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.
Wednesday, October 14, 2009
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.
Wednesday, September 9, 2009
Scavenger Hunt Assignment / due Oct. 19
Scavenger Hunt Project
Pick 1 of the following hunts for the basis of your Scavenger Hunt Project. Read through the instructions, and answer all questions that are posed. Record your 30 specific images and 30 specific sounds on a separate sheet of paper, and turn it in with your Scavenger Hunt Project on October 12. If you would like to continue to develop your Scavenger Hunt assignment into a final project for the class, you have that option. You may also use one of the other hunts not initially selected as a starting point for a final project idea, or you can come up with an idea of your own.
1. The Pace and Rhythm of Mood
Be on the lookout for one experience that either suddenly or slowly alters your mood or alters your life? This experience can be small, for example tasting cayenne pepper for the first time or a brand new hair cut. In fact, the smaller the experience, the more unique and dynamic is likely to be. Once you identify this experience, record the following: How do you react at first? Ask yourself what emotion you’re feeling? Anger, Fear, Joy, Anxiety, Surprise, Excitement, Depression, etc? What do you do see, hear, touch, and taste when you’re feeling this way? What kind of pace is created with your glances, movements, hearing, touching, or tasting? Then how did you react once the news, event, thought, or change in mood has time to sink in? How does your vision of the world shift? What images do you remember? For instance, what does the sky look like? How long do you look at it? Then what do you look at next? What do you hear? What are the rhythms of your body, facial expressions, movement between spaces, and interactions with other people like? If you had to make a video depicting this change of perspective, mood, or circumstances, what images would you want to include? What sounds would you include? How would you show the transformation of your experience through time?
Write down 30 specific images or “shots” that could express the details you’ve discovered from answering the above questions.
Write down 30 specific sounds that could express the details you’ve discovered from answering the above questions.
2. The Effects of Weather
How does weather affect you, someone you know, or the environment around you? Find one object, place, or person (perhaps yourself) that can illustrate the effects of weather. If you can catch the environment’s effects (sun, wind, erosion, rain, pressure, stress, etc.) in action, include these as well. If you can’t catch them in action, try to determine what type of weather produced the effects you can observe. Next, determine the effects of weather on your mood or on the mood of the person, object or place experiencing the elements. What are some of the changes that the weather has caused on emotion, thought patterns or rhythm (in a body, object or environment)? What does the weather force you to do? What does the weather do to change an object or place? Write down as many details about your reactions, moods, and feelings as you can. Or, what kind of feelings do you suppose the object, place, or person has about what’s affected it or him/her? What kind of pace is created with your glances, movements, hearing, touching, or tasting? What changes as the experience moves through time? How can you translate these observations into images and sounds to breathe life into a portrait of this kind of experience?
Write down every detail you can see, hear, taste, smell and touch. Be as specific as you possibly can. For example, instead of describing a “sidewalk warped by water”, go on to describe the warp itself…it’s shape, color, texture, mood, etc.
Write down 30 specific images or “shots” that could express the details you’ve discovered from answering the above questions.
Write down 30 specific sounds that could express the details you’ve discovered from answering the above questions.
3. Childhood Hunt
Who or what do you miss from your childhood? Try to activate your memory using all of your five senses, and write down a list of details. Try to recall everything you can remember about this person, object, or place. Where is this person, object, or place now? Visit the person, object, or place again, and write down a list of new details. How do you see it or him or her or them now? What has shifted or changed in the person, object, or place? What has shifted or changed in you? Think about the difference in pace from the past to the present moment. What kind of pace or rhythm do you remember experiencing with this childhood person, object, or place? What kind of pace is created with your fresh glances, movements, hearing, touching, or tasting around this missed person, object, or place now? What has changed as your experience has moved through time?
Write down 30 specific images or “shots” that could express the details you’ve discovered from answering the above questions.
Write down 30 specific sounds that could express the details you’ve discovered from answering the above questions.
Pick 1 of the following hunts for the basis of your Scavenger Hunt Project. Read through the instructions, and answer all questions that are posed. Record your 30 specific images and 30 specific sounds on a separate sheet of paper, and turn it in with your Scavenger Hunt Project on October 12. If you would like to continue to develop your Scavenger Hunt assignment into a final project for the class, you have that option. You may also use one of the other hunts not initially selected as a starting point for a final project idea, or you can come up with an idea of your own.
1. The Pace and Rhythm of Mood
Be on the lookout for one experience that either suddenly or slowly alters your mood or alters your life? This experience can be small, for example tasting cayenne pepper for the first time or a brand new hair cut. In fact, the smaller the experience, the more unique and dynamic is likely to be. Once you identify this experience, record the following: How do you react at first? Ask yourself what emotion you’re feeling? Anger, Fear, Joy, Anxiety, Surprise, Excitement, Depression, etc? What do you do see, hear, touch, and taste when you’re feeling this way? What kind of pace is created with your glances, movements, hearing, touching, or tasting? Then how did you react once the news, event, thought, or change in mood has time to sink in? How does your vision of the world shift? What images do you remember? For instance, what does the sky look like? How long do you look at it? Then what do you look at next? What do you hear? What are the rhythms of your body, facial expressions, movement between spaces, and interactions with other people like? If you had to make a video depicting this change of perspective, mood, or circumstances, what images would you want to include? What sounds would you include? How would you show the transformation of your experience through time?
Write down 30 specific images or “shots” that could express the details you’ve discovered from answering the above questions.
Write down 30 specific sounds that could express the details you’ve discovered from answering the above questions.
