Tulum from a different perspective

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Revisiting Tulum after 12 years was an amazing experience, the first time I went there I was 15 years old and ready to explore the world, Tulum always called for me and I had to answer, I remember I took all of my savings went to the bus station and set out for adventure. My sister was 10 at the time and she was sad I would leave her so I took her with me. We didn’t even have a camera and I was just carrying a bag.

I remember she was kind of scared, we almost missed the bus and had barely enough money to pay for it. We ran for the bus station and catched the last call for it, in that time the bus went from Cancun all the way to the mayan town corridor and stopped in Tulum, we drove for more than a couple of hours, in those years the roads were very precarious in Cancun, there were no bridges or even nice pavement, it was a one lane road from Playa del Carmen on to the rest of the state.

Unlike in Cancun, the bus didn’t stop in a station, it just stopped in a bumper in the middle of the road and the driver shouted “Tulum” so we rushed to get off otherwise we would end up having to wait for the next town and with no way of coming back.

We got off and we were just there in the middle of the road, a couple of handcraft stores and a couple of restaurants. We walked to look for the sign indicating the ruins, we found it and our journey started, walking the dirt road unaware of what we would find.

That is one of the beauties of Tulum, it makes you walk up and starts to unveil it’s magic in front of you.

Nowadays as you get to the site there are a lot of restaurants and handcraft stores, bathrooms, and many services.

On this visit I brought my camera with me and tried to look at Tulum from a different perspective. Without the comfort of my zoom lens, I just took my 50mm attached and threw my camera in my beach bag.

As you go in, the place starts to appear as you move forward.

I loved seeing that some of its original fauna still lives there, a lot of Iguanas lay around in all sizes trying to blend with the soft grey stone.

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As you keep walking you can feel this sacred place was dedicated to Venus and something just vibrates with mysticism. First temples and signs of gods begin to appear.

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The architecture is very particular, lovely and amazingly well preserved, it stands there in front of you without losing it’s essence.

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As you continue to walk you start climbing as the ground goes up, it’s an amazing moment because you can’t really see much, until you get to the highest part of the ground only to unveil the heart of this magical city

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The view is absolutely breathtaking, I remember the first time I saw it, I couldn’t believe it, I didn’t have a camera so I just stared at it trying ti keep that image in my mind, then I went down for a swim, and tried to blend with the place. I just wanted to stay there forever.

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The ancient mayan city was originally named Zam谩 (Dawn) probably because of its beachside location.

In ancient times it was a very important city for commerce and for religious ceremonies to honor Kukulkan the descending god.

Tulum was still an active city inhabited by mayans when the spaniards arrived to Yucatan and Quintana Roo, but due to the heavy epidemic diseases they brought, the city was abandoned shortly after.

Due it’s amazing landscapes it has been one of the most visited archeological sites in Mexico and because of this, the heirs of the mayan culture that still visited Tulum as a sacred ceremonial place in the XXth Century, have decreased their spiritual activities at the site.

Nonetheless, Tulum in itself both the site and the city have a very clear mystic quality that attracts people from all over the world.

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This wonderful city protected by the high rocks of the coast and the marine reef was one of the most beautiful cities in mayan culture and a very important reference for sailors and traders in the sea, who took the Castle as a reference to avoid getting caught in the reef.

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The castle also served as a lighthouse, because of the way it was built, the sun would come across a couple of windows protecting the light into the ocean and guiding mayan traders on their canoes.

They also had a hurricane warning system, on the top of a temple there’s a hollow rock they carved facing the ocean, when the wind speed would become hurricane like, the hollow rock acted like a whistle warning everyone.

Thanks to Ina and Pazit for sharing it with me and allowing me to visit Tulum again.

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Evolution of my dietary habits

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Lately I have started to pay more attention to what my body tells me, it’s amazing how loud and clear its own voice is and how organically the body works.

I have been trying to observe the connection between my eating habits and the way I feel physically, mentally and spiritually.

Without adopting any particular style or diet I have been trying to eat what my body works better with. One of the principles of ayurveda is knowing your body type and I have always liked the idea because it’s true that not every food suits the same for everyone and listening to your body is a way of honoring and respecting yourself.

I have never been a big fan of eggs or milk, or red meat and it has been interesting to observe that whenever I eat any form of meat, I feel like I usually do because I’m used to it but my mood is absolutely heavier, I get angry and aggressive with a lot more ease and my bowel movements are heavy and slow.

