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Apr 8

What do you hope the audience will walk away from “Space Baby” with?

"What the hell was that? I feel weird…hold me. (laughing)

I want the audience to walk away pondering on things and, of course, I hope they laugh and feel a bit uncomfortable about why they’re laughing."

READ MORE via Artist Interview – Catherine Falkner (Space, Baby) | Psyche Theatre.

Apr 1

space-baby-poster-letterCome to the spectacular performance of SPACE, BABY.

April 17, 18, 19 - 8 pm
The Toast Collective
648 Kingsway
Tickets $10/15 at the door or at Brown Paper Tickets

Space, Baby is a multimedia performance inspired by the palate of 1960s sci-fi film which tells the surreal story of a lone woman searching her galactic memories in an effort to escape the realities of an ever-approaching future. The woman is a rogue astronaut witnessing her own past. She plays multiple versions of herself as seen through the lens of her changing memories. Using a forcefield of sound and imagery, the camp-aesthetic of films such as Barbarella, and the genre-bending of American Astronaut, Space, Baby is a multimedia performance about regret and forgetting.


Catherine Falkner
in collaboration with
Elysse Cheadle
Flick Harrison
Elliot Vaughan

Mar 30


Here's some raw documentation of my Parrot AR Drone in action at the VIVO Media Arts Open House on Friday, March 28.

I had a great time crashing into things and only got a good chopper-blade in the finger once, when the drone seemed to want to attack me.  If such things amuse you, check out the raw footage below this Flickr set.

Thanks to all the VIVO staff for making the Drone Bar great!

(the drone doesn't record sound so I left it silent. talk amongst yourselves.)

Flick's drone copter @ Drone Bar, VIVO open house from Flick Harrison on Vimeo.


Mar 7
Fine Line: Twisted Angels at VIDF
icon1 Flick Harrison | icon2 cinema | icon4 Mar 7, 2014| icon3No Comments »

I've been playing with Wii controllers, teddy bears and night vision cameras for this show at the Vancouver International Dance Festival.  Check it out March 19+20  at the Roundhouse...


March 19 & 20, 8PM @ The Roundhouse

Dancers Dancing (Vancouver)

The FINE LINE ~ twisted angels

Using movement, sound, and image veteran Vancouver choreographer Judith Garay examines how we perceive our internal and external worlds. Through ephemeral and sometimes transformative movement, interwoven with the music of Patrick Pennefather and video by Flick Harrison, Garay builds a study of sense and cognition that encompasses everything from addiction to hypnagogic hallucinations, and synesthesia in a profound and compelling work. The FINE LINE ~ twisted angels is a work grounded in personal experience that engages with the fragility of existence and risks a deep, dark journey to bring forth internal experience onto the stage.
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Mar 6

fcpx iron throneFinal Cut Pro is back from the brink.  I've finally decided to get back to it, and I'm teaching a workshop in FCPX at VIVO media arts centre on April 6.  After 12 years of FCP I went over to Adobe Premiere for lots of good reasons, mostly to do with the missing features and my hard-earned distrust of the iLife suite, i.e. the kiddie-oriented iMovie on which FCPX was based.

The reasons behind Apple's move were not too mysterious: woo the big market of amateurs and hope to drag the prosumers behind.  Professionals could go buy something else.  But the outcry against all that (and, no doubt, some kind of money-metric) convinced Apple to go back and fix what was wrong, and, well, now it's time to re-think.

I found myself downloading demos of FCPX every couple of updates, partly to stay abreast of the changes being made, but also because for some quick projects it was easier to download and install a demo version of FCPX than to do simple tasks in Adobe Premiere.  Crazy but true.

So, two and a half years after its release, I'm going back to FCP for good.  Why?

First of all, I can't recommend Adobe's subscription model.  It is nasty, nasty, nasty.  And Premiere has revealed bug after bug as I've gotten to know it.

Meanwhile, FCPX by version 10.1 has solved (almost) everything I wanted solved.  These are simple things but it was insane to leave them out of Final Cut X:

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Mar 6

Agewell Chataqua Project


Deadline for submissions – April 17, 2014

Exhibition, Public Dialogues, and free creative workshops – May 27 to June 8, 2014

Further Chataqua Dialogue Series – Starts September 2014

The Agewell Chataqua Project invites you to create and submit small-scale artwork that is an expression of your thoughts and feelings on aging: what it means to you; how that meaning is shaped and influenced by your external environment and society; how you are impacted by it, your hopes, worries, and struggles with it; and how the inevitability of it shapes your decisions and actions.

Creative expressions can be in a wide range of media, including paintings, graphics designs, textile art, installations (which can be interactive), photography, poetry, narrative, and performance work in music, theatre and dance.

