonce, along with a handful of her Toronto colleague’s fine original compositions. Taken together, they represented a unique, symbolic retrospective of Codas’ own spectrum of artistic and personal experience. As the evening approached, her excitement mounted. Every seat in the hose had sold out in advance, and finally it was upon her.

“There’s nothing like the relationship between a singer and her musicians performing together,” she said. “And there’s nothing the relationship between a singer and their audience—they share an unbreakable bond that can’t be recreated anywhere else. You’ll never have the same show twice, how exciting and terrifying is that? The amount work it takes to get to that moment is astounding. But when that moment comes, and you take a deep breath, and you forget all of the work, and just sing.”

The crowd loved it, as did her collaborators, “Performing alongside Rebecca Codas in her cabaret show was a highlight of my career,” Martino said. “Watching a true-talent doing what she was born to do inspires me as I continue my own journey in the entertainment industry.”

Codas had the time of her life that night and it was such an overall success that popular demand led to a second cabaret presentation the following year—one that sold out even faster than the first. Codas, in a sense, came full circle, finally shrugging off the internal discord of her childhood and embracing her fast-rising professional reputation as an exceptional actor-singer in New York. For Codas, the best is yet to come.

“In the past, at times, I’ve been terrified that I would fail,” she said. “Terrified that my fear and mental health struggles would win. But I pushed. The show was a phenomenal experience that I’ll never forget, and it did wonders for my confidence in my abilities. I loved every minute of it! And I am incredibly proud of myself for doing so. Now I know I have the strength to try. Here I am!”

photographers

The Art of Celebrity Portraits through the Lens of Monica Schipper

January 29, 2022 P. L. McGroarty Leave a comment

Be it through music, film or fashion, we have a habit of making celebrities larger than life. But no matter the level of hype surrounding them, the facade of celebrity can be dissolved and the human experience underneath can be revealed through portrait photography. While any picture can tell a thousand words, a perfectly executed portrait can tell a hundred stories. It can convey personality, passion and raw emotion in a way other mediums simply cannot, and it’s an art that professional photographer Monica Schipper has confidently mastered.

A compelling portrait requires two things: an interesting subject and intelligent lighting. Growing up in Melbourne, Australia, Schipper first developed her flair for photography with the assistance of her mother, positioning her in front of windows around the house and experimenting with the nuances of natural light. She couldn’t have foreseen it then, but after moving to America in 2008 and rising through the ranks of New York City’s photography scene, Schipper is now bringing that same enthusiasm and technical ability to photoshoots with some of today’s most influential figures.

David Oyelowo shot by Monica Schipper for Variety’s “10 to Watch”

One of Schipper’s first big breaks came in 2013 through seminal entertainment magazine Variety. Each year Variety unveils its “10 Actors to Watch,” highlighting up-and-coming talent marked to be cinema’s next big thing. The class of 2013 was a particularly distinguished group with the likes of Star Wars star Oscar Isaac, Black Panther protagonist Michael B. Jordan (fresh off his Sundance win for Fruitvale Station) and Marvel starlet Brie Larsson, all attending the honorary panel at the Hampton International Film Festival.

Booked by the HIFF as their house photographer, Schipper was briefed to capture high-quality images of the “10 Actors to Watch” for use in the film festival’s press releases, as well as by Variety for content related to their annual event.

It wouldn’t be the last time Schipper’s work would be featured in Variety. Being a frequent contributor since 2013 to Getty Images, the world’s largest media agency, Schipper and her camera have been granted access to countless high-profile events and personalities.

“When I’m shooting for Getty Images I often don’t know where my photos will end up,” the photographer says with a laugh. “My work turns up in publications all over the world!”

Through Getty, Schipper was assigned to shoot the 2018 Tribeca Film Festival’s social justice event, Tribeca Talks: TIME’S UP. A collaboration between Tribeca Film Festival and TIME’S UP in response to the national movement for gender equality in the workplace, the event hosted a day of conversations with women who had played pivotal roles in raising awareness for the cause.

Activists, storytellers, business leaders, filmmakers, lawyers, media figures and more shared their stories and sought the next steps to establish the parameters for lasting change across industries and the pay spectrum. Schipper was briefed to capture strong, impactful portrait images of the speakers who participated in the Times Up panel discussions. The participants included prominent contemporary actresses such as two-time Golden Globe Award winner Marisa Tomei, Oscar Award winner Julianne Moore, Sienna Miller (“American Sniper”), Primetime Emmy nominee Jurnee Smollett, Primetime Emmy Award winner Mariska Hargitay, activist Tarana Burke and author Elaine Welteroth.