Whenever I don’t eat any form of meat I feel more balanced, like more in tune with myself, my values, my inner peace, I just have a brighter perspective or reaction on things and I don’t crave any sort of heavy, meat or too sweet food.

After that experiment I realized that I wanted to change the way I normally eat, how I was brought up and start eliminating the foods I don’t like, but of course this is a big deal, a process like that might seem so easy like saying, I just won’t drink milk but you still need to get the nutriments you would have gotten.

That being said and after trying by myself to see how I felt I did feel some lack of energy, so I went to the nutrionist and I am thrilled with the experience.

The nutrionist I visit is a specialist in sports nutrition so I love that because I can incorporate my physical activity to my energy requirements in my diet. Although I don’t train any formal sport, I like to keep a dynamic routine at the gym alternating the options for cardio and doing the weight training, and of course my yoga (Can’t live without it).

What I learned was very interesting because although my weight is in a normal range for my height, my body fat levels are pretty high.

This are the numbers I am interested in looking at, because your weight doesn’t necessarily reflect your in depth health status. What probably happened to me is that since I have been reducing my intake on animal protein, I wasn’t reaching the same amounts of protein I need from other sources, for instance, I know that legumes have protein but I didn’t know how much I would need to eat to reach the proper amount of protein my body needs, and since I am exercising, my body 聽starting using the muscle instead of the fat, because it felt the need to store it, therefore my body fat levels went up.

I also learned about the proper sources for protein in non-dairy milk, I have read there is a lot of options like almond milk, which I used to drink, but in terms of protein the amounts you get are minimal, the proper substitute would be soy milk.

I also learned that in order to absorb the iron in legumes there needs to be a presence of citric acid, which I didn’t know.

My eating plan right now is amazing and I love it, for the first time in my life I have been able to wake up early without having to drag myself out of bed, literally, it came to a point where it was annoying I wanted to wake up and I couldn’t.

I feel absolutely great, with perfect energy levels, I feel satisfied with every meal, I get to eat things I love and cook and experiment with recipes and what I can come up with, my endurance at the gym is fab, I feel even better than before and my mood is shining. I feel much more connected to myself but I definitely needed professional advice on how to make the transition and make the most out of it for my lifestyle.

I really recommend that you visit an expert in nutrition even if you don’t want to change, if you feel like something within your body doesn’t work quite right, and you’re healthy and “normal” maybe you are not really getting the fuel you need, you won’t be sick for a doctor or anything, but you will certainly see the difference when you eat what’s right for you. What we eat is one of the most important factor in our overall health.

I am convinced that if you want to lose weight, the key to success is the kitchen.

I will be sharing more of this new journey in my life that I’m very excited about 馃榾

The tacos that made my mother crazy n.n

I feel so honored that such a great cook as my mother had gone absolutely mad with my vegan version of tacos…

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I love the blend of tastes you get from this recipe combining the 6 flavors in ayurveda but also I love that people don’t even have an idea that they are not eating meat in this tacos.

Ingredients:

3 medium size potatoes

1/4 onion

A handful of walnuts and a handful of almonds without peeling.

Fresh cilantro

Salt (to your liking)

1 cup of oatmeal (non sugar)

1/2 cup of wheat bran

1 clove of garlic

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Preparation:

Wash and peel the potatoes, cut them in pieces and boil them with the sliced garlic.

While they boil, slice the onion into cubes, the cilantro, the walnuts and the almonds and reserve.

When the potatoes are done, dispose of the water excess and mash them.

Then add a little salt along with the sliced onion, cilantro, walnuts and almonds, add the oatmeal and the wheat bran.

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Mix it all together. And finally add a little of condiment sauce (here in mexico it’s called maggi sauce) it’s a seasoning sauce made out of soy and it looks a lot like soy sauce, just saltier.

You can serve the preparation as “hamburger” or dumplings, you can give it shapes and cook it, fried in a pan.

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Or you can just have it raw. For the tacos I decided to serve it raw on a blue crispy heated tortilla and top it with alfalfa and broccoli sprouts and a slice of avocado.

To go with them, a green salsa with fresh cilantro, or xni-pec salsa.

DSC06275 copiaThey had such a positive effect on my family’s tummy that they have asked me to do them practically every day XD.

This vegan tacos are great for every dietary lifestyle and they are also good for every body type.

