Once you and I discuss and agree upon one idea to pursue for your final project, your production process, shooting, and audio recording should begin immediately. You will also need to write up the idea in a Final Project Proposal. For full credit, these proposals should be 1 or 2 typed paragraphs, and they should contain the following information:
1. A one-sentence description of your project idea
2. Next, answer the following question: how will the video deliver my subject's meaning or story in a new or fresh way? In other words, how will your video be different than anything we've seen before?
3. 5 specific shots you plan to include to best express the subject matter.
4. 5 specific sounds you plan to include to best express the subject matter.
5. The specific sounds you imagine you will use for foreground, middleground,
and background tracks
6. The specific change or transformation you imagine will take place from the beginning of the piece to the end. Or in other words, what will the viewer learn, uncover, or realize at the end of the project that he or she was unaware of at the start. (Hint: Think about which images can achieve this transformation/revelation, which sounds?)
Friday, February 5, 2010
Thursday, January 21, 2010
Welcome to Basic Video!
Your Poem, Man...
unless there’s one; thing seen
suddenly against another - a parsnip
sprouting for a President, or
hailstones melting in an ashtray--
nothing really happens. It takes
surprise and will connection.
doesn’t it? A walrus chewing
on a ballpoint pen. Two blue tail-
lights on Tyrannosaurus Rex, Green
cheese teeth. Maybe what we wanted
least. Or most. Some unexpected
pleats. Words that never knew
each other till right now. Plug us
into the wrong; socket and see
what blows -- or what lights up.
Try
untried
circuitry
new
fuses.
Tell it like it never really was,
man,
and maybe we can see it
like it is.
-Edward Lueders
unless there’s one; thing seen
suddenly against another - a parsnip
sprouting for a President, or
hailstones melting in an ashtray--
nothing really happens. It takes
surprise and will connection.
doesn’t it? A walrus chewing
on a ballpoint pen. Two blue tail-
lights on Tyrannosaurus Rex, Green
cheese teeth. Maybe what we wanted
least. Or most. Some unexpected
pleats. Words that never knew
each other till right now. Plug us
into the wrong; socket and see
what blows -- or what lights up.
Try
untried
circuitry
new
fuses.
Tell it like it never really was,
man,
and maybe we can see it
like it is.
-Edward Lueders
Wednesday, October 14, 2009
Final Cut Pro / Basic Instructions for Creating Text
1. At the top of the Canvas window, you will see 3 drop down menus. Click on the one farthest to the right to see a drop down menu appear. Scroll down and select “Show Title Safe”. This will active the Title Safe overlay, which lets you know where it’s safe to place your text in the frame. Be sure all text falls within the innermost or smallest blue square. Otherwise, your text will fall off of the edge of a TV screen or computer screen when your video plays.
2. Go to the Effects Tab in the Browser. Open the “Video Generators” bin. Within this bin, scroll down to open the “Text” bin. Within the Text bin, there are many types of text to select. For basic text, select “TEXT” and double click on it to bring it into the Viewer.
3. Once the text is in the Viewer, you’ll need to get a feel for how long you would like your chunk of text to be. Mark an IN point to begin, and then hit PLAY until you feel like the piece of text will be long enough. Then Mark an OUT point. Click in the center of viewer, and drag this chunk of text into the Timeline at the beginning or end of your project.
4. If you would like your text to appear over a shot within your video, drag the text clip into the Timeline to V2 or Video Track 2. Make sure the video clip is on V1 or Video Track 1. Your text clip should always be placed on a track above the video clip you wish to use. Be sure to check the Canvas to see that the text is legible over all areas of the video image. If white text doesn’t work, change the text color to something that will contrast better with the video image.
5. Next, double click on the text clip in the Timeline to make it active in the Viewer. Go to the Control tab of the Viewer to make changes to your text. Click in the box with “Sample Text” and delete these words. Type in your own text. If you want to create multiple lines of text, be sure to hit the RETURN key on the keyboard whenever you’re ready to start a new line.
6. Scroll down within the Control tab to select a Font and Size. Be sure to make your text at least as large as 24 to be sure it will show up on a TV screen.
7. Look over at the Canvas to see the position of your text within the frame. It should fit within the smallest blue square or “Title Safe” box. To move the position of the text around in the frame, go back to the Control Tab and click the “+” or origin key. Once you’ve clicked this “+”, you can click down on your text in the Canvas and move it to your desired position.
8. If you’re using white text on a black background, go to the Motion Tab of the Viewer. Scroll down to “Opacity” and click the arrow to open it. Here you want to move the opacity slider to change the opacity of the white text from 100 to 88. White letters at 100% opacity are too bright for many TV screens.
9. I recommend fading your text in and out for a smoother transition. You can do this manually by placing key frames on the clip of text in the Timeline with the pen tool.
10. If you like the pacing you’ve established in one chunk of text, and you want the rest of the text clips to follow the same pace, just highlight the original chunk of text and copy (Apple C) and paste (Apple V) the clip multiple times to create a series of identical text chunks. Any fades you’ve made with keyframes will remain the same. Simply type in new words for each new instance of text.
11. Some text types such as “Typewriter” and “Scrolling” need to be rendered. You will see a red line above the text clip in the Timeline, if this is the case. Hit Apple R to render the text.
2. Go to the Effects Tab in the Browser. Open the “Video Generators” bin. Within this bin, scroll down to open the “Text” bin. Within the Text bin, there are many types of text to select. For basic text, select “TEXT” and double click on it to bring it into the Viewer.
3. Once the text is in the Viewer, you’ll need to get a feel for how long you would like your chunk of text to be. Mark an IN point to begin, and then hit PLAY until you feel like the piece of text will be long enough. Then Mark an OUT point. Click in the center of viewer, and drag this chunk of text into the Timeline at the beginning or end of your project.
4. If you would like your text to appear over a shot within your video, drag the text clip into the Timeline to V2 or Video Track 2. Make sure the video clip is on V1 or Video Track 1. Your text clip should always be placed on a track above the video clip you wish to use. Be sure to check the Canvas to see that the text is legible over all areas of the video image. If white text doesn’t work, change the text color to something that will contrast better with the video image.
