{"id":226547,"date":"2024-05-03T09:20:04","date_gmt":"2024-05-03T08:20:04","guid":{"rendered":"https:\/\/www.avisualpro.es\/sigma-x-avisual-workshop\/"},"modified":"2026-10-02T15:53:30","modified_gmt":"2026-10-02T14:53:30","slug":"sigma-x-avisual-workshop","status":"publish","type":"post","link":"https:\/\/www.avisualpro.es\/en\/sigma-x-avisual-workshop\/","title":{"rendered":"Sigma x AVisual Workshop"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">On April 25, we held a free workshop at AVisual STUDIOS with Sigma and Reflecta, featuring cinematographer Artur-Pol Camprub\u00ed, analyzing his projects with the <strong><a href=\"https:\/\/www.avisualpro.es\/en\/categoria-producto\/optics-and-accessories\/pl-mount\/sigma-cine-pl\/\">Sigma cinema lenses<\/a> from the High Speed Prime range<\/strong>. If you were unable to attend, you can watch it below and learn everything about these cinema lenses. <\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Workshop Sigma x AVisual con Artur-Pol Camprub\u00ed\" width=\"960\" height=\"540\" src=\"https:\/\/www.youtube.com\/embed\/Xd7ET35JiiE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<div class=\"wp-block-uagb-advanced-heading uagb-block-2a618d14\"><h2 class=\"uagb-heading-text\">Workshop Summary<\/h2><\/div>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<h3 class=\"wp-block-heading\"><strong> Introduction<\/strong><\/h3>\n\n<p class=\"wp-block-paragraph\">The talk presents the work of a young director through two films: <strong>\u201cTolyatti Adrift\u201d<\/strong> and <strong>\u201cThe Human Hibernation\u201d<\/strong>, both characterized by their <strong>independent, experimental, and poetic<\/strong> approach.<br\/>The director reflects on how to create cinema with limited resources, the relationship between <strong>perception, light, and shadow<\/strong>, and the role of <strong>mystery and absence<\/strong> as expressive elements in visual and sound narrative.<\/p>\n\n<h3 class=\"wp-block-heading\"><strong>1. \u201cTolyatti Adrift\u201d: Youth, Crisis, and Resistance<\/strong><\/h3>\n\n<h4 class=\"wp-block-heading\"><strong>Context and Theme<\/strong><\/h4>\n\n<ul class=\"wp-block-list\">\n<li>Set in <strong>Tolyatti<\/strong>, a Russian city symbolizing Soviet pride for its automotive industry (the Lada factory).<br\/><\/li>\n\n\n\n<li>After the fall of the USSR and the closure of several plants, Tolyatti went from being one of Russia&#8217;s most prosperous cities to one of its poorest.<br\/><\/li>\n\n\n\n<li>The film establishes an <strong>autobiographical parallel<\/strong> with the director, originally from Abrera (Barcelona), where an automotive industry (SEAT) also existed and declined over time.<br\/><\/li>\n<\/ul>\n\n<h4 class=\"wp-block-heading\"><strong>Plot and Symbolism<\/strong><\/h4>\n\n<ul class=\"wp-block-list\">\n<li>It tells the story of <strong>Tolyatti teenagers<\/strong> who, in a counter-cultural gesture, rescue old Soviet cars to engage in <strong>illegal races<\/strong> as a form of expression and protest.<br\/><\/li>\n\n\n\n<li>This youth movement represents the <strong>search for identity<\/strong> and <strong>resistance against economic and social emptiness<\/strong>.<br\/><\/li>\n\n\n\n<li>The title <em>\u201cTolyatti Adrift\u201d<\/em> symbolizes this feeling of generational disorientation.<br\/><\/li>\n<\/ul>\n\n<h4 class=\"wp-block-heading\"><strong>Production and Filming<\/strong><\/h4>\n\n<ul class=\"wp-block-list\">\n<li>A <strong>small and creative<\/strong> project, carried out by a team of only <strong>five people<\/strong>.<br\/><\/li>\n\n\n\n<li>The lack of resources was compensated with <strong>technical ingenuity<\/strong>, such as borrowing a crane or using a tractor with a pallet to film aerial shots.<br\/><\/li>\n\n\n\n<li>The director emphasizes the value of <strong>flexibility and improvisation<\/strong> in independent shoots.<br\/><\/li>\n\n\n\n<li>The lenses used (Sigma 18\u201335 mm and 50\u2013100 mm) were key for their <strong>versatility and luminosity<\/strong>, allowing scenes with low light to be resolved.