They are light, easy to digest and a very balanced meal since they incorporate all of the 6 tastes in ayurveda.

Sweet, Sour, Salty, Pungent Bitter and Astringent. Each of the tastes has a specific body function and since the recipe has them balanced, Vata-Pitta-Kapha mind-body constitutions can indulge freely.

 

 

Liver Detox Juice

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I found this recipe of a liver detoxification juice that was awesome because I had all the ingredients right at hand.

The blog is pretty awesome too, I really liked it.

Benefits of the juice: “This juice promotes the flow of bile and fat to and from the liver. The liver is the most important organ for metabolism and detoxification so if you are looking to lose weight and clean up your system, this juice is for you!” – Sonnet

Sonnet’s recipe:
Love Your Liver Juice
Makes one 8 – 12 oz juice

2 medium beets
1-inch piece fresh ginger
1 lemon, peeled
small handful cilantro
1 chard leaf
1/2 red apple (optional)

Photo: fortheloveoffoogblog.com

X’nipec Salsa- Mayan Salsa Recipe

Living in the Yucatan Peninsula area of Mexico, we have the blessing and the opportunity to coexist with the surviving mayan culture.

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X’nipec (Shnee Pek) means “wet dog’s nose” in mayan and it receives it’s name after that moisty nose dogs have, 聽the effect the sauce has when you eat it causes 聽your nose to produce secretions (you feel the spicy effect.)

Anyone who has been to the Yucatan Peninsula and has eaten traditional food, might have seen it, it is a very typical dressing for modern Yucatan-Quintana Roo cuisine.

I decided to prepare my own version of X’nipec taking into account my particular approach on eating-food-cooking in general.

Sharing the recipe and hoping that people all over the world get to try this very simple yet powerful source of well-being.

Ingredients:

1/2 Purple Onion (typicall to the mayan mexican region) in case you can’t find it you can use white onion.

1 Habanero Pepper (typically grown in the Yucatan Peninsula) you might get it at the supermarket, since it’s an export from mexico. *There are different colors of habanero pepper, no matter which one you find, it has the same properties.

1 Spoon Fresh Coriander

1 Sour Orange

1 Pinch of Salt

1 Pinch of Oregano

1 Pinch of black pepper

2 Tbsp Vinegar

This recipe is for a small bowl and a mild spicy flavor, if you can handle it more spicy you can duplicate the habanero pepper portions.

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In this case, I used purple onion, a regular orange (not sour because I couldn’t find it) and I added oregano and black pepper to the recipe.

PREPARATION (5 minutes):

Rule number one of every preparation- wash your hands and work with clean utensils (as basic as it is, some people are not used to this rule).

Wash all of your ingredients, cut the orange in half, chop the onion in fine cubes, wash and clean the coriander and chop it, finally chop the habanero*.

*Habanero is a very spicy pepper, make sure you take proper measures to deal with it, use gloves if you need to, and make sure to wash your hands and utensils thoroughly after handling the pepper, never touch your eyes or face after handling the pepper.

For my body type, I don’t enhance strong spicy flavors, so I took away the seeds from the pepper and used only one pepper to make it mild.

After chopping your ingredients, incorporate them in a bowl.

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Add the salt (I used sea salt), the vinegar, oregano and pepper (optional) and finally add the freshly squeezed orange juice.

At this point you’ll be able to smell the typical flavor and tone of x’nipec.

Let it marinate at room temperature at least for one hour before serving, I personally like to leave it overnight.

THE BENEFITS OF X’NIPEC

“Food is medicine and medicine is food” That is one of the principles of ayurveda and I believe it to be true. Feeding our body is much more than tasting something or satisfying the feeling of hunger.

X’nipec is an amazing medicine because it stimulates our digestion, circulation and benefits many of our organs with its ingredients.

Onion: It’s the main element of our recipe and it’s almost raw, onion stimulates our papillae, it helps us to fortify our muscles (in the metabolic-celular level) and it cleans our reproductive system.

Coriander: Diuretic and cleansing, it helps us balance all of our body elements (earth, wind, fire and water).

Pepper: The spicy flavor stimulates the tongue, it makes the eyes, nose and mouth produce secretions, accelerates digestion, gives way to appetite and attacks un-evacuated food residue in our intestines (toxic).

Salt: Activates salivation, helps digestion and body purification.