Julianne Moore (left) and Jurnee Smollett (right) shot by Monica Schipper for Tribeca Talks: Time’s Up

The portrait studio was a last-minute addition to the TIME’S UP event, requiring focused professionalism and a fair bit of improvisation on Schipper’s part. Finding a flow between solo and group shots within time and lighting constraints was a challenge, but Schipper and her team were well up to the task, adopting a minimalist approach to capture the authenticity and charisma of the featured panelists.

“TIME’S UP wanted something clean and simple so as to not distract from the personalities involved,” explains Schipper. “Working with these amazing people and being a part of something so important was incredible.”

In 2018, Schipper was hired by iconic fashion brand Calvin Klein to orchestrate a series of celebrity portraits backstage at their Fall Fashion Week, hosted at the New York Stock Exchange. The series boasts a plethora of entertainment A-listers such as supermodel Naomi Campbell, actress Kate Bosworth (“Blue Crush”), Rami Malek who won an Oscar for his performance in “Bohemian Rhapsody,” Oscar nominee Jeff Goldblum (“Jurassic Park”) and two-time Primetime Emmy nominee Millie Bobby Brown, and the results are simply stunning.

One would never guess that Schipper had to scramble to create the backstage shoot with next-to-no prep time. Not only did she have to navigate the logistics of a high-pressure session in a tiny hallway corner, amidst each of the talent’s entourages, she also had to manufacture a creative solution for the corridor’s unamenable artificial lighting.

“I had maybe a minute to get set up before people started arriving. It was one of the fastest scrambles to prep for a shoot I think I’ve ever had!” says Schipper reliving the moment. “I had to work with what I had, so I used the black wall as a backdrop and bounced my flash off the white wall creating a giant softbox effect.”

The improvised setup initially raised concern among some of the subjects, namely model Naomi Campbell—no stranger to a photoshoot! But Schipper’s results and professionalism quickly spoke for themselves.

“When Naomi Campbell came through I took one frame of her before she stopped me, citing the ugly overhead lighting,” Schipper tells, “but I explained what I was doing with my setup, and then I showed her my shot, to which she replied ‘Oh! That looks nice, keep going!’.”

The Calvin Klein Portraits series were a resounding success for both the fashion brand and Schipper. The portraits have since been featured in Elle, People, W, GQ, Esquire, Teen Vogue, Pitchfork and BET, to name a few. It is among Schipper’s most memorable shoots to date, showcasing both her technical finesse and her intuitive artistry behind the lens.

“The most interesting thing about the Calvin Klein series was the technical challenge,” the photographer states. “Most people who view them believe they were taken in a full studio setup, not a quick backstage shoot.”

Schipper has gone on to photograph countless big-name events in both the entertainment and political sphere, regularly shooting for the New York Women’s Foundation and the MS Foundation. These successes led to further work with prominent global organizations including the Women in the World Summit, the United Nations Women for Peace Association, International Women’s Day at the United Nations headquarters, Michelle Obama’s Let Girls Learn global conference and many more.

Having achieved so much already in the world of photography, we were eager to hear what we can expect next from the lady behind the lens.

Photographer Monica Schipper in front of a billboard she shot of Mandy Moore for OptiLight by Lumenis in New York’s Time Square

“I’d love to shoot a magazine cover portrait, to do work where I have more creative freedom and have the ability to collaborate with other talented creatives,” Schipper says. “There’s something special about being able to capture a moment in time. When people look at a photo it transports them back to that moment.”

Whatever Monica Schipper sets her focus on next, you can bet it’s only a matter of time before it’s seen in publications everywhere.

Uncategorized

DAN HAMILL ON HIS UPCOMING TRANSITION TO THE US

October 6, 2021 Nicole Sim Leave a comment

Dan Hamill has already established himself as a successful actor, singer and entertainer in Australia, so it’s no surprise that offers from the US to work on a slew of exciting projects have come calling.

The acclaimed actor and singer, and industry leader, originally graduated from the esteemed Western Australian Academy of Performing Arts, the same school which produced Hugh Jackman and Suicide Squad star Jai Courtney. That Hamill is poised to take a place on the international scale of these fellow artists is no surprise to those who have tracked his career thus far.