This invitation is open to everyone, and all are encouraged to submit. We are hoping for reflective work that is thought-provoking and can be used as a starting point for further dialogue on the topic of aging and seniors’ health and wellbeing. We will aim to include as many of the submissions as possible in the exhibit, but due to space limitations, submissions will be gently juried.

The criteria for the jury will include (but not necessarily be restricted to):
• How the creative expression relates to the theme of aging
• Diversity of themes related to aging
• Representation from different sectors of the community
• Clarity of the message of the work

Read more at the Agewell Chataqua website.

Feb 11

400I wrote this email to Larry Jordan, author of the famous + awesome training website for video editors.  I was wondering how the new Library structure in FCPX 10.1 would hobble the economical archivist in me.  Since I end up doing some explaining and pontificating, and his answer is very useful, I figure I should share it here.

It's a big relief to know I can keep archiving projects in a way close to what I've been doing all along: minimizing the amount I need to backup, to the safest medium, with surest results and minimal work.

Libraries are noob-proof, but they are not power-user-proof.  That's good.

Hey Larry,

I love your website and I've found it helpful as I finally switch over to FCPX.

One thing I will miss from FCP7 and my 2 years on Premiere is the ease of permanent archives.

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Feb 6

no-adobe_0For a number of reasons, I am leaving Adobe behind in all my production and teaching work.  I'm also going to stop telling people that Premiere is better than Final Cut X...

Why the change of heart?  Mainly, I can't recommend the monopolistic pricing practice of Adobe's creative cloud.  And whatever the politics, it's just too expensive for rentware. (Also check out the frightening TERMS OF SERVICE you are agreeing to..)

There's a terrible feeling in my gut when I think how dangerous it is for a business, artist or student to rely on subscription-based software.

Because if you stop paying for an Adobe subscription, you lose all your work.  Not the final products, of course; the outputs stay put and stay exactly how they were when you finished them.  But the project files, the meat and potatoes, are locked into Adobe and are no longer usable when your subscription expires.  You could spend something like $75 for a 1-month subscription to Adobe every time you want to look at an old project; or you could just find other software with a perpetual license, i.e software that you buy outright.  I'll recommend a better set of alternatives in another post, and link it here later.

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Jan 29

So a couple of great music videos I shot for the Loose Affiliation of Millionaires are now online!

I shot David Newberry and Jenny Ritter at the museum, singing songs that were inspired by the museum's collection.

I had a great time.  I love music vids because even after editing them over and over, I still feel like watching them again.

There's a live show with all the millionaires at the MOV this Saturday, February 1 at 7pm.  But meanwhile, you can listen to these...

Oct 31

AMoving-SunsetThe film I made with choreographer Rob Kitsos is showing at Dance in Vancouver next month!  Please come down and see it on the big screen, along with other local dance films.  Details to come...

Thursday November 21, 6.30-8pm VIFC

Radar: Exchanges in Dance Film Frequencies is a program dedicated to the exploration and evolution of dance film through connecting artists scene by scene. Curated by filmmaker/curator Adam Sekuler and choreographer Shannon Stewart, RADAR features movement based films of many budgets, styles and perspectives, creating a platform of local/national and international exchange that allows artists to publicly screen their work, discuss, get feedback, and meet other artists working in the same form. In 2013, RADAR screenings took place place in Philadelphia, Brooklyn, Portland, and Minneapolis. Presented by Vancity Theatre and the Northwest Film Forum in association with The Dance Centre.

“A Moving” is a contemporary dance trio that was performed at the Morris and Helen Belkin Art Gallery in March of 2012. The trio was performed within an initialization of visual art by Michael Morris in his exhibit on Concrete Poetry. The dance was performed to music by Martin Gotfrit, choreography by Rob Kitsos and performed by Kim Stevenson, Katie DeVries and Rob Kitsos. The trio was then transplanted into different locations in and around Vancouver BC, filmed and edited by Flick Harrison. The title was taken from an interchange between Sally Banes, Noel Caroll and Monroe Beardsley on what makes the motions of our bodies ‘dance’.

“A Moving” is an interpretation of the presence of body, gesture and contemporary movement within non-traditional environments. The movement sequence continues throughout the film as the environments interchange between the original performance at the Belkin Art Gallery, to urban architectural locations –to natural environments in and outside the city on Vancouver BC. Through seeing the dance in places we inhabit in the everyday we make our moving bodies accessible, visceral and readable in ways that can become detached in the traditional settings of the theater. Through these sequences, we also perceive the design of our environments in relation to our bodies in a new context.

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