Orange: Sweet/Acid flavor, it helps build all of our tissue and body functions, the sweet flavor is associated with the sensation of joy. Acid flavor helps to hydrate the body and stimulates the cardiac function.

THE PRE-HISPANIC PERSPECTIVE:

Since it is a recipe of pre-hispanic tradition it also has a wisdom to it. Traditional pre-hispanic herbal medicine recognizes that peppers stimulate appetite, increase the production of urine and menstruation and they fortify the stomach. The intake of peppers should be moderate and balanced, because the excess of it causes intestinal and stomach damage.

TYPE OF NOURISHMENT

I also love this recipe because it’s natural and fits every diet choice. It is raw, vegan, traditional, mystic and healing.

Hope you enjoy it!

The Legend of The Flying Men in Papantla

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In pre-hispanic Mexico, cultures interacted with gods, their cosmogony was a main root on how they lived their lives; being such spiritual people their way of communication with the gods was very sacred and important.

Named as part of the Intangible Cultural Heritage of the world by UNESCO, the ritual known in spanish as “Los Voladores de Papantla”聽 is still performed by many groups and communities throughout Mexico.

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The Legend begins in the middle region of Mexico with the Nahuas, Huastecos and Otom铆es, eventually it gained it’s popularity in the southern and eastern region between the Totonacas and the region of Papantla, therefore the name given in actuality.

Around 1,500 years ago, central Mexico 聽was facing a serious period of drought and a group of brave men set out on a quest to give an offering to the gods that would make it rain, they believed that by performing rituals, and though art, dance and music, the gods that were always watching, would get their message.

They set out to look for the perfect tree, a tree that would be strong and tall enough to get them closer to the gods, they cut it to bring it home, they disposed of the branches, leaving only the log and planting it in the ground.

In the beginning of the ritual, 5 men climbed the tree (approx. 160 ft tall),聽dressing themselves with wings and feathers to appear bird like.

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While the men climbed the tree, a ritual of music with flute and drums was trying to emulate the sound of birds, once on top of the tree, the melody kept rising to get the gods’ attention.

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For a moment the music stopped and then it started again with more intensity and a faster rhythm. While one man standing on the top of the tree (the priest), played the sacred melodies, the 4 remaining men began their descent. They threw themselves into the air face down, tied with ropes to their waists, moving their wings, offering this sign of respect for life, for nature and the skies.

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These men risked their lives for an opportunity of fertile crops and new life for their people. During the descent, each man flew around the tree 13 times.

13 times per men made out the sacred number 52, meaning that the group had created a dance with 52 circles around the tree.

In the mayan calendar 聽52 is the number of years that make up a solar cycle, each year has 52 weeks, after which a new sun is born, therefore a new life on Earth is born.

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After the descent was over, the rain followed and gave away a very prosperous crop season. In exchange the people started performing this offering every year.

This is why this particular ritual is also associated with fertility, the fertility of the Earth and therefore the beginning of all life and it also explains why it was one of the most important and sacred rituals amongst the Totonacas (a matriarchal society).

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Nowadays, in many indigenous communities in Mexico, it’s still a sacred ritual of such importance, that a school has been instituted to train young ones and prepare them to perform this ceremony.

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Although today it is also performed in other parts of Mexico outside the indigenous communities like cities and beaches, the ritual is still performed pretty much in the same way.

Now the flying men wear an ethnic costume; the bright red color, is a symbol of the blood for all the men that have fallen performing the ritual, and their hats are a way to represent the original costumes of birds, they are like a crest or a tail with vibrant colors of Guacamayas or Quetzales.

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Although today the ritual in cities is a representation and a way to teach tourists about mexican culture, in the remaining indigenous communities where they don’t even speak spanish, the ritual is still perfumed with the same sacred nature to ask for a prosperous season and to renew life on Earth.

Photos of “Los Voladores” in Playa del Carmen, M茅xico, Feb, 2013

Valentine’s Day

Regardless of the nature of the celebration…Love is something to reflect upon every day, to feel every day for one self, for life, it’s a gift to be grateful for, it’s a perfect form and natural form of being.

LOVE is such a strange concept that it can’t be conceptualized, it’s personal and it’s a different experience for everyone, it has no rules or regulations and it is always accompanied by some form of suffering.

A magical tragicomedy of several acts…

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-K

 

Jim Richardson on Landscape Photography — National Geographic

Jim Richardson on Landscape Photography — National Geographic.