“I feel super fortunate for the opportunities coming from the U.S. at the moment. On my first trip to the states I remember there was an initial element of fear of the unknown and making that jump.”

He continues “[After actually being there however], there’s a real palpable energy to LA in particular, that really drives you to be counted and go for it! I just feel really lucky to be doing what I love, playing, and continuing that creative journey overseas.”

Dan’s acting experience is only part of his story as an entertainer. His experience as a singer is just as storied and celebrated as his acting career, with each experience informing the other.

His appearances as a singer on the reality singing competition, The X Factor, showcased his ability to capture the audience and industry professionals alike, earning standing ovations from judges and acclaimed singers Chris Isaak and Guy Sebastian. Dan was a finalist in The X Factor and was also a finalist on the singing show Popstars (notably, when he was only 18). Being a finalist on these shows is a heralded accomplishment in Australia as singers are narrowed down from tens of thousands auditionees to 12 or 10 finalists. Hamill is a passionate and skilled performer, and this is confirmed by the accomplishments that he has accrued from a young age. It’s no surprise that these experiences, along with his many acting roles, have positioned him to be in demand by those in the US market, as by those filmmakers at Sol Media in California, and others in Tulsa.

Dan Hamill singing live on popular television series, ‘The X Factor.’

Hamill notably made a memorable appearance in The Doctor Blake Mysteries, an Australian television series produced by the ABC network. The popular period drama showcased Dan in the role of Steven Morris, the son of the titular character’s former ally – something which echoed the history of the protagonist’s circumstances and signified Hamill’s greater implied presence in the world of the series.

As someone who excels in both music and acting, Hamill also delivered a memorable turn on House Husbands, sharing the screen with Firass Dirani (from Oscar-winning Hacksaw Ridge) and Australian icon Hugh Sheridan. The show, about fathers dealing with the responsibility of raising children and managing careers in a balance of comedy and drama, welcomed Hamill as a dark and antagonistic force that represented a distinct danger to the ‘house husbands’ and the women in their lives.

“There’s nothing more enjoyable than playing the villain! … I think we all have light and dark within us, so being able to lean into a darker aspect of self on screen, and really understand how characters become that way, really fascinated me. Villains are never villains in their own mind and bringing compassion and understanding to that, no matter the character, is truly one of my favourite things about this craft.”

Dan’s capacity to access edge in the course of playing different characters was notably signified with his performance in Between Me, directed by Sundance filmmaker Kim Farrant, who helmed Strangerland with Oscar-winner Nicole Kidman. Between Me notably screened at festivals in Cannes and in the United States, planting the seed for Hamill’s international recognition which has led up to the current moment in which he is in demand by filmmakers and producers alike.

Few actors possess the expertise it takes to play the complexities of love and loss as Hamill did in Between Me, and Hamill’s performance thus distinguishes him from other actors.

Dan on the red carpet at the Alannah & Madeline Foundation Ball. No doubt he’s primed for more in the US.

Dan Hamill with fellow well-known Australia actor, Michala Banas. Dan is often invited to such illustrious events to promote new film releases.

Of course, such recognition was no surprise given the Sydney Morning Herald, Australia’s leading newspaper, praised Hamill’s performance in Glimpse around the same time, the debut project of the Kin Collective of which Hamill was a founding member. In that production, amidst a cast of characters whose lives are falling apart and who do not communicate well with one another, Hamill and the cast go on to show that encounters with strangers can ultimately bond through their shared humanity, and as a result, we all share more connections that we may initially think we do.

This international pedigree and diverse selection of showcases on international platforms clearly set the stage for Hamill to be selected from a wide crop of actors and entertainers, and while the details of his projects in the US remain under wraps, Hamill is excited for the future.

“The future is looking really fun. I feel really heartened and proud of the opportunities that have presented themselves. I’ve honestly worked really hard on myself to be able to hold this space confidently and authentically…Life is very good.”

Uncategorized

Nice Work If You Can Get it: Performer paris martino lands her dream job

August 9, 2021 Lorraine Wilder Leave a comment

By Patrick Elliot

As a singer, dancer, an actor on screen and stage, award-winning performer Paris Martino enjoys a diverse artistic diet that includes multiple genres, disciplines and settings. Whether a featured soloist at star-studded galas and fundraisers or as part of an ensemble theater troupe, Paris unfailingly rises to the occasion. Her enthusiasm and wholistic proficiency illuminates every role, but recently she landed a true dream job, playing the female lead in the Weathervane Theater’s production of Tony-winning musical comedy Nice Work if You Can Get It.