5. Next, double click on the text clip in the Timeline to make it active in the Viewer. Go to the Control tab of the Viewer to make changes to your text. Click in the box with “Sample Text” and delete these words. Type in your own text. If you want to create multiple lines of text, be sure to hit the RETURN key on the keyboard whenever you’re ready to start a new line.
6. Scroll down within the Control tab to select a Font and Size. Be sure to make your text at least as large as 24 to be sure it will show up on a TV screen.
7. Look over at the Canvas to see the position of your text within the frame. It should fit within the smallest blue square or “Title Safe” box. To move the position of the text around in the frame, go back to the Control Tab and click the “+” or origin key. Once you’ve clicked this “+”, you can click down on your text in the Canvas and move it to your desired position.
8. If you’re using white text on a black background, go to the Motion Tab of the Viewer. Scroll down to “Opacity” and click the arrow to open it. Here you want to move the opacity slider to change the opacity of the white text from 100 to 88. White letters at 100% opacity are too bright for many TV screens.
9. I recommend fading your text in and out for a smoother transition. You can do this manually by placing key frames on the clip of text in the Timeline with the pen tool.
10. If you like the pacing you’ve established in one chunk of text, and you want the rest of the text clips to follow the same pace, just highlight the original chunk of text and copy (Apple C) and paste (Apple V) the clip multiple times to create a series of identical text chunks. Any fades you’ve made with keyframes will remain the same. Simply type in new words for each new instance of text.
11. Some text types such as “Typewriter” and “Scrolling” need to be rendered. You will see a red line above the text clip in the Timeline, if this is the case. Hit Apple R to render the text.
Tuesday, October 6, 2009
Final Cut Pro / Audio Editing Notes
On the Audio Meter -
You’ll see a yellow light and a red light.
The yellow light is the Peak indicator - it will hang at the loudest moment of your recorded sound.
The red light is the Clip indicator – it will let you know when your sound has reached or exceed 0db.
Basic Rules:
- Never let your Clip indicator light up
- Dialogue should fall between -3db to -12db
- Middle Ground Sound or Sound FX between -12db to -18db
- Background Sound or Music around -18db
Why go so low? Because when you have a music track combined with an FX track, the audio levels will rise. So you need to leave some headroom.
The final mix of Foreground, Middleground, and Background tracks together should peak no higher than -3db.
________________________________________________________________
1. Below are three types of audio that can exist in Final Cut Pro:
STEREO
Both channels have been captured as a stereo pair. Stereo pairs are always linked - so anything applied to 1 Track applies to both. Waveforms for both channels appear in a single audio tab.
MONO 1/2 or CH. 1 / CH. 2
Both channels have been captured, but are distinct + can be adjusted independently of each other.
MONO
The audio consists of a single audio channel.
-To convert 2 audio clips to Stereo Pair -
Select the clips in the Timeline, Choose MODIFY ^ Stereo Pair + the viewer will then show them as a Stereo Pair screened together in the window.
To Adjust or Edit Audio:
1. Double click the Audio Track(s) of a clip in the Timeline to bring them up in the Viewer … or double click a clip in the Browser to bring it into the Viewer, and select the Audio Tab(s) in the Viewer.
2. Next, listen to your sound and look at the Audio Meter, which you can move around. You don’t ever want your audio to clip. This is indicated by the red lights or Clip indicator at the top of the meter. When the audio clips, it means the sound you recorded is overmodulated or recorded too high.
3. After I monitor my sound with the Audio Meter, I may decide that the levels are too high or low. By using the Level Slider in the Audio Tab of the Viewer, I can adjust the sound levels by moving them higher or lower in decibels. Then I will play my sound again, watching the Audio Meter to see if the change is any better.
4. Remember that you can use the pen tool (keyboard shortcut P) to create keyframes along the level bar in the Audio Tab of the Viewer or directly on an Audio Track in the Timeline. You can use keyframes to create fades in or out, as well as to dip out a glitch in recorded sound.
5. Generally speaking, your audio should begin before your image appears. Remember to overlap audio, creating crossfades between new sounds. You don’t want have audio tracks that cut out suddenly without a smooth transition to the next audio track or sound. The quickest way to accomplish this would be to use Automatic crossfades. Go to the Effects Tab in the Browser, and select the Audio Transitions bin. Then highlight and grab Crossfade +3db icon and drag and drop it on the beginning or end of the Audio Track you want to fade in or out.
Audio Filters
AUgraphicEQ:
To access a good equalization filter, go to the Effects Tab in the Browser. Click on the Audio Filters bin, and open it up. Scroll to the Apple Filters bin, and select AUgraphicEQ. To apply it to an audio clip in the Timeline, highlight and grab the filter’s icon and drag and drop it over the Audio Track you want to filter.
This filter divides the audio spectrum into 31 frequency bands, ranging from 20 Hz to 20,000 Hz. You can set the frequency for each band. This filter is especially versatile because it applies equalization in 31 bands of your clip simultaneously, rather than requiring you to apply multiple filters. This emulates the EQ controls that most mixers provide.
The best way to pinpoint the frequency of a problem sound in your audio is go through each of the 31 frequency bands individually. If you go through each frequency band and boost the gain, you can find the most noticeable sound problem(s). Then lower the gain until the sound is best. If you have excess hiss in your audio clip, try focusing on the higher frequencies. If you have booming or excess bass to remove, focus on the lower frequencies.
Filters in the Final Cut Pro bin (within the Audio Filters bin):
Hum Remover - A notch filter that allows you to compensate for various types of hum interference by screening out a specific frequency.
Vocal DeEsser- dampens the “S” or hiss sounds in speech or other sounds.
Vocal DePopper- takes the “P” out of potatoes, or eliminates popping sound in speech.
*If you want to apply the same filter settings to multiple clips or to the rest of your sequence, highlight the clip with the filter settings you’ve already set, then hit Apple C on the keyboard. Then select or highlight any other clips you want to inherit these same filter settings. Next, hit Option V on your keyboard. A Paste Attributes box will open and allow you to select Audio Filters. Do this and hit OK, and all of the audio clips selected will be filtered identically.
You’ll see a yellow light and a red light.
The yellow light is the Peak indicator - it will hang at the loudest moment of your recorded sound.
The red light is the Clip indicator – it will let you know when your sound has reached or exceed 0db.