Taller de Foto Digital para principiantes

 

Taller I para principiantes
Aprende a usar tu camara Reflex o D SLR

El taller se va a impartir en dos modalidades, uno es todos los jueves del mes, y el otro es un curso intensivo de dos s谩bados.

Taller de los Jueves:
Inicia el jueves 16 de AGOSTO 2012
4 Jueves consecutivos de 7:00 PM a 9:30 PM,
4 Semanas- 10 horas
Termina Jueves 6 de SEPTIEMBRE 2012Sabado 1 de Septiembre Salida Pr谩ctica

Taller de los s谩bados:
18 y 25 de agosto, todo el d铆a, incluye teor铆a y pr谩cticaRequisito Cualquier tipo de camara.
De preferencia camara Digital Reflex o Camara con opciones Manuales

Veremos entre otros temas:

路Modos Manual y semi automaticos
路Exposici贸n Correcta
路Para que es el ISO/ASA
路Composici贸n y foto creativa

Precio: $2000.00 pesos p/p

FECHA LIMITE PARA INSCRIPCION LUNES 23 DE Abril 2012

Cupo Limitado a 8 participantes !

Para mayores informes contactanos en: fotocaribe2@yahoo.com
o al Cel: 998-735-4203

NUESTROS TALLERES SON EN : LUZ AZUL CANCUN
Av Politecnico esq. Chemuyil, SM 504 Mz 13 Lt 13
TEL: 914-8612

Taller de Producci贸n Cinematogr谩fica en Canc煤n

TALLER- DISE脩O DE PRODUCCI脫N CINEMATOGR脕FICA VELVET PRODUCCIONES Y EL CENTRO UNIVERSITARIO DE ESTUDIOS CINEMATOGR脕FICOS (CUEC)

AGOSTO 17, 18 Y 19
10:00 a 14:00 y de 16:00 a 20 hrs.
Costo: 1,800 hasta el 8 de Agosto
2,200 a partir del 9 de Agosto

El curso va orientado a la coordinaci贸n sobre el proceso cinematogr谩fico, se conocer谩n las partes que la componen y se podr谩 entender el proceso de realizaci贸n de un corto, medio o largometraje ya sea ficci贸n o documental .
Desde el desarrollo de un gui贸n hasta la realizaci贸n de una carpeta profesional de producci贸n. ( para los alumnos que as铆 lo deseen y que cuenten con un gui贸n)

Al finalizar el taller se contar谩 con un dise帽o de producci贸n basado en las necesidades y requerimientos de un gui贸n cinematogr谩fico y se dar谩n los elementos necesarios para conseguir un financiamiento para su realizaci贸n en instituciones nacionales e internacionales.

Las clases ser谩n te贸rico-pr谩cticas en cada uno de los temas.

TEMARIO

D铆a 1

A traves de un cortometraje ya realizado se conocer谩 el proceso de:
1.- El gui贸n para su producci贸n:
鈥 El alumno conocer谩 y manejar谩 un gui贸n para su producci贸n.
鈥 El trabajo de gui贸n para el productor

2. La Pre-Producci贸n: Los pasos que seguir谩 el productor para comenzar su realizaci贸n.

3.- Desglose , Plan de Trabajo y Ruta cr铆tica.
鈥 Ordenar en d铆as de trabajo el gui贸n cinematogr谩fico parar su rodaje,
鈥 Planeaci贸n de todas las etapas de preparaci贸n
鈥 Situaciones en relaci贸n al tiempo y presupuesto.

4.- Presupuesto:
Lo que cuesta econ贸micamente realizar el proyecto cinematogr谩fico y/o Televisivo.

5.- Dise帽o: La estructura y formulaci贸n de los elementos necesarios para el desarrollo del Proyecto.
鈥 Composici贸n de la carpeta de producci贸n

6.- La Carpeta de Producci贸n
鈥 Su elaboraci贸n para presentarla a los posibles Inversionistas.
鈥 Pitching.

D脥A 2

7.- El Rodaje
鈥 Los pasos necesarios de la etapa de rodaje: contratos, llamados, extras, filmaci贸n, etc.
鈥 La verificaci贸n cotidiana del avance en relaci贸n al plan de trabajo y los recursos.
鈥 Los reportes en el rodaje y su importancia para la post- producci贸n.

8.- El Productor en la post-producci贸n.
鈥 El trabajo del productor en la postproducci贸n.