<br\/><\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>2. \u201cThe Human Hibernation\u201d: Ecological and Poetic Fiction<\/strong><\/h3>\n\n<h4 class=\"wp-block-heading\"><strong>Synopsis<\/strong><\/h4>\n\n<ul class=\"wp-block-list\">\n<li>A <strong>hybrid film between documentary and fiction<\/strong> that imagines a future where humanity, facing a climate crisis, <strong>learns to hibernate<\/strong>.<br\/><\/li>\n\n\n\n<li>Through the eyes of a young woman who awakens to find her brother has disappeared, the story reflects on <strong>solitude, time, and human transformation<\/strong>.<br\/><\/li>\n<\/ul>\n\n<h4 class=\"wp-block-heading\"><strong>Style and Message<\/strong><\/h4>\n\n<ul class=\"wp-block-list\">\n<li>Combines a poetic perspective with a reflection on <strong>human adaptation<\/strong> to environmental collapse.<br\/><\/li>\n\n\n\n<li>An example of how <strong>quality cinema can be made with limited means<\/strong>, prioritizing concept and atmosphere over extensive resources.<br\/><\/li>\n\n\n\n<li>The film has received <strong>international recognition<\/strong>, just like <em>Tolyatti Adrift<\/em>, demonstrating the potential of independent cinema.<br\/><\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>3. Sensory Exercise and Reflection on Perception<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li>In her workshops, the director proposes an <strong>audio and light exercise<\/strong> where the audience closes their eyes and listens to sounds for 10 minutes to explore how we perceive images without seeing them.<br\/><\/li>\n\n\n\n<li>The experience reveals that even with closed eyes we continue to \u201csee,\u201d and serves to discuss <strong>perception as an active and interpretive phenomenon<\/strong>.<br\/><\/li>\n\n\n\n<li>She quotes philosopher <strong>Rafael Argullol<\/strong> and his reading of a poem by <strong>Paul Val\u00e9ry<\/strong>, in which excessive light causes blindness, symbolizing that <strong>only by integrating shadow do we truly begin to see<\/strong>.<br\/><\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>4. Absence as a Form of Expression<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li>She analyzes a scene from <em>\u201cThe Birds\u201d<\/em> by <strong>Alfred Hitchcock<\/strong>, highlighting that the most unsettling aspect is not the attack, but the <strong>absence of sound<\/strong>.<br\/><\/li>\n\n\n\n<li>This conscious decision to eliminate noise creates an <strong>atmosphere of tension and mystery<\/strong>, demonstrating that <strong>silence can say more than an excess of information<\/strong>.<br\/><\/li>\n\n\n\n<li>She quotes a phrase from <strong>Einstein<\/strong>:<br\/><br\/>\u201cThe most beautiful experience a man can have is the sense of the mysterious.\u201d<br\/>With it, she argues that <strong>art is born from wonder and from what we do not fully understand<\/strong>.<br\/><\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>5. Theory of Perception and Light<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li>Based on the Gestalt image of <em>\u201cThe Young Woman and the Old Woman\u201d<\/em>, she reflects on how the <strong>brain interprets<\/strong> what it sees: reality is the same, but meaning depends on the perspective.<br\/><\/li>\n\n\n\n<li>She mentions the book <em>\u201cCatching the Light\u201d<\/em> by <strong>Arthur Zajonc<\/strong>, who studies the history of light from mythologies to quantum physics.<br\/><\/li>\n\n\n\n<li>The director connects these ideas with <strong>Goethe<\/strong>, recalling that blue and shadow are part of light intensity:<br\/><br\/>\u201cOnly when shadow appears does consciousness also appear.\u201d<br\/><\/li>\n\n\n\n<li>In cinema, this translates to <strong>absence (of light, sound, explanation)<\/strong> being the element that generates true emotion and meaning.<br\/><\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>6. Technical Reflection: Lenses and Versatility<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li>In small productions, <strong>Sigma zoom lenses (18\u201335 mm and 50\u2013100 mm)<\/strong> are essential for their speed, range, and aperture (f\/2), allowing adaptation to variable lighting conditions.