2. The Effects of Weather
How does weather affect you, someone you know, or the environment around you? Find one object, place, or person (perhaps yourself) that can illustrate the effects of weather. If you can catch the environment’s effects (sun, wind, erosion, rain, pressure, stress, etc.) in action, include these as well. If you can’t catch them in action, try to determine what type of weather produced the effects you can observe. Next, determine the effects of weather on your mood or on the mood of the person, object or place experiencing the elements. What are some of the changes that the weather has caused on emotion, thought patterns or rhythm (in a body, object or environment)? What does the weather force you to do? What does the weather do to change an object or place? Write down as many details about your reactions, moods, and feelings as you can. Or, what kind of feelings do you suppose the object, place, or person has about what’s affected it or him/her? What kind of pace is created with your glances, movements, hearing, touching, or tasting? What changes as the experience moves through time? How can you translate these observations into images and sounds to breathe life into a portrait of this kind of experience?
Write down every detail you can see, hear, taste, smell and touch. Be as specific as you possibly can. For example, instead of describing a “sidewalk warped by water”, go on to describe the warp itself…it’s shape, color, texture, mood, etc.
Write down 30 specific images or “shots” that could express the details you’ve discovered from answering the above questions.
Write down 30 specific sounds that could express the details you’ve discovered from answering the above questions.
3. Childhood Hunt
Who or what do you miss from your childhood? Try to activate your memory using all of your five senses, and write down a list of details. Try to recall everything you can remember about this person, object, or place. Where is this person, object, or place now? Visit the person, object, or place again, and write down a list of new details. How do you see it or him or her or them now? What has shifted or changed in the person, object, or place? What has shifted or changed in you? Think about the difference in pace from the past to the present moment. What kind of pace or rhythm do you remember experiencing with this childhood person, object, or place? What kind of pace is created with your fresh glances, movements, hearing, touching, or tasting around this missed person, object, or place now? What has changed as your experience has moved through time?
Write down 30 specific images or “shots” that could express the details you’ve discovered from answering the above questions.
Write down 30 specific sounds that could express the details you’ve discovered from answering the above questions.
Video Production Checklist
Video Production Checklist
What to add to your camera bag:
-1 pen to label your tapes (content of shoot, date + time, location)
-1 piece of white poster board or paper for manual white balancing the camera
-At least 1 extra Mini DV tape
-1 pair of covered headphones
-1 small piece of felt (approx. 4” by 4”) for placing under a PZM mic
-2 triple A batteries or 1 double A battery for use with
1. Never leave the equipment room without attaching your microphones to a camera and testing their proper functioning and sound quality through a pair of headphones.
2. Always wear a pair of covered headphones when doing any kind of audio recording through the camera. The input for attaching headphones is on the front (or lens side) of the JVC camera.
3. Always be sure to fully charge your camera batteries before heading out on a shoot.
Steps for Charging the Battery:
-Set the power switch on the top of the camera to “OFF”
-With the arrow on the battery pack pointing up, slide the battery into place
-Remove the battery by sliding the battery release button on the bottom of the camera
-Connect the AC power adaptor to the front of the camera (in the “DC” input), and plug the other end into an outlet
-The Power/Charge lamp on the camcorder blinks to indicate that charging has begun.
-When the Power/Charge lamp goes off, charging is complete.
4. Make sure that you buy only Sony Premium or Excellence Mini DV tapes. The UWM Film Dept. Mini DV tape decks work best with these tapes. Mini DV tapes have different lubricants, and our decks seem to reject other tape brands (Maxell, Fuji, Panasonic) with different lubricant types.
5. Turn the camera on to insert a tape. Insert the tape with the guts or inside part of the tape facing the inside of the camera, and the outside or window side of the tape facing the outside of the camera.
6. In order to access the menu and sound levels for an external microphone, your JVC camcorder has to be set to M or Manual. The camera must be set to VIDEO to shoot with Mini DV tapes.
7. Always make sure that your camera is in SP mode before recording. You should see SP on the monitor for Standard Play recording. If you see LP, hit menu (a button on the back of the camera) and scroll to the A menu, hit SET, scroll to REC MODE, hit SET and you can select SP.
8. Always make sure that your camera is set to record 16 bit sound. To check, hit menu and scroll to A menu, hit SET, scroll to SOUND MODE and select 16bit.
9. Any zoom over 10X moves the image from one with optical zoom to one with digital zoom. My advice is to never use the digital zoom. This lessens the image quality quite a bit. To make sure that your digital zoom never passes 10X, hit MENU and scroll down to the A screen. Select ZOOM and set it at the 10x option.
10. After insuring that the environment, person, place, or object is properly lit, be absolutely sure to Manually White Balance the camera. Do this every time you change rooms, locations, or lighting. Always include a blank piece of white paper or white poster board in your camera case for this purpose. Here are the steps to do this:
-Set the power switch to M
-Hold a sheet of white paper or poster board in front of the subject + zoom in until the white paper fills the LCD screen.
-Press WB repeatedly to select the manual white balance symbol (2 triangles with a square in between). This symbol will appear on your LCD screen.
-Press and hold the WB button until it stops blinking, and then the manual white balancing is complete.
-Once you adjust the white balance manually, the setting will remain even after you shut off the camera. To reset it, repeat the process again. You should manually white balance the camera again whenever you change the lighting or change the environment or room you’re shooting in.
-Avoid scenes with multiple color temperatures of light (indoor light is red/orange, outdoor light is blue, and fluorescent light is green). For example, avoid mixing blue outdoor light streaming through windows with red indoor or household lights in the same shot.