9.- Presupuesto Global:
鈥 C贸mo se maneja el presupuesto por cuenta.
鈥 Los pagos, los recibos, los convenios, etc., y c贸mo llevarlo de acuerdo al presupuesto.

10.- Post-producci贸n
鈥 Los trabajos del productor en la postproducci贸n al finalizar el rodaje.
鈥 Sincron铆a, armado del primer corte, sonorizaci贸n, musicalizaci贸n, mezcla, copias compuestas.
鈥 Los diferentes post-producciones y su ruta cr铆tica
鈥 Una vez que concluye la post producci贸n, todo lo que se debe hacer:
鈥 Registro de obra, Registro de Nacionalidad, etc.
D铆a 3

11.- El lanzamiento del proyecto cinematogr谩fico
鈥 Las diferencias entre lanzamiento de corto, medio o largometraje .
12.- La Distribuci贸n
鈥 Los procesos y tratos con la distribuidora para el lanzamiento de una obra cinematogr谩fica , en M茅xico y el Resto del Mundo.

13.- La Exhibici贸n.
鈥 Su exhibici贸n nacional e internacional
鈥 Los Festivales Nacionales e Internacionales.

15.- Apoyos para la producci贸n:
鈥 IMCINE, FOPROCINE, FIDECINE, FONCA, Festivales Nacionales e Internacionales.
鈥 Apoyos de Ibermedia, Sundance y otros.
鈥 Becas

16.- Las Leyes
鈥 De Cine.
鈥 De televisi贸n.

17.- Derechos de Autor.

El curso es Interactivo, es decir la participaci贸n del alumno es indispensable.

IMPARTIDO POR:
PATRICIA CORONADO

Semblanza

Patricia Coronado N贸bregas ,egresada del CUEC (Centro Universitario de Estudios Cinematogr谩ficos de la UNAM) con Especialidad en Producci贸n (1970 / 1974). A partir de 1970 empez贸 a producir los trabajos de sus compa帽eros de carrera, y hasta la fecha produce tanto Cine como Televisi贸n.

Ha impartido en clases en diversas instituciones sobre Producci贸n desde 1976 y hasta la fecha: CUEC, CCC, Universidad Iberoamericana, Universidad Intercontinental, Universidad An谩huac, E.I.C.T.V Escuela Internacional de Cine y Televisi贸n de San Antonio de los Ba帽os, Cuba siendo fundadora y directora de la c谩tedra de Producci贸n 1986/1988, Centro de Estudios de la Comunicaci贸n (CCEC PEDREGAL), Instituto Ruso Mexicano de Arte, Cine y Teatro Serguei Eisenstein, en la Universidad autonoma del Estado de Puebla (UPAEP)

Durante 1995 trabaj贸 como productora Ejecutiva en Cine, para International Network Group/Televisi贸n Espa帽ola 1995 y, en 1997 para Tutor Am茅rica.

Durante 2 temporadas (1984/1985), particip贸 en la producci贸n Televisiva de 鈥淧laza S茅samo鈥 a cargo de Televisa y Children Televisi贸n Workshop, as铆 como Productora en Foro, de la Telenovela 鈥淣ada Personal鈥 producida por Argos para Televisi贸n Azteca.

En 1998 tuvo la oportunidad de colaborar dentro del Gobierno Federal, como Asistente del Comisionado Nacional en la Comisi贸n Nacional de Filmaciones.

Del a帽o 2000 a junio de 2005 ocupo el cargo de Subdirectora de Producci贸n en la Direcci贸n de Apoyo a la Producci贸n Cinematogr谩fica del Instituto Mexicano de Cinematograf铆a (IMCINE)

Durante dos a帽os fue Gerente General de programaci贸n y Producci贸n de TeVedemente.

AGOSTO 17, 18 Y 19
10:00 a 14:00 y de 16:00 a 20 hrs.
Costo: 1,800 hasta el 8 de Agosto
2,200 a partir del 9 de Agosto

El curso va orientado a la coordinaci贸n sobre el proceso cinematogr谩fico, se conocer谩n las partes que la componen y se podr谩 entender el proceso de realizaci贸n de un corto, medio o largometraje ya sea ficci贸n o documental .
Desde el desarrollo de un gui贸n hasta la realizaci贸n de una carpeta profesional de producci贸n. ( para los alumnos que as铆 lo deseen y que cuenten con un gui贸n)

Al finalizar el taller se contar谩 con un dise帽o de producci贸n basado en las necesidades y requerimientos de un gui贸n cinematogr谩fico y se dar谩n los elementos necesarios para conseguir un financiamiento para su realizaci贸n en instituciones nacionales e internacionales.