Basic Rules:
- Never let your Clip indicator light up
- Dialogue should fall between -3db to -12db
- Middle Ground Sound or Sound FX between -12db to -18db
- Background Sound or Music around -18db
Why go so low? Because when you have a music track combined with an FX track, the audio levels will rise. So you need to leave some headroom.
The final mix of Foreground, Middleground, and Background tracks together should peak no higher than -3db.
________________________________________________________________
1. Below are three types of audio that can exist in Final Cut Pro:
STEREO
Both channels have been captured as a stereo pair. Stereo pairs are always linked - so anything applied to 1 Track applies to both. Waveforms for both channels appear in a single audio tab.
MONO 1/2 or CH. 1 / CH. 2
Both channels have been captured, but are distinct + can be adjusted independently of each other.
MONO
The audio consists of a single audio channel.
-To convert 2 audio clips to Stereo Pair -
Select the clips in the Timeline, Choose MODIFY ^ Stereo Pair + the viewer will then show them as a Stereo Pair screened together in the window.
To Adjust or Edit Audio:
1. Double click the Audio Track(s) of a clip in the Timeline to bring them up in the Viewer … or double click a clip in the Browser to bring it into the Viewer, and select the Audio Tab(s) in the Viewer.
2. Next, listen to your sound and look at the Audio Meter, which you can move around. You don’t ever want your audio to clip. This is indicated by the red lights or Clip indicator at the top of the meter. When the audio clips, it means the sound you recorded is overmodulated or recorded too high.
3. After I monitor my sound with the Audio Meter, I may decide that the levels are too high or low. By using the Level Slider in the Audio Tab of the Viewer, I can adjust the sound levels by moving them higher or lower in decibels. Then I will play my sound again, watching the Audio Meter to see if the change is any better.
4. Remember that you can use the pen tool (keyboard shortcut P) to create keyframes along the level bar in the Audio Tab of the Viewer or directly on an Audio Track in the Timeline. You can use keyframes to create fades in or out, as well as to dip out a glitch in recorded sound.
5. Generally speaking, your audio should begin before your image appears. Remember to overlap audio, creating crossfades between new sounds. You don’t want have audio tracks that cut out suddenly without a smooth transition to the next audio track or sound. The quickest way to accomplish this would be to use Automatic crossfades. Go to the Effects Tab in the Browser, and select the Audio Transitions bin. Then highlight and grab Crossfade +3db icon and drag and drop it on the beginning or end of the Audio Track you want to fade in or out.
Audio Filters
AUgraphicEQ:
To access a good equalization filter, go to the Effects Tab in the Browser. Click on the Audio Filters bin, and open it up. Scroll to the Apple Filters bin, and select AUgraphicEQ. To apply it to an audio clip in the Timeline, highlight and grab the filter’s icon and drag and drop it over the Audio Track you want to filter.
This filter divides the audio spectrum into 31 frequency bands, ranging from 20 Hz to 20,000 Hz. You can set the frequency for each band. This filter is especially versatile because it applies equalization in 31 bands of your clip simultaneously, rather than requiring you to apply multiple filters. This emulates the EQ controls that most mixers provide.
The best way to pinpoint the frequency of a problem sound in your audio is go through each of the 31 frequency bands individually. If you go through each frequency band and boost the gain, you can find the most noticeable sound problem(s). Then lower the gain until the sound is best. If you have excess hiss in your audio clip, try focusing on the higher frequencies. If you have booming or excess bass to remove, focus on the lower frequencies.
Filters in the Final Cut Pro bin (within the Audio Filters bin):
Hum Remover - A notch filter that allows you to compensate for various types of hum interference by screening out a specific frequency.
Vocal DeEsser- dampens the “S” or hiss sounds in speech or other sounds.
Vocal DePopper- takes the “P” out of potatoes, or eliminates popping sound in speech.
*If you want to apply the same filter settings to multiple clips or to the rest of your sequence, highlight the clip with the filter settings you’ve already set, then hit Apple C on the keyboard. Then select or highlight any other clips you want to inherit these same filter settings. Next, hit Option V on your keyboard. A Paste Attributes box will open and allow you to select Audio Filters. Do this and hit OK, and all of the audio clips selected will be filtered identically.
Basic Video Questionnaire
This assignment needs to be presented in hard copy form, typed and stapled, and is due at your Individual Appointment (the week of October 12, 14). Your answers should be thorough and detailed. The purpose of the Questionnaire is to test an idea. I always put any project idea of my own through this same test.
Name:
1. List 2 final video project ideas (a, b) you would be interested in exploring and creating:
a.
b.
2. Do you have a strong emotional connection to both of these subjects / ideas? Answer yes or no for both, and How?
a.
b.
3. Do you have a drive to learn more about both of these subjects / ideas? Answer yes or no for both, and Why?
a.
b.
4. What is the real significance of both ideas to you:
a.
b.
5. In your opinion, what is unusual, interesting, and fresh about both ideas / subjects.
a.
b.
6. Is there anything that might be too predictable or overdone about each idea?
a.
b.
7. How is your connection to each subject completely unique to you or your experience?
a.
b.
8. What could you show in both video projects? What images and sounds might an audience get to see / hear in both videos? List at least 5 specific images and 5 specific sounds for each proposed idea.
a.
b.
9. What change and development would both video projects show? What would change from beginning to end?
a.
b.
10. Define what you would want to avoid in both videos:
a.
b.
11. Which aspects of both potential projects are likely to be the most challenging for you to pull off?
a.
b.
12. After exploring the above questions, answer the following: Do I still really want to make a video about both of these subjects / ideas?
a.
b.
Name:
1. List 2 final video project ideas (a, b) you would be interested in exploring and creating:
a.
b.
2. Do you have a strong emotional connection to both of these subjects / ideas? Answer yes or no for both, and How?
a.
b.
3. Do you have a drive to learn more about both of these subjects / ideas? Answer yes or no for both, and Why?
a.
b.
4. What is the real significance of both ideas to you:
a.
b.
5. In your opinion, what is unusual, interesting, and fresh about both ideas / subjects.
a.
b.
6. Is there anything that might be too predictable or overdone about each idea?
a.
b.
7. How is your connection to each subject completely unique to you or your experience?
a.
b.