“I love musical comedies,” Paris said. “They take us back to the core of musical theatre. While I do love contemporary musicals, every once in a while it’s wonderful to work on a fun, lighthearted musical that provides escapism to your audience.”

Nice Work if You Can Get It certainly delivers that. Set in the Roaring 20s, the fast-moving, boozy romp showcases the timeless songs of George & Ira Gershwin, with 9 of them performed by high-spirited female bootlegger Billie Bendix.

“I played Billie Bendix, the female lead of the show who sings the bulk of the music and had the most scene work,” Paris said. “I prepared for the role by watching many movie musicals of the time. This helped me do research, as well as develop my characterization—it was important to me to move and sound like women of the era did.”

Characteristically, the Canadian-born, Manhattan-based performer not only drew on her formidable natural talent but also the skill and knowledge acquired during the formal training she has pursued since childhood—her mother owned a dance studio where Paris began dancing at age 3! Vocal and acting lessons naturally followed and as a teen she entered the renown regional arts program at Ontario’s Mayfield Secondary School, acting in the school’s theatrical productions while also taking advantage of their dance program.

After graduating, the gifted, ambitious Paris was accepted at the famed Boston Conservatory at Berklee, earning a Bachelor of Fine Arts degree in Musical Theatre and Dance. Additional intensive studies at the Performing Arts Project and New York City Dance Alliance elevated her creative capacity to an altitude that afforded her some high-profile awards, including a 2014 win in the Ontario Music Festivals Association’s musical theatre division and being named National Triple Threat at 2010’s Onstage New York Talent Competition—fiercely competitive events that saw her best 2000 contestants at the former and 500 others at the latter.

It was the Summer of 2020—the pandemic’s peak—and New Hampshire’s Weathervane Theater was one of a very few venues offering live performances, a fact that made landing the part of Billie was almost as challenging as her award competitions.

“I auditioned approximately four times, first at Weathervane’s initial auditions and then I was called back a few times to be a part of the company for that season,” Paris said. “Once I was accepted, the creative team auditioned us again, by having us read and sing songs from Nice Work. It was only after then that we were cast.”

“Preparing for Billie was difficult as she is not a typical ingenue,” Paris said. “She is a bit of a tomboy which was fun to play but it was also challenging, as I had to find the delicate balance between that boisterous energy and her boy-crazy feminine nature.”

Partly based on the 1926 Gershwin music Oh, Kay, the madcap plot involves a boozy playboy’s wild bachelor party, the problem of where to stash Billie’s 400 cases of smuggled gin and the protagonist’s unlikely romance, put over via the Gershwin’s immortal show tunes.

“I grew up on Gershwin, so I am very familiar with the songs,” Paris said. “I approached the music with that knowledge and cultivated a sound that I believe did the music justice.”

Paris was reliably electrifying in the part, delivering a perfected mix of flapper-era flamboyance, impeccable comic timing and flawlessly expressive vocal delivery. She made it look easy, but the reality was quite different.

“This role was as fruitful as it was anxiety inducing,” Paris said. “Before this, I had never taken on the responsibility that a character like Billie demanded so naturally I was fearful of not rising to the occasion, and even more so as this show was headlining the theatre’s season. The anxiety faded in rehearsal as I found the similarities between myself and the feisty, loud Billie Bendix.”

Nice Work if You Can Get It rates as any performer’s ideal vehicle, smart, sophisticated, hilariously funny and loaded with some of the most gorgeous songs in Broadway’s rich history. Paris savored every moment of the show’s SRO, 4 week run.

“The experience was incredibly rewarding. I gained so much knowledge, the most important being how to lead a show and take care of myself during such an intense process,” Paris said. “Opening night was wonderful. This was definitely a highlight of my career—and I was also thrilled to star in a show that brought so much joy to people during the pandemic.”

Paris’ exceptional mixture of technical skill, emotional authenticity and high voltage creativity enable to her execute characterizations of tremendous nuance and depth, skills she also brings to bear with dazzling facility as an interpreter of the Gershwin’s stunning classics “These are some of the most beautiful love songs ever written,” she said. “I was incredibly lucky to get to perform them in a professional setting rather than in just my shower!”