<br\/><\/li>\n\n\n\n<li>The director emphasizes that technology must <strong>serve creativity<\/strong>, not the other way around: limited resources can drive more imaginative solutions.<br\/><\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>Conclusion<\/strong><\/h3>\n\n<p class=\"wp-block-paragraph\">The talk combines <strong>philosophical reflection and practical experience<\/strong>, showing how cinema can be a tool for <strong>exploring perception, mystery, and consciousness<\/strong>.<br\/>Through <em>Tolyatti Adrift<\/em> and <em>The Human Hibernation<\/em>, the director demonstrates that with <strong>ingenuity, sensitivity, and limited means<\/strong>, it is possible to create profound and visually powerful works.<br\/>Her final message invites us to <strong>view cinema as an act of perception and discovery<\/strong>, where light and shadow, sound and silence, reveal the true essence of the visible.<\/p>\n\n<div class=\"wp-block-uagb-advanced-heading uagb-block-94189b54\"><h2 class=\"uagb-heading-text\">Questions and Answers<\/h2><\/div>\n\n<h3 class=\"wp-block-heading\"><strong>What lenses were used in \u201cTolyatti Adrift\u201d?<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li>Zoom <strong>Sigma 18\u201335 mm<\/strong> and <strong>50\u2013100 mm<\/strong>.<\/li>\n\n\n\n<li>Highlighted for their <strong>versatility and luminosity<\/strong>, they allow filming in <strong>low light<\/strong> conditions and adapting to shoots with limited resources.<\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>Why were these lenses chosen for small projects?<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li>They combine <strong>speed, range, and f\/2 aperture<\/strong>, offering flexibility in scenes with variable lighting.<\/li>\n\n\n\n<li>They allow covering different shots without constantly changing lenses, ideal for small teams.<\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>What role do light and sound play in these films?<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li>The relationship between <strong>perception, light, and shadow<\/strong> is explored as a narrative tool.<\/li>\n\n\n\n<li>The <strong>absence of light or sound<\/strong> is used as an expressive resource, creating mystery and emotion.<\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>What practical exercises were carried out in the workshops?<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li>Sensory exercises of <strong>audio and light<\/strong>, where the audience closed their eyes to perceive images without seeing them.<\/li>\n\n\n\n<li>Demonstration of how <strong>shadow, light, and silence<\/strong> can enhance visual and sound narrative.<\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>What philosophy guides the use of equipment in these films?<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li>Technology is <strong>at the service of creativity<\/strong>, not the other way around.<\/li>\n\n\n\n<li>Limited resources foster <strong>ingenious and imaginative solutions<\/strong>.<\/li>\n\n\n\n<li>Lenses and tools are chosen to <strong>maximize expression and adaptability<\/strong>, not just for their brand or technology.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>On April 25, we held a free workshop at AVisual STUDIOS with Sigma and Reflecta, featuring cinematographer Artur-Pol Camprub\u00ed, analyzing [&hellip;]<\/p>\n","protected":false},"author":7469,"featured_media":96922,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"_uag_custom_page_level_css":"","footnotes":""},"categories":[1665],"tags":[],"class_list":["post-226547","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-workshops-2"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sigma x AVisual Workshop - AVisual PRO<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.avisualpro.es\/en\/sigma-x-avisual-workshop\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" 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