8. What could you show in both video projects? What images and sounds might an audience get to see / hear in both videos? List at least 5 specific images and 5 specific sounds for each proposed idea.
a.
b.
9. What change and development would both video projects show? What would change from beginning to end?
a.
b.
10. Define what you would want to avoid in both videos:
a.
b.
11. Which aspects of both potential projects are likely to be the most challenging for you to pull off?
a.
b.
12. After exploring the above questions, answer the following: Do I still really want to make a video about both of these subjects / ideas?
a.
b.
Tuesday, September 29, 2009
FCP Basic Steps & Keyboard Shortcuts
Setting up computer to capture or edit
1. Make sure your both your camera (or deck) and computer are powered off.
2. Carefully and correctly plug in your camera or a deck to the back of the computer tower, using the 4 to 6 pin firewire cable.
3. Turn on the camera, put it in PLAYBACK or VTR mode. If you’re using a deck, be sure it’s powered on with the green light lit. Also be sure it’s set to “DV”. Then turn on the computer, then the monitor.
4. Double click on your partition for it to open up. Your FCP Documents folder should appear.
5. Double click on your FCP Documents folder to open.
6. Double click on your project icon within your FCP Documents folder. Your project should appear – Timeline and all.
7. Go to FCP > System Settings > and set your Scratch Disks so that all edits and decisions will go to your partition. (Do this every time you work!!!!!)
8. In the new window that pops up, locate the top bar > hit the SET button and set it to your partition name and to FCP Documents…and hit OK. Then set the bottom 3 settings (Waveform Cache, Thumbnail Cache, and Autosave Vault) the same way – forget the others. It should read …14gigYOURNAMEFCPDocuments …Or How many gigs you have in your partition/Your name/FCP Documents folder. If it lacks this information, it's wrong.
9. Hit OK and the window will close. You’re ready to capture.
10. Go to the Menu Bar to “Final Cut Pro”, and scroll down to “Easy Setup”. Scroll through the drop down menu and set to DV NTSC (unless you’re using an HDV camera. If so, select the proper HDV camera setting). Then hit the Setup button.
11. The Canvas Window should be set to “Fit to Window”. Go to the first drop down menu at the top of the Canvas Window (marked by a number +%) and select “Fit to Window”.
To begin capturing
1. Hit Apple 8 for the Log and Capture window or go to File > Log and Capture >, and the Log and Capture window will appear.
2. Put the labeled tape in camera (in PLAYBACK mode).
3. Label it with the specific name you've already given it in the Reel box in the Log and Capture window.
4. Go to the 2nd tab of the Log and Capture window called Clip Settings. Set whether you want to capture video and audio, or just video, or just audio.
5. Hit the Play button or the Space bar on your computer to find the footage you want to capture. Set in and out points in the window...or by hitting I (in) or O (out) on your keyboard.
6. Hit Log Clip, name it in the prompt that appears, and hit OK. Continue to mark in and out points for each clip you want to capture and log clips this way.
7. Hit Batch for the capturing to start.
8. You may also hit Capture Now but the tape must be playing. If you have any timecode errors that pop up, consider using the Capture Now button instead of selecting in and out points. Simply hit the Capture Now button when you want to begin capturing a shot, and hit the Escape key when you’d like the shot to end. With this method, you’re logging and capturing at the same time on the fly.
9. SAVE (Apple S) frequently…All captured shots should appear in your Browser window.
10. If you want to delete a clip, you need to Control Click on it, and select “Make Offline” from the drop down menu that appears. A second box will appear. Select “Delete from Disk” and hit OK. This is the only way to permanently remove shots from your partition and free up additional space.
11. After capturing all of your shots, Save (Apple S), then quit Final Cut Pro (Apple Q).
12. Double click on your hard drive partition for it to open up. Double click on your FCP Documents folder to open that. Click once on your project icon to highlight it, and then hit Apple D to make a copy. Drag that copy into your BACK UP BIN. If you get a prompt that asks if you want to replace a previous copy, select yes.
To Shut Down the computer – Go to the Apple on the menu bar > Shut Down
*Remember to turn off the camera and the computer before disconnecting the 4 to 6 pin firewire cable.
Setting up computer to edit
1. Turn on the computer. You don’t need the camera or deck if you are not capturing.
2. Double click on your hard drive partition for it to open up. Your FCP Documents folder should appear.
3. Double click on your FCP Documents folder to open.
4. Double click on your project icon within your FCP Documents folder. Your project should appear.
5. A prompt will appear telling you there is not a camera connected > hit Continue.
6. Go to FCP > System Settings > and set your decisions to go to your partition. Do this every time you work.
7. In the new window that pops up, locate the top bar > hit the SET button and set it to your Partition name and to FCP Documents…and hit OK. Then set the bottom 3 settings (Waveform Cache, Thumbnail Cache, and Autosave Vault) the same way – forget the others. It should read …14gigYOURNAMEFCPDocuments …Or How many gigs you have in your partition/Your name/FCP Documents folder. If it lacks this information, it's wrong.
8. Hit OK and the window will close.
To begin editing
1. Find a clip in Browser window, double click on its icon to bring the clip into the Viewer Window.
2. Set in (I) and out (O) points in the Viewer Window. You can do this by hitting “I” or “O” on your keyboard when the Viewer is active.
3. Place the playhead in the spot on the Timeline where you want the shot or clip to appear. Select the track you want it to be on.
4. Drag and drop image from Viewer Window into Capture Window. Choose between the 2 edit modes – overwrite or insert. The shot will appear in the Timeline, on the track that you assigned it to appear.
5. You can also simply drag and drop the image from the Viewer Window directly into the Timeline onto the track where you would like it to appear. The track is divided by a faint gray line. Drag and dropping the clip above the gray line will result in an insert edit, and drag and dropping the clip below the gray line will result in an overwrite edit.
6. For audio that was captured without video, just pull it down to the Timeline and to the track you want it to appear on.
7. Remember to save (Apple S) frequently.
8. To finish, save (Apple S), then quit Final Cut Pro (Apple Q)
9. Double click on your hard drive partition for it to open up. Double click on your FCP Documents folder to open that. Click once on your project icon to highlight it, and then hit Apple D to make a copy. Drag that copy into your BACK UP BIN. If you get a prompt that asks if you want to replace a previous copy, select yes.