Film Editors

Video Editor Camila Mejía Duque’s Powerful Representation of Queer Films in Media

July 2, 2021 Lorraine Wilder 2 Comments

In a society that maintains a cultural taboo around queer identity and expression, video editor Camila Mejía Duque has chosen to use her platform as an influential filmmaker to create purposeful stories that accurately portray and represent the LGBTQ+ community. Her main objective when working on a film is to tell stories that convey who these people are beyond their sexual orientation—a detail that filmmakers and audiences alike tend to fixate on.

When editing a film, Mejía Duque’s ability to highlight the subtle undertones of a scene helps her bring the director’s vision to life in a way that feels nuanced and true to life.

Video editor Camila Mejía Duque – Photography by Daniela Gerdes

Over the years Mejía Duque has worked on several award-winning films, such as the 2017 drama “Fragile,” which won Best Indie Film at the 2018 Los Angeles Film Awards, and “The Fat One,” which was an Official Finalist at the 2017 Los Angeles CineFest. Her outstanding work on 2018’s “’64 Koufax” won the Best Editing and Best Film Awards at the 2018 Milledgeville Film Festival and the Best Short Film Award at the Barcelona Planet Festival in 2018, among numerous other awards.

Through her current position with content distribution company Digital Media Rights, Mejía Duque was recruited in 2019 as video editor for QTTV; a digital platform offering an array of cinematic perspectives for the LGBTQ+ community. QTTV’s cutting-edge films explore sensual themes and rousing coming-of-age stories, and are available for streaming via Amazon Prime Video, Samsung TV Plus and Yuyu TV.

“Camila understands what the audience wants and what the team’s goals are very quickly,” says Deli Xu, Director of Digital Media Rights. “Her creativity, enthusiasm, and dedication are qualities hard to find combined in one person, and the value she adds to our team is tremendous.”

With an audience of close to 400,000, QTTV tapped Mejía Duque’s editing expertise to entice their subscribers to stream more of their full-length feature films with seductive previews. Mejía Duque’s tantalizing edits strike a balance between sensual and engaging, showcasing the emotional depth of the films without sacrificing the integrity of the full story.

“I prioritize message over everything, and in an industry that sometimes focuses more on aesthetics, I feel that separates me from other editors,” says Mejía Duque. “I obviously want things to look good, but I will always sacrifice an aesthetically pleasing shot for a stronger performance, or for something that has more meaning.”

QTTV’s 2020 film “Godless” uncovers the sexual tensions and layered emotions between two step brothers, but due to the filial aspect of their connection, their feelings are less than ideal. Given that Mejía Duque’s target audience is mainly homosexual men, she curated an arousing edit which explores the sensitivity of the topic, while providing a sense of appropriation for her viewers.

“I always want to make the film attractive and appealing to viewers,” Mejía Duque explains. “I really wanted to showcase the fact that there’s nothing ‘perverted’ about the relationship.”

Mejía Duque’s strength in capturing the emotional and sexual chemistry between the characters, whilst remaining authentic to the script was the foundation that led to the clip garnering over 4.2 million views on YouTube. “Godless” was also an Official Selection at the 2020 Flickes Rhode Island International Film Festival, and was awarded Festival Favorite at Cinema Diverse: The Palm Springs Gay and Lesbian Film Festival in 2020.

Behind the scenes with Camila Mejía Duque – Photography by Daniela Gerdes

The way Mejía Duque manipulates the rhythm within her videos leads viewers to form an emotional attachment with the storyline. Her diligence in filtering through endless hours of raw footage to find those magical character-defining shots helps to perfectly portray authentic personalities in queer films, which can often be misrepresented by the media.

The flirtatious Danish film “Speed Walking,” released via QTTV in 2020, explores a young teen’s conflicting impulses towards both men and women. Mejía Duque’s carefully curated edits helped to break down social stigmas against nonconformist relationships, and encouraged open conversation between young teens around the world about their right to express their desires freely.

“It was very important to me that the film show how genuinely confused these kids were, and how normal it is to explore romantic and sexual feelings in your adolescence,” explains Mejía Duque.

“Speed Walking,” which has over 3.4 million views on YouTube, reached international acclaim at the Chicago International Film Festival (2020), the Danish Film Awards (2020), and the Bodil Awards in Denmark (2020).

Camila Mejía Duque’s unwavering success in curating sensual content which blurs the lines between gender and sexuality, much like her work with QTTV, has helped people around the world to identify with their own sexual orientation. Through her comprehensive film edits, she continues to defy taboos around queer identity and draw focus to an authentic representation of LGBTQ+ culture in media.