11. Manually Focusing the camera is typically best. Here are the steps to do this:
-Set the Power switch to M
-Press FOCUS, the manual focus indicator appears
-Rotate the Manual Focus dial to focus on a subject
-Press SET on the Manual Focus dial
12. If you're finding that your images look too dark on the LCD screen of your JVC camcorder, or you're unable to adjust the exposure, make sure to set the camera to AGC or Auto Gain Control.
To do this:
1. Hit the menu button on the back of the camcorder.
2. Scroll down to the A menu, and hit Set.
3. Scroll to Gain and select AGC.
13. When shooting indoors with your JVC camera, be aware that it needs a lot of light to produce a high quality image. Use a tube kit to flood the space with light, and then use the Exposure button to dial down or dim the exposure. This has always proven to deliver the best results. Otherwise you will end up with a grainy and/or out of focus image.
-Set the power switch to “M”
-Press Exposure + the Exposure Indicator appears
-Rotate the Manual Focus Dial to adjust the exposure.
-Press the SET button on the Manual Focus Dial.
-To return to Automatic Exposure, hit the Exposure button twice.
-If SET is not selected on the Manual Focus Dial, Manual Exposure won’t work.
14. Don’t break the timecode on your Mini DV tape. Be sure to record some dead space on the tape after a critical scene. If you decide to rewind your tape to review something you just shot, be sure to park the tape well into that dead space (at least 10 seconds) before starting to record again. The tape needs to be backed up at least 10 seconds into footage previously shot in order to keep the time code from breaking.
15. Never use the onboard (or built-in) microphone on your camera. Your recordings will contain camera system noise, and the quality of the recordings will be low.
Always use external microphones to record sound. Microphones with a mini or 1/8 inch plug are ready to plug into your JVC camera. Plug them into the “MIC” input right under the lens at the front of your JVC. To attach other external microphones, use the ¼ inch to mini adaptor cable in your camera bags. You can plug the mini end of the adaptor cable into the “MIC” input at the front of your camera. Then plug the microphone with the ¼ inch plug into the end of the cable with the ¼ inch input.
16. Batteries for specific mics.
17. When you plug in an external mic on the JVC, you see a L and a R light up on the lower left corner of the LCD screen. As sound is being recorded by the external microphone, a series of bars will light up. They are green and red. The sound should peak with one red bar only.
The last 2 or 3 red bars shouldn’t light up.
If the sound reaches the 3rd or 4th red bar, your levels will be hitting too near or at 0 decibels or 0db. You never want to hit O Db. This is known as hitting the brick wall. Your sound will screech and become unusable.
18. To create a sense of depth or space in a soundtrack, it takes a mix of 3 elements:
Foreground sounds: Louder sounds that seem close
Middleground sounds: Soft to medium loud details from the immediate area.
Background sounds: Soft sounds that seem far away.
You’ll be responsible for testing the sound levels of any recorded audio in Final Cut Pro. In Final Cut Pro, you have a tool called the audio meter. This meter will show you the levels of the sound you recorded with your camera.
The general rule for voice or foreground recording: -12db to -6db
Middleground sounds, like a zipper being zipped or a water fountain: -15 to -3db
Background sounds, like sounds from a meadow or sound outside a city window: -20 to -15 db, though they can be recorded at higher levels and lowered in Final Cut Pro.
19. To create a dynamic soundtrack you should try to include sound with low frequencies, mid frequencies, and high frequencies:
Low Frequencies: In the audio frequency range, those from around 20 Hz to 250 Hz. These frequencies add bass warmth to recordings. Some common sounds with pronounced low frequencies are: traffic and machinery "rumble," bass musical instruments and the lowest tones produced by the human voice.
Mid-Frequencies: The part of the frequency range from 250 Hz to 4,000 Hz. Most of the sound that we hear comes from this portion of the audible range, but if a soundtrack has only mid-frequencies it will lack warmth (low frequencies) and clarity (high frequencies).
High Frequencies: In the audio frequency range, those from around 4,000 Hz to 20,000. These frequencies add clarity to recordings. Some common sounds with pronounced high frequencies are: consonant sounds of human speech, sizzling, rain and cymbal percussion.
20. Be sure to record at least 5 minutes of uninterrupted ambient sound in each shooting environment. Air has a sound, and you will need a long and seamless recording of “silence” in every space you shoot in for use in editing. After recording a sound, don’t stop recording immediately. Record dead space before and after each critical sound source.
21. I would recommend using the RE-10 microphone (especially good for voice and middleground sounds) or the PZM microphone (best for background sounds) to get the best audio levels on your JVC camcorder.
22. Don’t forget to bring a supply of double A and triple A batteries for use in the microphones.
23. If you’re using a tube kit for lighting, never touch the bulb with your fingers. Always use gloves when operating the hot lights. Let the lights cool off completely before packing them up.
What to add to your camera bag:
-1 pen to label your tapes (content of shoot, date + time, location)
-1 piece of white poster board or paper for manual white balancing the camera
-At least 1 extra Mini DV tape
-1 pair of covered headphones
-1 small piece of felt (approx. 4” by 4”) for placing under a PZM mic
-2 triple A batteries or 1 double A battery for use with
1. Never leave the equipment room without attaching your microphones to a camera and testing their proper functioning and sound quality through a pair of headphones.
2. Always wear a pair of covered headphones when doing any kind of audio recording through the camera. The input for attaching headphones is on the front (or lens side) of the JVC camera.
3. Always be sure to fully charge your camera batteries before heading out on a shoot.
Steps for Charging the Battery:
-Set the power switch on the top of the camera to “OFF”
-With the arrow on the battery pack pointing up, slide the battery into place
-Remove the battery by sliding the battery release button on the bottom of the camera
-Connect the AC power adaptor to the front of the camera (in the “DC” input), and plug the other end into an outlet
-The Power/Charge lamp on the camcorder blinks to indicate that charging has begun.