Print to Video instructions
1. Make sure your both your camera and computer are powered off.
2. Carefully and correctly plug in your camera or a deck to the back of the computer tower, using the 4 to 6 pin fire wire cable.
3. Turn on the camera, put it in PLAYBACK or VTR mode, then turn on the computer, then the monitor. Put a blank mini-DV tape into your camera. If you’re using a deck, make sure it’s switched to DV mode.
4. Double click on your project icon within your FCP Documents folder to open your project.
5. In the Browser, open the sequence you want to “print” or output to the tape.
6. Save the sequence (Apple S).
7. Render All.
8. Mark an IN and OUT point at the head and tail of your project.
9. Under Audio/Video Settings, Go to the A/V Devices tab, and uncheck Mirror on Desktop to prevent dropped frames.
10. Be sure to check to see that External Video is set to “All Frames” before exporting to tape. To do this, go to the Menu bar and scroll down under VIEW to EXTERNAL VIDEO. Then select ALL FRAMES. After exporting, you want to be sure to turn the ALL FRAMES to OFF again in order for your sequence to play in the Timeline.
11. Go to the Menu Bar under FILE.
12. Select Print to Video.
13. The Print to Video box will open giving you options (suggest at least 5 seconds of color bars, and 7 seconds of black).
14. Make sure to select Print: In to Out.
15. Check “Automatically Start Recording”
16. Click OK
17. When you see the green square turn to a red square and video appearing on your JVC’s LCD screen, recording has begun.
Troubleshooting
1. Did you follow the steps for capturing or printing to video in the correct order?
a. Make sure both the computer and the camera (or deck) are powered off.
b. Connect the 4 to 6 pin firewire cable from the computer to the camera or deck.
c. Turn on the computer and monitor.
Many problems can crop up if you neglected to do this. For example, the computers are unlikely to recognize a deck or camera if either was already turned on or if Final Cut was already launched when you tried to connect a firewire cable.
2. Check to see that your external capturing device (the camera or deck) is plugged in and turned on. The deck should be set to “DV” and the green light should be on.
3. Is your camera in PLAYBACK mode? The camera needs to be in PLAYBACK mode in order to be recognized by Final Cut Pro and in order to capture footage or print to video.
4. If you’ve followed the steps in the correct order to set up to capture or print to video, and you still get a prompt telling you that Final Cut does not detect an external device for capturing/exporting, go through the following steps:
a. Quit Final Cut Pro, and shut off the computer. Next shut off the camera or deck. Disconnect the firewire cable from the camera or deck and computer, and reconnect it again, checking to be sure that it’s properly connected to both. Turn on the power to the camera or deck again. Restart the computer, and launch Final Cut Pro by double clicking on your project icon in your FCP Documents folder.
b. If the prompt telling you that Final Cut Pro does not detect an external device is still popping up, hit “Continue” and then go to the Final Cut Pro menu bar, scroll down under “Final Cut Pro” to “Audio Video Settings”. In the Summary tab of the Audio Video Settings window, look at “Video Playback”. If it says, “Missing Firewire…”, you have a clue that the issue may likely be a faulty firewire cable or connection.
c. Next scroll down under “Final Cut Pro” in the menu bar to “Easy Set Up”. In the window that pops up, look at “Setup For” and set it to DV-NTSC. Next, quit Final Cut Pro and then launch it again by double-clicking on your project icon in the FCP Documents folder within your partition.
d. When you’ve launched Final Cut Pro again, if you’re still getting the prompt telling you that Final Cut does not detect an external device, you should then shut down the computer and camera or deck. Try attaching a new firewire cable, and see if that solves the problem.
5. If you have any timecode errors that pop up, consider using the Capture Now button instead of selecting in and out points for a Batch Capture. The tape must be playing to activate Capture Now. Simply hit the Capture Now button when you want to begin capturing a shot, and hit the Escape key when you’d like the shot to end. With this method, you’re logging and capturing at the same time on the fly.
6. If you can’t see your video appearing on the camera’s LCD sreen or on a deck monitor when you’re trying to print to video, check to see if EXTERNAL VIDEO is turned off. External Video needs to be set to “All Frames” before capturing footage or exporting to tape. To do this, go to the Menu bar and scroll down under VIEW to EXTERNAL VIDEO. Then select ALL FRAMES. Final Cut turns ALL FRAMES on when working with the firewire cable and off again when you do any internal editing in FCP. Sometimes you need to wake it up.
7. Once the Log + Capture tool is launched, use its buttons to control the camera’s functions. Clicking with the mouse will activate Log + Capture buttons, and the signal will transfer to the camera through the firewire cable. Don’t use the camera buttons to play back or rewind the tape. Once you touch the camera’s controls, the connection between the camera and Final Cut Pro can be lost.
Final Cut Pro keyboard shortcuts
Apple 8 = Log and Capture
Apple Z = Undo
Shift Apple Z = Redo
Apple B = New Bin
Apple S = Save Project
Apple C = Copy
Apple X = Cut
Apple V = Paste
Apple A = Select All
Apple D = Deselect All
Apple U = Make Subclip
Apple N = New Sequence
Home key = brings playhead to the beginning of a sequence in the Timeline
Shift Z = Zooms out to show you entire sequence in the Timeline
Apple R = Render
Shift Delete = Ripple Delete
CTRL L = Loop Playback
CTRL U = Standard View for Timeline, Canvas, and Viewer will reappear
or double click on a sequence in the Browser to have Timeline reappear.
Option Apple W = Waveform displayed on Audio Tracks in the Timeline
J + K = Shuttle backward slow
L + K = Shuttle forward slow
K = Pause
L = Shuttle forward fast (tap repeatedly to increase speed)
J = Shuttle backward fast (tap repeatedly to increase speed)
M = add Marker
Shift N = Make Still Frame
CTRL M = Print to Video
CTRL G = Closes a gap
Option D = Duplicates a sequence
Option V = Paste attributes
Apple + or - = zoom in or out
Shift L = Linked Selection on or off
b = Blade Tool
s = Slip Tool
ss = Slide Tool
p = Pen Tool
a = Arrow
r = Roll Edit
n = snapping on and off
right arrow = forward 1 frame
left arrow = backward 1 frame
Shift + right arrow = forward 1 second
Shift + left arrow = backward 1 second
Shift I = Go to In Point
Shift O = Go to Out Point
1. Make sure your both your camera (or deck) and computer are powered off.
2. Carefully and correctly plug in your camera or a deck to the back of the computer tower, using the 4 to 6 pin firewire cable.