Las clases ser谩n te贸rico-pr谩cticas en cada uno de los temas.

TEMARIO

D铆a 1

A traves de un cortometraje ya realizado se conocer谩 el proceso de:
1.- El gui贸n para su producci贸n:
鈥 El alumno conocer谩 y manejar谩 un gui贸n para su producci贸n.
鈥 El trabajo de gui贸n para el productor

2. La Pre-Producci贸n: Los pasos que seguir谩 el productor para comenzar su realizaci贸n.

3.- Desglose , Plan de Trabajo y Ruta cr铆tica.
鈥 Ordenar en d铆as de trabajo el gui贸n cinematogr谩fico parar su rodaje,
鈥 Planeaci贸n de todas las etapas de preparaci贸n
鈥 Situaciones en relaci贸n al tiempo y presupuesto.

4.- Presupuesto:
Lo que cuesta econ贸micamente realizar el proyecto cinematogr谩fico y/o Televisivo.

5.- Dise帽o: La estructura y formulaci贸n de los elementos necesarios para el desarrollo del Proyecto.
鈥 Composici贸n de la carpeta de producci贸n

6.- La Carpeta de Producci贸n
鈥 Su elaboraci贸n para presentarla a los posibles Inversionistas.
鈥 Pitching.

D脥A 2

7.- El Rodaje
鈥 Los pasos necesarios de la etapa de rodaje: contratos, llamados, extras, filmaci贸n, etc.
鈥 La verificaci贸n cotidiana del avance en relaci贸n al plan de trabajo y los recursos.
鈥 Los reportes en el rodaje y su importancia para la post- producci贸n.

8.- El Productor en la post-producci贸n.
鈥 El trabajo del productor en la postproducci贸n.

9.- Presupuesto Global:
鈥 C贸mo se maneja el presupuesto por cuenta.
鈥 Los pagos, los recibos, los convenios, etc., y c贸mo llevarlo de acuerdo al presupuesto.

10.- Post-producci贸n
鈥 Los trabajos del productor en la postproducci贸n al finalizar el rodaje.
鈥 Sincron铆a, armado del primer corte, sonorizaci贸n, musicalizaci贸n, mezcla, copias compuestas.
鈥 Los diferentes post-producciones y su ruta cr铆tica
鈥 Una vez que concluye la post producci贸n, todo lo que se debe hacer:
鈥 Registro de obra, Registro de Nacionalidad, etc.

D铆a 3

11.- El lanzamiento del proyecto cinematogr谩fico
鈥 Las diferencias entre lanzamiento de corto, medio o largometraje .
12.- La Distribuci贸n
鈥 Los procesos y tratos con la distribuidora para el lanzamiento de una obra cinematogr谩fica , en M茅xico y el Resto del Mundo.

13.- La Exhibici贸n.
鈥 Su exhibici贸n nacional e internacional
鈥 Los Festivales Nacionales e Internacionales.

15.- Apoyos para la producci贸n:
鈥 IMCINE, FOPROCINE, FIDECINE, FONCA, Festivales Nacionales e Internacionales.
鈥 Apoyos de Ibermedia, Sundance y otros.
鈥 Becas

16.- Las Leyes
鈥 De Cine.
鈥 De televisi贸n.

17.- Derechos de Autor.

El curso es Interactivo, es decir la participaci贸n del alumno es indispensable.

IMPARTIDO POR:
PATRICIA CORONADO

Semblanza

Patricia Coronado N贸bregas ,egresada del CUEC (Centro Universitario de Estudios Cinematogr谩ficos de la UNAM) con Especialidad en Producci贸n (1970 / 1974). A partir de 1970 empez贸 a producir los trabajos de sus compa帽eros de carrera, y hasta la fecha produce tanto Cine como Televisi贸n.