-When the Power/Charge lamp goes off, charging is complete.
4. Make sure that you buy only Sony Premium or Excellence Mini DV tapes. The UWM Film Dept. Mini DV tape decks work best with these tapes. Mini DV tapes have different lubricants, and our decks seem to reject other tape brands (Maxell, Fuji, Panasonic) with different lubricant types.
5. Turn the camera on to insert a tape. Insert the tape with the guts or inside part of the tape facing the inside of the camera, and the outside or window side of the tape facing the outside of the camera.
6. In order to access the menu and sound levels for an external microphone, your JVC camcorder has to be set to M or Manual. The camera must be set to VIDEO to shoot with Mini DV tapes.
7. Always make sure that your camera is in SP mode before recording. You should see SP on the monitor for Standard Play recording. If you see LP, hit menu (a button on the back of the camera) and scroll to the A menu, hit SET, scroll to REC MODE, hit SET and you can select SP.
8. Always make sure that your camera is set to record 16 bit sound. To check, hit menu and scroll to A menu, hit SET, scroll to SOUND MODE and select 16bit.
9. Any zoom over 10X moves the image from one with optical zoom to one with digital zoom. My advice is to never use the digital zoom. This lessens the image quality quite a bit. To make sure that your digital zoom never passes 10X, hit MENU and scroll down to the A screen. Select ZOOM and set it at the 10x option.
10. After insuring that the environment, person, place, or object is properly lit, be absolutely sure to Manually White Balance the camera. Do this every time you change rooms, locations, or lighting. Always include a blank piece of white paper or white poster board in your camera case for this purpose. Here are the steps to do this:
-Set the power switch to M
-Hold a sheet of white paper or poster board in front of the subject + zoom in until the white paper fills the LCD screen.
-Press WB repeatedly to select the manual white balance symbol (2 triangles with a square in between). This symbol will appear on your LCD screen.
-Press and hold the WB button until it stops blinking, and then the manual white balancing is complete.
-Once you adjust the white balance manually, the setting will remain even after you shut off the camera. To reset it, repeat the process again. You should manually white balance the camera again whenever you change the lighting or change the environment or room you’re shooting in.
-Avoid scenes with multiple color temperatures of light (indoor light is red/orange, outdoor light is blue, and fluorescent light is green). For example, avoid mixing blue outdoor light streaming through windows with red indoor or household lights in the same shot.
11. Manually Focusing the camera is typically best. Here are the steps to do this:
-Set the Power switch to M
-Press FOCUS, the manual focus indicator appears
-Rotate the Manual Focus dial to focus on a subject
-Press SET on the Manual Focus dial
12. If you're finding that your images look too dark on the LCD screen of your JVC camcorder, or you're unable to adjust the exposure, make sure to set the camera to AGC or Auto Gain Control.
To do this:
1. Hit the menu button on the back of the camcorder.
2. Scroll down to the A menu, and hit Set.
3. Scroll to Gain and select AGC.
13. When shooting indoors with your JVC camera, be aware that it needs a lot of light to produce a high quality image. Use a tube kit to flood the space with light, and then use the Exposure button to dial down or dim the exposure. This has always proven to deliver the best results. Otherwise you will end up with a grainy and/or out of focus image.
-Set the power switch to “M”
-Press Exposure + the Exposure Indicator appears
-Rotate the Manual Focus Dial to adjust the exposure.
-Press the SET button on the Manual Focus Dial.
-To return to Automatic Exposure, hit the Exposure button twice.
-If SET is not selected on the Manual Focus Dial, Manual Exposure won’t work.
14. Don’t break the timecode on your Mini DV tape. Be sure to record some dead space on the tape after a critical scene. If you decide to rewind your tape to review something you just shot, be sure to park the tape well into that dead space (at least 10 seconds) before starting to record again. The tape needs to be backed up at least 10 seconds into footage previously shot in order to keep the time code from breaking.
15. Never use the onboard (or built-in) microphone on your camera. Your recordings will contain camera system noise, and the quality of the recordings will be low.
Always use external microphones to record sound. Microphones with a mini or 1/8 inch plug are ready to plug into your JVC camera. Plug them into the “MIC” input right under the lens at the front of your JVC. To attach other external microphones, use the ¼ inch to mini adaptor cable in your camera bags. You can plug the mini end of the adaptor cable into the “MIC” input at the front of your camera. Then plug the microphone with the ¼ inch plug into the end of the cable with the ¼ inch input.
16. Batteries for specific mics.
17. When you plug in an external mic on the JVC, you see a L and a R light up on the lower left corner of the LCD screen. As sound is being recorded by the external microphone, a series of bars will light up. They are green and red. The sound should peak with one red bar only.
The last 2 or 3 red bars shouldn’t light up.
If the sound reaches the 3rd or 4th red bar, your levels will be hitting too near or at 0 decibels or 0db. You never want to hit O Db. This is known as hitting the brick wall. Your sound will screech and become unusable.
18. To create a sense of depth or space in a soundtrack, it takes a mix of 3 elements:
Foreground sounds: Louder sounds that seem close
Middleground sounds: Soft to medium loud details from the immediate area.
Background sounds: Soft sounds that seem far away.
You’ll be responsible for testing the sound levels of any recorded audio in Final Cut Pro. In Final Cut Pro, you have a tool called the audio meter. This meter will show you the levels of the sound you recorded with your camera.
The general rule for voice or foreground recording: -12db to -6db
Middleground sounds, like a zipper being zipped or a water fountain: -15 to -3db
Background sounds, like sounds from a meadow or sound outside a city window: -20 to -15 db, though they can be recorded at higher levels and lowered in Final Cut Pro.