3. Turn on the camera, put it in PLAYBACK or VTR mode. If you’re using a deck, be sure it’s powered on with the green light lit. Also be sure it’s set to “DV”. Then turn on the computer, then the monitor.
4. Double click on your partition for it to open up. Your FCP Documents folder should appear.
5. Double click on your FCP Documents folder to open.
6. Double click on your project icon within your FCP Documents folder. Your project should appear – Timeline and all.
7. Go to FCP > System Settings > and set your Scratch Disks so that all edits and decisions will go to your partition. (Do this every time you work!!!!!)
8. In the new window that pops up, locate the top bar > hit the SET button and set it to your partition name and to FCP Documents…and hit OK. Then set the bottom 3 settings (Waveform Cache, Thumbnail Cache, and Autosave Vault) the same way – forget the others. It should read …14gigYOURNAMEFCPDocuments …Or How many gigs you have in your partition/Your name/FCP Documents folder. If it lacks this information, it's wrong.
9. Hit OK and the window will close. You’re ready to capture.
10. Go to the Menu Bar to “Final Cut Pro”, and scroll down to “Easy Setup”. Scroll through the drop down menu and set to DV NTSC (unless you’re using an HDV camera. If so, select the proper HDV camera setting). Then hit the Setup button.
11. The Canvas Window should be set to “Fit to Window”. Go to the first drop down menu at the top of the Canvas Window (marked by a number +%) and select “Fit to Window”.
To begin capturing
1. Hit Apple 8 for the Log and Capture window or go to File > Log and Capture >, and the Log and Capture window will appear.
2. Put the labeled tape in camera (in PLAYBACK mode).
3. Label it with the specific name you've already given it in the Reel box in the Log and Capture window.
4. Go to the 2nd tab of the Log and Capture window called Clip Settings. Set whether you want to capture video and audio, or just video, or just audio.
5. Hit the Play button or the Space bar on your computer to find the footage you want to capture. Set in and out points in the window...or by hitting I (in) or O (out) on your keyboard.
6. Hit Log Clip, name it in the prompt that appears, and hit OK. Continue to mark in and out points for each clip you want to capture and log clips this way.
7. Hit Batch for the capturing to start.
8. You may also hit Capture Now but the tape must be playing. If you have any timecode errors that pop up, consider using the Capture Now button instead of selecting in and out points. Simply hit the Capture Now button when you want to begin capturing a shot, and hit the Escape key when you’d like the shot to end. With this method, you’re logging and capturing at the same time on the fly.
9. SAVE (Apple S) frequently…All captured shots should appear in your Browser window.
10. If you want to delete a clip, you need to Control Click on it, and select “Make Offline” from the drop down menu that appears. A second box will appear. Select “Delete from Disk” and hit OK. This is the only way to permanently remove shots from your partition and free up additional space.
11. After capturing all of your shots, Save (Apple S), then quit Final Cut Pro (Apple Q).
12. Double click on your hard drive partition for it to open up. Double click on your FCP Documents folder to open that. Click once on your project icon to highlight it, and then hit Apple D to make a copy. Drag that copy into your BACK UP BIN. If you get a prompt that asks if you want to replace a previous copy, select yes.
To Shut Down the computer – Go to the Apple on the menu bar > Shut Down
*Remember to turn off the camera and the computer before disconnecting the 4 to 6 pin firewire cable.
Setting up computer to edit
1. Turn on the computer. You don’t need the camera or deck if you are not capturing.
2. Double click on your hard drive partition for it to open up. Your FCP Documents folder should appear.
3. Double click on your FCP Documents folder to open.
4. Double click on your project icon within your FCP Documents folder. Your project should appear.
5. A prompt will appear telling you there is not a camera connected > hit Continue.
6. Go to FCP > System Settings > and set your decisions to go to your partition. Do this every time you work.
7. In the new window that pops up, locate the top bar > hit the SET button and set it to your Partition name and to FCP Documents…and hit OK. Then set the bottom 3 settings (Waveform Cache, Thumbnail Cache, and Autosave Vault) the same way – forget the others. It should read …14gigYOURNAMEFCPDocuments …Or How many gigs you have in your partition/Your name/FCP Documents folder. If it lacks this information, it's wrong.
8. Hit OK and the window will close.
To begin editing
1. Find a clip in Browser window, double click on its icon to bring the clip into the Viewer Window.
2. Set in (I) and out (O) points in the Viewer Window. You can do this by hitting “I” or “O” on your keyboard when the Viewer is active.
3. Place the playhead in the spot on the Timeline where you want the shot or clip to appear. Select the track you want it to be on.
4. Drag and drop image from Viewer Window into Capture Window. Choose between the 2 edit modes – overwrite or insert. The shot will appear in the Timeline, on the track that you assigned it to appear.
5. You can also simply drag and drop the image from the Viewer Window directly into the Timeline onto the track where you would like it to appear. The track is divided by a faint gray line. Drag and dropping the clip above the gray line will result in an insert edit, and drag and dropping the clip below the gray line will result in an overwrite edit.
6. For audio that was captured without video, just pull it down to the Timeline and to the track you want it to appear on.
7. Remember to save (Apple S) frequently.
8. To finish, save (Apple S), then quit Final Cut Pro (Apple Q)
9. Double click on your hard drive partition for it to open up. Double click on your FCP Documents folder to open that. Click once on your project icon to highlight it, and then hit Apple D to make a copy. Drag that copy into your BACK UP BIN. If you get a prompt that asks if you want to replace a previous copy, select yes.
Print to Video instructions
1. Make sure your both your camera and computer are powered off.
2. Carefully and correctly plug in your camera or a deck to the back of the computer tower, using the 4 to 6 pin fire wire cable.
3. Turn on the camera, put it in PLAYBACK or VTR mode, then turn on the computer, then the monitor. Put a blank mini-DV tape into your camera. If you’re using a deck, make sure it’s switched to DV mode.