Ha impartido en clases en diversas instituciones sobre Producci贸n desde 1976 y hasta la fecha: CUEC, CCC, Universidad Iberoamericana, Universidad Intercontinental, Universidad An谩huac, E.I.C.T.V Escuela Internacional de Cine y Televisi贸n de San Antonio de los Ba帽os, Cuba siendo fundadora y directora de la c谩tedra de Producci贸n 1986/1988, Centro de Estudios de la Comunicaci贸n (CCEC PEDREGAL), Instituto Ruso Mexicano de Arte, Cine y Teatro Serguei Eisenstein, en la Universidad autonoma del Estado de Puebla (UPAEP)

Durante 1995 trabaj贸 como productora Ejecutiva en Cine, para International Network Group/Televisi贸n Espa帽ola 1995 y, en 1997 para Tutor Am茅rica.

Durante 2 temporadas (1984/1985), particip贸 en la producci贸n Televisiva de 鈥淧laza S茅samo鈥 a cargo de Televisa y Children Televisi贸n Workshop, as铆 como Productora en Foro, de la Telenovela 鈥淣ada Personal鈥 producida por Argos para Televisi贸n Azteca.

En 1998 tuvo la oportunidad de colaborar dentro del Gobierno Federal, como Asistente del Comisionado Nacional en la Comisi贸n Nacional de Filmaciones.

Del a帽o 2000 a junio de 2005 ocupo el cargo de Subdirectora de Producci贸n en la Direcci贸n de Apoyo a la Producci贸n Cinematogr谩fica del Instituto Mexicano de Cinematograf铆a (IMCINE)

Durante dos a帽os fue Gerente General de programaci贸n y Producci贸n de TeVedemente.

A partir de Junio de 2007 ha sido Productora Independiente en la DGTVE (Direcci贸n General de Televisi贸n Educativa de la SEP) en la serie de ficci贸n Santo Barrio de 13 cap铆tulos, y Casa de Adobe serie Infantil.

Producci贸n Ejecutiva del Largometraje Documental 篓La Frontera Infinita篓 seleccionado para el Forum de Berl铆n y ganadora de 2 premios en el Festival Internacional Cinema du reel, en Par铆s Francia 2008.

Producci贸n Ejecutiva para el IMCINE del Corto Caf茅 Para铆so ganador del 7mo.
Concurso Nacional de Cortometrajes 2007. Y ganador del Mejor corto en el Festival Internacional de Cine de Guadalajara y premio Danzante de Oro que otorga el certamen de cortos del XXXVI Festival de Cine de la ciudad espa帽ola de Huesca a la mejor producci贸n iberoamericana.

Jurado del Premio Pantalla de Cristal edici贸n 2007. Recibiendo el Premio Especial de Pantalla de Cristal por su apoyo a los J贸venes Creadores del Cine Mexicano.

Jurado del Concurso Est铆mulo a Creadores del IMCINE en Escritura de Guiones en Julio 2008.

Taller de Producci贸n el Riviera Maya Underground Film Festival, Canc煤n
2008.
Productora para la Serie Medios y Remedios para la Secretar铆a de Educaci贸n del D.F. 2008

Productora Serie de Televisi贸n Casa de Adobe de 13 cap铆tulos de 27 min. c.u. para la DGTVE 2008/ 2009.

Curso de Producci贸n Cinematogr谩fica- Centro de Dise帽o Cine 鈥揟elevisi贸n 2009

Jurado Concurso Guiones CONARTE-Monterrey 2009

Jurado del Premio Pantalla de Cristal 2009
Jurado en el Concurso Estimulo a Creadores del IMCINE 2010.

Curso de Producci贸n Cinematogr谩fica para Extensi贸n CUEC/UNAM 2009
Curso de Producci贸n Cinematogr谩fica para la Universidad Iberoamericana Campus Toluca 2010.
Curso de Producci贸n Cinematogr谩fica para Extensi贸n CUEC/ UNAM 2010.
Curso de Producci贸n Cinematogr谩fica para CONARTE-Monterrey 2010.

Productora del Largometraje documental 200 A帽os Despu茅s dirigido por Mitl Valdez Salazar 2010

Productora del Telefilm En el Ombligo del Cielo, dirigido por Carlos Hugo C贸mez, con Apoyo de FOPROCINE-CANAL 22. 2011

Productora de la Serie para Televisi贸n INFANCIAS MEXICANAS, para OPMA. 2012

Productora del Telefim Vladimir en Mi, actualmente en pre-producci贸n, con Apoyo de FOPROCINE-CANAL 22 . 2012

Fuente: Velvet Producciones
Para m谩s informaci贸n visita: Velvet Producciones