19. To create a dynamic soundtrack you should try to include sound with low frequencies, mid frequencies, and high frequencies:
Low Frequencies: In the audio frequency range, those from around 20 Hz to 250 Hz. These frequencies add bass warmth to recordings. Some common sounds with pronounced low frequencies are: traffic and machinery "rumble," bass musical instruments and the lowest tones produced by the human voice.
Mid-Frequencies: The part of the frequency range from 250 Hz to 4,000 Hz. Most of the sound that we hear comes from this portion of the audible range, but if a soundtrack has only mid-frequencies it will lack warmth (low frequencies) and clarity (high frequencies).
High Frequencies: In the audio frequency range, those from around 4,000 Hz to 20,000. These frequencies add clarity to recordings. Some common sounds with pronounced high frequencies are: consonant sounds of human speech, sizzling, rain and cymbal percussion.
20. Be sure to record at least 5 minutes of uninterrupted ambient sound in each shooting environment. Air has a sound, and you will need a long and seamless recording of “silence” in every space you shoot in for use in editing. After recording a sound, don’t stop recording immediately. Record dead space before and after each critical sound source.
21. I would recommend using the RE-10 microphone (especially good for voice and middleground sounds) or the PZM microphone (best for background sounds) to get the best audio levels on your JVC camcorder.
22. Don’t forget to bring a supply of double A and triple A batteries for use in the microphones.
23. If you’re using a tube kit for lighting, never touch the bulb with your fingers. Always use gloves when operating the hot lights. Let the lights cool off completely before packing them up.
Wednesday, September 2, 2009
Basic Elements of Video Syllabus
BASIC ELEMENTS OF VIDEO SYLLABUS / FILM - 222, LAB 803
Fall 2009 / September 2 – December 14
Mondays & Wednesdays / 1:00pm – 2:50pm / Mitchell Hall B-56
Instructor: Alex Torinus Office Hours: Mon. 12pm-1pm &
Email: atorinus@uwm.edu Wed. 11am-12pm
Film Dept. Office: B-70 Office: B-55B, Phone: 229-3907
Film Dept. phone: 229-6015 Mailbox: B-70
Course Goals: To introduce you to the basic concepts and techniques of digital camera and audio work, shooting and lighting for video, and the essential steps of editing with Final Cut Pro 6. You will participate in all aspects of video production, including proposing, planning, and shooting a video project, learning creative problem solving by viewing and critiquing your own footage and editing as well as that of other students, and negotiating the most imaginative path toward the completion of a final video project.
Course Blog: http://basicvideolab803.blogspot.com/
Required Supplies / Cost:
- 5 Sony Premium Mini DV tapes / $3.98 each (at Riverwest Film and Video), about $5.00 each (at Target)
- Other brands (Panasonic and Maxell especially) not recommended
You can get them at: Riverwest Film and Video
824 E. Center St. (next to Fuel Cafe)
414-265-8433
Hours: 3 -11:00pm, seven days a week.
Strongly Recommended: Final Cut Pro 6: Visual QuickPro Guide by Lisa Brenneis
$26.39 for a new copy of FCP 6 at amazon.com, from $23.21 used, from $5.99 for a used copy of FCP 5 at amazon.com
Requirements: - Minimum of 10 hours of production time outside of class each week.
- Regular and prompt attendance - more than 4 absences will
result in a drop in grade by one full letter, 1/2 letter grade drop
for each additional class missed. Significant tardiness will result in ½ absence per late arrival. This is a generous policy, so it’s strictly enforced.
- Notes taken during all technical lectures. You’re responsible for all the
material covered in these lectures. If you miss class, you’re responsible
for for studying lecture information in D2L handouts.
- No lap top computer use for anything other than note-taking or in-class video production work when lab time permits.
- No late assignments accepted.
Notes & Media: Please note that this course does not require the use of the internet during class, and the use of cell phones, and other electronic devices is prohibited.
Equipment Room Hours: Monday – Friday: 8:30am – 4:00pm
Room B-54
229-4643
UWMEquipmentRoom@gmail.com
Equipment: JVC camcorders, Panasonic GS400 camcorders, Microphones: RE-10, SP lav, PZM, Rode, Tube Kits, Gitzo tripods, Zoom Handy H4 recorders
Mitchell Hall Hours: Monday – Saturday: 7:00am – 10:30pm
Sunday: 11:00am – 10:00pm
Campus Security: 229-4627 / Use this number to gain access to Mitchell Hall after
(non-emergency) regular Film Dept. operating hours with a work permit + a student ID.
You must call 15 minutes prior to odd hours only (9pm, 11pm, 1am,
3am, 5am, etc.). For instance, if you want to want to gain access at
11pm, you would call security at 10:45pm.
To get 24/7 hand scan access to Mitchell Hall, visit the PSOA Box Office in the basement of the Zelazo Center Monday through Thursday,10 AM - 4 PM. The door with the hand scan unit in
Mitchell Hall is the basement entrance near the loading dock.
Assignments:
Scavenger Hunting Project: 20% / October 12
Based upon your creation of a short project (no longer than 3 minutes) born from the scavenger hunting exercises. Your grade will be based on the use of sound that provides sufficient detail to define the place, event, object or person and images that are unpredictable, fresh, and personal…as well as in focus, well lit, well composed and properly white-balanced. Your grade will also be based on the quantity and quality of
your audio recordings.
Rough Cut Fundamentals: 15%
Based upon the quality of shot compositions, lighting, and audio recordings selected to create a rough cut for your final project.