4. Double click on your project icon within your FCP Documents folder to open your project.
5. In the Browser, open the sequence you want to “print” or output to the tape.
6. Save the sequence (Apple S).
7. Render All.
8. Mark an IN and OUT point at the head and tail of your project.
9. Under Audio/Video Settings, Go to the A/V Devices tab, and uncheck Mirror on Desktop to prevent dropped frames.
10. Be sure to check to see that External Video is set to “All Frames” before exporting to tape. To do this, go to the Menu bar and scroll down under VIEW to EXTERNAL VIDEO. Then select ALL FRAMES. After exporting, you want to be sure to turn the ALL FRAMES to OFF again in order for your sequence to play in the Timeline.
11. Go to the Menu Bar under FILE.
12. Select Print to Video.
13. The Print to Video box will open giving you options (suggest at least 5 seconds of color bars, and 7 seconds of black).
14. Make sure to select Print: In to Out.
15. Check “Automatically Start Recording”
16. Click OK
17. When you see the green square turn to a red square and video appearing on your JVC’s LCD screen, recording has begun.
Troubleshooting
1. Did you follow the steps for capturing or printing to video in the correct order?
a. Make sure both the computer and the camera (or deck) are powered off.
b. Connect the 4 to 6 pin firewire cable from the computer to the camera or deck.
c. Turn on the computer and monitor.
Many problems can crop up if you neglected to do this. For example, the computers are unlikely to recognize a deck or camera if either was already turned on or if Final Cut was already launched when you tried to connect a firewire cable.
2. Check to see that your external capturing device (the camera or deck) is plugged in and turned on. The deck should be set to “DV” and the green light should be on.
3. Is your camera in PLAYBACK mode? The camera needs to be in PLAYBACK mode in order to be recognized by Final Cut Pro and in order to capture footage or print to video.
4. If you’ve followed the steps in the correct order to set up to capture or print to video, and you still get a prompt telling you that Final Cut does not detect an external device for capturing/exporting, go through the following steps:
a. Quit Final Cut Pro, and shut off the computer. Next shut off the camera or deck. Disconnect the firewire cable from the camera or deck and computer, and reconnect it again, checking to be sure that it’s properly connected to both. Turn on the power to the camera or deck again. Restart the computer, and launch Final Cut Pro by double clicking on your project icon in your FCP Documents folder.
b. If the prompt telling you that Final Cut Pro does not detect an external device is still popping up, hit “Continue” and then go to the Final Cut Pro menu bar, scroll down under “Final Cut Pro” to “Audio Video Settings”. In the Summary tab of the Audio Video Settings window, look at “Video Playback”. If it says, “Missing Firewire…”, you have a clue that the issue may likely be a faulty firewire cable or connection.
c. Next scroll down under “Final Cut Pro” in the menu bar to “Easy Set Up”. In the window that pops up, look at “Setup For” and set it to DV-NTSC. Next, quit Final Cut Pro and then launch it again by double-clicking on your project icon in the FCP Documents folder within your partition.
d. When you’ve launched Final Cut Pro again, if you’re still getting the prompt telling you that Final Cut does not detect an external device, you should then shut down the computer and camera or deck. Try attaching a new firewire cable, and see if that solves the problem.
5. If you have any timecode errors that pop up, consider using the Capture Now button instead of selecting in and out points for a Batch Capture. The tape must be playing to activate Capture Now. Simply hit the Capture Now button when you want to begin capturing a shot, and hit the Escape key when you’d like the shot to end. With this method, you’re logging and capturing at the same time on the fly.
6. If you can’t see your video appearing on the camera’s LCD sreen or on a deck monitor when you’re trying to print to video, check to see if EXTERNAL VIDEO is turned off. External Video needs to be set to “All Frames” before capturing footage or exporting to tape. To do this, go to the Menu bar and scroll down under VIEW to EXTERNAL VIDEO. Then select ALL FRAMES. Final Cut turns ALL FRAMES on when working with the firewire cable and off again when you do any internal editing in FCP. Sometimes you need to wake it up.
7. Once the Log + Capture tool is launched, use its buttons to control the camera’s functions. Clicking with the mouse will activate Log + Capture buttons, and the signal will transfer to the camera through the firewire cable. Don’t use the camera buttons to play back or rewind the tape. Once you touch the camera’s controls, the connection between the camera and Final Cut Pro can be lost.
Final Cut Pro keyboard shortcuts
Apple 8 = Log and Capture
Apple Z = Undo
Shift Apple Z = Redo
Apple B = New Bin
Apple S = Save Project
Apple C = Copy
Apple X = Cut
Apple V = Paste
Apple A = Select All
Apple D = Deselect All
Apple U = Make Subclip
Apple N = New Sequence
Home key = brings playhead to the beginning of a sequence in the Timeline
Shift Z = Zooms out to show you entire sequence in the Timeline
Apple R = Render
Shift Delete = Ripple Delete
CTRL L = Loop Playback
CTRL U = Standard View for Timeline, Canvas, and Viewer will reappear
or double click on a sequence in the Browser to have Timeline reappear.
Option Apple W = Waveform displayed on Audio Tracks in the Timeline
J + K = Shuttle backward slow
L + K = Shuttle forward slow
K = Pause
L = Shuttle forward fast (tap repeatedly to increase speed)
J = Shuttle backward fast (tap repeatedly to increase speed)
M = add Marker
Shift N = Make Still Frame
CTRL M = Print to Video
CTRL G = Closes a gap
Option D = Duplicates a sequence
Option V = Paste attributes
Apple + or - = zoom in or out
Shift L = Linked Selection on or off
b = Blade Tool
s = Slip Tool
ss = Slide Tool
p = Pen Tool
a = Arrow
r = Roll Edit
n = snapping on and off
right arrow = forward 1 frame
left arrow = backward 1 frame
Shift + right arrow = forward 1 second
Shift + left arrow = backward 1 second
Shift I = Go to In Point
Shift O = Go to Out Point
Lighting Tips for Video
Lighting & Shooting
Explore every shot length & camera angle
• Be sure to try to hand hold your camera and experiment with moving it in every direction and at every distance from your subject.
• Be sure to cover your subject with multiple shots.