Class Participation: 15%
Based on the following:
- meeting deadlines for questionnaire, final project proposal, raw footage due date, rough cut due date, and fine cut due date
- the effort and imagination given to video work in progress and the final project proposal and questionnaire
- the feedback you give your fellow students to help them realize successful projects and creatively solve problems
- acting on the feedback and critique you receive
- bringing footage to class ready to view
- work on in-class exercises and assignments
- general classroom conduct (including attending both final screenings in support of your classmates’ work)
Final Project: 50% / December 9
Based on the imaginative conclusion of the shooting, sound, and editing used to express the idea put forth in your project proposal. A title and at least three sound tracks are required. This project can be no longer than 5 minutes.
______________________________________________________________________________________
No video project will be accepted unless it is contained within a plastic Mini DV case, and it has a label with your full name on the spine of the tape itself, along with a label on the tape case insert with the following information:
- Your full name
- The assignment (Scavenger Hunting Project, Final Project)
- The date (day, month, year)
Course Schedule:
MONDAYS WEDNESDAYS
Sept. 2 - Introduction to the course Happiness / Sadness
Exercise
Sept. 9 - Introduction to cameras In-Class Scavenger Hunt +
Shoot
(Bring tapes to class)
Sept. 14 - Introduction to audio & Sept. 16 - In-Class Audio Expedition microphones + Scavenger Hunt
Sept. 21 - Introduction to Lighting Sept. 23 - Final Cut Pro Capturing Demonstration
Sept. 28 - Capturing Lab Sept. 30 - Final Cut Pro Editing (Scavenger Hunting footage due) Demonstration
______________________________________________________________________________________
Oct.. 5 - Final Cut Pro Audio Oct. 7 - Final Cut Pro Text &
Editing Demonstration Effects Demonstration
Editing Discussion
Oct. 12 - Individual Appointments Oct. 14 - Individual Appointments
Questionnaires due Questionnaires due
Oct. 19 - Scavenger Hunting Proj. due Oct. 21 - Scavenger Hunting Proj.
Screening and Discussion Screening and Discussion
Oct. 26 - Final Project Discussion Oct. 28 - Final Project Discussion
Final Project Proposals due Raw Footage Due
Raw Footage Due
______________________________________________________________________________________
Nov. 2 - Raw Footage Due Nov. 4 - Introduction to DVD
Authoring & the Transfer
System
Nov. 9 - Rough Cuts due & viewed Nov. 11 - Rough Cuts due &
viewed
Nov. 16 - Rough Cuts due & viewed Nov. 18 - In Class Workshop /
Critique
Nov. 23 - Fine Cuts due & viewed Nov. 25 - No Class
Thanksgiving Recess
Nov. 30 - Fine Cuts due & viewed
______________________________________________________________________________________
Dec. 2 - Fine Cuts due & viewed
Dec. 7 - In Class Workshop / Critique Dec. 9 - Final Projects due & viewed
Dec. 14 - Final Project Screening continued
______________________________________________________________________________________
* Tuesday, Dec. 15: By 4PM, portfolio review material is due in the Film dept. office, B70.
* Student Film & Video Festival: Dec. 18
______________________________________________________________________________________
Facility Access and Work Permits:
Students using the department facilities must have an updated Work Permit, which will be distributed in class. The Film Department facilities are normally open from 9:00am-4:30pm, Monday-Friday. Some of the studios have card-swipe access. Keys for other editing rooms and studios may be signed out in the Equipment Room or B-70 Film Dept. Office. When the Film Office is closed, access to rooms is available from department staff or campus police, following posted guidelines. After hours, access to Mitchell Hall is available for all students enrolled in the “hand reader” lock system, via the northwest entrance (below the loading dock). Students register at the PSOA Box Office on the 1st floor of the Zelazo Center.
Equipment Room Eligibility:
1. You must be a UWM student, enrolled in a production class.
2. You must have received training from your instructor on individual pieces of equipment. When you have demonstrated competency in using the equipment, your instructor will forward a note to the Equipment Room informing them about your eligibility.
3. Eligibility from previous semesters will be carried over to the present.
4. You are only eligible to check out equipment for which you have received training.
5. You are fully responsible for damage or loss of any and all equipment checked out to you.
Special Needs and Questions:
If you will need accommodations in order to meet any of the requirements of this course, please contact me as soon as possible. Feel free to visit me at my office during office hours to discuss assignments or any questions or requests you have. The Department of Film follows UWM academic policies which are posted on the departmental bulletin board, or available online at:
http://www.uwm.edu/Dept/SecU/SyllabusLinks.pdf
Drops: No drops are permitted after the 5th week of the semester.
Use of Copyrighted Material: Use of copyrighted material is strictly prohibited unless the images, sounds, texts, etc. are being significantly altered and it is clear in the opinion of the instructor that the original material is being studied, analyzed, and commented upon by the student. Grades for work failing to satisfy this requirement for copyrighted materials will be significantly lowered. The instructor reserves the right to determine what constitutes fair use of copyrighted material. A helpful resource concerning copyright and fair use is available at. The campus Learning Technology Center, located in the east wing of the Library, can also provide consultation and resources concerning these issues.
H1N1 Influenza: In the event of disruption of normal classroom activities due to an H1N1 swine flu outbreak, the format for this course may be modified to enable completion of the course. In that event, you will be provided an addendum to this syllabus that will supersede this version.
Project Storage: Projects from prior semesters not retrieved from the Film Dept. Office, Mitchell Hall rm. B-70, by the 4th week of classes in the Spring will be disposed of. The Film Dept. is not responsible for completed projects that have not been retrieved.
Final Video Projects
Excellent or “A” video projects usually have most of these qualities: They are smart---they engage their subject matter with innovative or stimulating ways of thinking. They demonstrate considerable development of the original curiosities, experiences, and concepts through engaging the world with shots and sound. Excellent projects often have striking imagery and soundtracks with good spatial “imagery”, clarity, and variation. Good or “B” final projects have some of these qualities. Average or “C” projects are often predictable with little development of ideas or form.
Qualities of an Excellent or “A” Project:
- Successfully posing a question, perception, or situation to explore, learn about, or account for.
- Images that are unique, unpredictable, detailed, personal.
- A sufficient number/variety of video images and audio recordings with which to fully complete the final project.
- Development of a point of view and/or personal visual style.
- Sound and Image relationships that are imaginative, unpredictable, and unique.
- High quality microphone recording, track building, and mixing techniques for soundtracks.
- Pacing that establishes and develops rhythms.
- Attention to structure, focus, and balance of the original idea
Portfolio Review Projects:
All of the above especially applies to work being considered for Portfolio Review. Suggested running time for final projects is 2.5 - 5 minutes. Creative accomplishment is given much greater weight than technical execution. Here are some qualities that the faculty look for in Portfolio Review:
- Curiosity: Evidence of passion for exploration, increasing one’s experience and knowledge as evident in the conceptual planning for the video or film.
- Perceptual Skills: The ability to find qualities of interest in things, persons, and events immediately around oneself as evident in the video or film and sound materials generated.
- Process and Discovery: Evidence of conceptual and aesthetic development in the video or film and sound materials generated over the period of principle photography. The ability to recognize the inherent strengths of the materials you have generated.
- Creative Voice: The ability to draft an editing plan that combines inherent strengths of the material with goals of personal expression.
- Technical Competency: Self-sufficiency in using the basic tools of video and cinema production.
Fall 2009 / September 2 – December 14
Mondays & Wednesdays / 1:00pm – 2:50pm / Mitchell Hall B-56
Instructor: Alex Torinus Office Hours: Mon. 12pm-1pm &
Email: atorinus@uwm.edu Wed. 11am-12pm
Film Dept. Office: B-70 Office: B-55B, Phone: 229-3907
Film Dept. phone: 229-6015 Mailbox: B-70
Course Goals: To introduce you to the basic concepts and techniques of digital camera and audio work, shooting and lighting for video, and the essential steps of editing with Final Cut Pro 6. You will participate in all aspects of video production, including proposing, planning, and shooting a video project, learning creative problem solving by viewing and critiquing your own footage and editing as well as that of other students, and negotiating the most imaginative path toward the completion of a final video project.
Course Blog: http://basicvideolab803.blogspot.com/
Required Supplies / Cost:
- 5 Sony Premium Mini DV tapes / $3.98 each (at Riverwest Film and Video), about $5.00 each (at Target)
- Other brands (Panasonic and Maxell especially) not recommended
You can get them at: Riverwest Film and Video
824 E. Center St. (next to Fuel Cafe)
414-265-8433
Hours: 3 -11:00pm, seven days a week.
Strongly Recommended: Final Cut Pro 6: Visual QuickPro Guide by Lisa Brenneis
$26.39 for a new copy of FCP 6 at amazon.com, from $23.21 used, from $5.99 for a used copy of FCP 5 at amazon.com
Requirements: - Minimum of 10 hours of production time outside of class each week.
- Regular and prompt attendance - more than 4 absences will
result in a drop in grade by one full letter, 1/2 letter grade drop
for each additional class missed. Significant tardiness will result in ½ absence per late arrival. This is a generous policy, so it’s strictly enforced.
- Notes taken during all technical lectures. You’re responsible for all the
material covered in these lectures. If you miss class, you’re responsible
for for studying lecture information in D2L handouts.
- No lap top computer use for anything other than note-taking or in-class video production work when lab time permits.
- No late assignments accepted.
Notes & Media: Please note that this course does not require the use of the internet during class, and the use of cell phones, and other electronic devices is prohibited.
Equipment Room Hours: Monday – Friday: 8:30am – 4:00pm
Room B-54
229-4643
UWMEquipmentRoom@gmail.com
Equipment: JVC camcorders, Panasonic GS400 camcorders, Microphones: RE-10, SP lav, PZM, Rode, Tube Kits, Gitzo tripods, Zoom Handy H4 recorders
Mitchell Hall Hours: Monday – Saturday: 7:00am – 10:30pm
Sunday: 11:00am – 10:00pm
Campus Security: 229-4627 / Use this number to gain access to Mitchell Hall after
(non-emergency) regular Film Dept. operating hours with a work permit + a student ID.
You must call 15 minutes prior to odd hours only (9pm, 11pm, 1am,
3am, 5am, etc.). For instance, if you want to want to gain access at
11pm, you would call security at 10:45pm.
To get 24/7 hand scan access to Mitchell Hall, visit the PSOA Box Office in the basement of the Zelazo Center Monday through Thursday,10 AM - 4 PM. The door with the hand scan unit in
Mitchell Hall is the basement entrance near the loading dock.
Assignments:
Scavenger Hunting Project: 20% / October 12
Based upon your creation of a short project (no longer than 3 minutes) born from the scavenger hunting exercises. Your grade will be based on the use of sound that provides sufficient detail to define the place, event, object or person and images that are unpredictable, fresh, and personal…as well as in focus, well lit, well composed and properly white-balanced. Your grade will also be based on the quantity and quality of
your audio recordings.
Rough Cut Fundamentals: 15%
Based upon the quality of shot compositions, lighting, and audio recordings selected to create a rough cut for your final project.