Tube Kit contents:
• 2 lighting stands
• 2 simple broad lights
• 2 scrims
• 1 umbrella
• 2 power cords
2 reasons to never touch the bulb:
• 1. Unforgettably hot
• 2. Your finger oil will create hot spots
The Power of Light
• It can completely emphasize details or completely hide them.
2 Basic Qualities of Light:
Hard Light & Soft Light
Hard Light examples: the noonday sun on a clear day, a focused spotlight
Soft Light examples: daylight on a hazy day, light that’s bounced with an umbrella
Characteristics of Hard Light:
• casts a sharp, clearly defined shadow
• provides high contrast
• very directed, doesn’t scatter or wrap around objects
• takes a direct path toward subject
• easier to control
Characteristics of Soft Light:
• softens shadows
• lowers contrast /the contrast is reduced because the light spreads out
• light tends to bend and wrap around objects
• takes a less direct or straight path toward subject
• because of this, it’s harder to control
• can be more flattering
• Every time you double the distance from the subject with a light source, you’ll get 1/4 less light intensity.
• The intensity of light is cut with a soft light. You may need to move it closer to the subject.
• Remember that moving the camera or subject around in the existing light is often the path to the most beautiful lighting.
• Often so-called lighting mistakes like sun flares or a haze of white sunlight coating a subject can be small miracles and transform a subject or mood.
JVC GR-X5U rule:
• This camera needs a lot of light to avoid grainy images. Don’t assume that because the shot looks lovely on your LCD screen, that it has enough light. It’s best to flood a scene with light, and use the Exposure button to dim down your shot.
3 Point Lighting:
3 Point Lighting Jobs -
• Jobs of the Key light:
• 1. The main source of illumination on a subject
• 2. It defines the shadow area
• Typically placed 30 to 45º on either side of the camera/subject axis line.
• Jobs of the Fill Light:
• 1. To fill in the shadows created by the key light.
• 2. Needed to provide contrast, and give control over that contrast.
• Typically it’s a soft light + it’s placed opposite the key light on the other side of the camera/subject axis line.
• Jobs of the Backlight or Kicker:
• 1. To separate the subject from the background
• 2. To add depth to the shot.
• Typically placed at a 45º angle to the right, left or above the subject. If above the subject, tip it at a 45º angle.
White balance & Color Temperature
Color temperature of light is measured in Degrees Kelvin:
• Standard candle = 1930
• lights in kit = approx. 3100
• Sunrise or Sunset = 2000, 3000
• Midday Sun = 5000-5400
• Sunlight = blue
• Fluorescent = green
• Artificial lights = reddish orange
• Avoid mixing color temperatures of light in one shot.
• Absolutely always manually white balance your camera every time you change a location or lighting set-up.
• Typically video doesn’t do well in extremely bright or dim light.
• The bright oily spot on your subject’s forehead will often translate to pure white, while images with too little light will appear grainy and will not have enough color to realistically reproduce the image.
Working With Sunlight
• For the best results, shoot in weather with diffused sunlight: in the shade, in the early morning, late afternoon, during the magic hour, or on hazy days.
Explore every shot length & camera angle
• Be sure to try to hand hold your camera and experiment with moving it in every direction and at every distance from your subject.
• Be sure to cover your subject with multiple shots.
Tube Kit contents:
• 2 lighting stands
• 2 simple broad lights
• 2 scrims
• 1 umbrella
• 2 power cords
2 reasons to never touch the bulb:
• 1. Unforgettably hot
• 2. Your finger oil will create hot spots
The Power of Light
• It can completely emphasize details or completely hide them.
2 Basic Qualities of Light:
Hard Light & Soft Light
Hard Light examples: the noonday sun on a clear day, a focused spotlight
Soft Light examples: daylight on a hazy day, light that’s bounced with an umbrella
Characteristics of Hard Light:
• casts a sharp, clearly defined shadow
• provides high contrast
• very directed, doesn’t scatter or wrap around objects
• takes a direct path toward subject
• easier to control
Characteristics of Soft Light:
• softens shadows
• lowers contrast /the contrast is reduced because the light spreads out
• light tends to bend and wrap around objects
• takes a less direct or straight path toward subject
• because of this, it’s harder to control
• can be more flattering
• Every time you double the distance from the subject with a light source, you’ll get 1/4 less light intensity.
• The intensity of light is cut with a soft light. You may need to move it closer to the subject.
• Remember that moving the camera or subject around in the existing light is often the path to the most beautiful lighting.
• Often so-called lighting mistakes like sun flares or a haze of white sunlight coating a subject can be small miracles and transform a subject or mood.
JVC GR-X5U rule:
• This camera needs a lot of light to avoid grainy images. Don’t assume that because the shot looks lovely on your LCD screen, that it has enough light. It’s best to flood a scene with light, and use the Exposure button to dim down your shot.
3 Point Lighting:
3 Point Lighting Jobs -
• Jobs of the Key light:
• 1. The main source of illumination on a subject
• 2. It defines the shadow area
• Typically placed 30 to 45º on either side of the camera/subject axis line.
• Jobs of the Fill Light:
• 1. To fill in the shadows created by the key light.
• 2. Needed to provide contrast, and give control over that contrast.
• Typically it’s a soft light + it’s placed opposite the key light on the other side of the camera/subject axis line.
• Jobs of the Backlight or Kicker:
• 1. To separate the subject from the background
• 2. To add depth to the shot.
• Typically placed at a 45º angle to the right, left or above the subject. If above the subject, tip it at a 45º angle.
White balance & Color Temperature
Color temperature of light is measured in Degrees Kelvin:
• Standard candle = 1930
• lights in kit = approx. 3100
• Sunrise or Sunset = 2000, 3000
• Midday Sun = 5000-5400
• Sunlight = blue
• Fluorescent = green
• Artificial lights = reddish orange
• Avoid mixing color temperatures of light in one shot.
• Absolutely always manually white balance your camera every time you change a location or lighting set-up.
• Typically video doesn’t do well in extremely bright or dim light.
• The bright oily spot on your subject’s forehead will often translate to pure white, while images with too little light will appear grainy and will not have enough color to realistically reproduce the image.
Working With Sunlight
• For the best results, shoot in weather with diffused sunlight: in the shade, in the early morning, late afternoon, during the magic hour, or on hazy days.
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