Class Participation: 15%
Based on the following:
- meeting deadlines for questionnaire, final project proposal, raw footage due date, rough cut due date, and fine cut due date
- the effort and imagination given to video work in progress and the final project proposal and questionnaire
- the feedback you give your fellow students to help them realize successful projects and creatively solve problems
- acting on the feedback and critique you receive
- bringing footage to class ready to view
- work on in-class exercises and assignments
- general classroom conduct (including attending both final screenings in support of your classmates’ work)
Final Project: 50% / December 9
Based on the imaginative conclusion of the shooting, sound, and editing used to express the idea put forth in your project proposal. A title and at least three sound tracks are required. This project can be no longer than 5 minutes.
______________________________________________________________________________________
No video project will be accepted unless it is contained within a plastic Mini DV case, and it has a label with your full name on the spine of the tape itself, along with a label on the tape case insert with the following information:
- Your full name
- The assignment (Scavenger Hunting Project, Final Project)
- The date (day, month, year)
Course Schedule:
MONDAYS WEDNESDAYS
Sept. 2 - Introduction to the course Happiness / Sadness
Exercise
Sept. 9 - Introduction to cameras In-Class Scavenger Hunt +
Shoot
(Bring tapes to class)
Sept. 14 - Introduction to audio & Sept. 16 - In-Class Audio Expedition microphones + Scavenger Hunt
Sept. 21 - Introduction to Lighting Sept. 23 - Final Cut Pro Capturing Demonstration
Sept. 28 - Capturing Lab Sept. 30 - Final Cut Pro Editing (Scavenger Hunting footage due) Demonstration
______________________________________________________________________________________
Oct.. 5 - Final Cut Pro Audio Oct. 7 - Final Cut Pro Text &
Editing Demonstration Effects Demonstration
Editing Discussion
Oct. 12 - Individual Appointments Oct. 14 - Individual Appointments
Questionnaires due Questionnaires due
Oct. 19 - Scavenger Hunting Proj. due Oct. 21 - Scavenger Hunting Proj.
Screening and Discussion Screening and Discussion
Oct. 26 - Final Project Discussion Oct. 28 - Final Project Discussion
Final Project Proposals due Raw Footage Due
Raw Footage Due
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Nov. 2 - Raw Footage Due Nov. 4 - Introduction to DVD
Authoring & the Transfer
System
Nov. 9 - Rough Cuts due & viewed Nov. 11 - Rough Cuts due &
viewed
Nov. 16 - Rough Cuts due & viewed Nov. 18 - In Class Workshop /
Critique
Nov. 23 - Fine Cuts due & viewed Nov. 25 - No Class
Thanksgiving Recess
Nov. 30 - Fine Cuts due & viewed
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Dec. 2 - Fine Cuts due & viewed
Dec. 7 - In Class Workshop / Critique Dec. 9 - Final Projects due & viewed
Dec. 14 - Final Project Screening continued
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* Tuesday, Dec. 15: By 4PM, portfolio review material is due in the Film dept. office, B70.
* Student Film & Video Festival: Dec. 18
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Facility Access and Work Permits:
Students using the department facilities must have an updated Work Permit, which will be distributed in class. The Film Department facilities are normally open from 9:00am-4:30pm, Monday-Friday. Some of the studios have card-swipe access. Keys for other editing rooms and studios may be signed out in the Equipment Room or B-70 Film Dept. Office. When the Film Office is closed, access to rooms is available from department staff or campus police, following posted guidelines. After hours, access to Mitchell Hall is available for all students enrolled in the “hand reader” lock system, via the northwest entrance (below the loading dock). Students register at the PSOA Box Office on the 1st floor of the Zelazo Center.
Equipment Room Eligibility:
1. You must be a UWM student, enrolled in a production class.
2. You must have received training from your instructor on individual pieces of equipment. When you have demonstrated competency in using the equipment, your instructor will forward a note to the Equipment Room informing them about your eligibility.
3. Eligibility from previous semesters will be carried over to the present.
4. You are only eligible to check out equipment for which you have received training.
5. You are fully responsible for damage or loss of any and all equipment checked out to you.
Special Needs and Questions:
If you will need accommodations in order to meet any of the requirements of this course, please contact me as soon as possible. Feel free to visit me at my office during office hours to discuss assignments or any questions or requests you have. The Department of Film follows UWM academic policies which are posted on the departmental bulletin board, or available online at:
http://www.uwm.edu/Dept/SecU/SyllabusLinks.pdf
Drops: No drops are permitted after the 5th week of the semester.
Use of Copyrighted Material: Use of copyrighted material is strictly prohibited unless the images, sounds, texts, etc. are being significantly altered and it is clear in the opinion of the instructor that the original material is being studied, analyzed, and commented upon by the student. Grades for work failing to satisfy this requirement for copyrighted materials will be significantly lowered. The instructor reserves the right to determine what constitutes fair use of copyrighted material. A helpful resource concerning copyright and fair use is available at
H1N1 Influenza: In the event of disruption of normal classroom activities due to an H1N1 swine flu outbreak, the format for this course may be modified to enable completion of the course. In that event, you will be provided an addendum to this syllabus that will supersede this version.
Project Storage: Projects from prior semesters not retrieved from the Film Dept. Office, Mitchell Hall rm. B-70, by the 4th week of classes in the Spring will be disposed of. The Film Dept. is not responsible for completed projects that have not been retrieved.
Final Video Projects
Excellent or “A” video projects usually have most of these qualities: They are smart---they engage their subject matter with innovative or stimulating ways of thinking. They demonstrate considerable development of the original curiosities, experiences, and concepts through engaging the world with shots and sound. Excellent projects often have striking imagery and soundtracks with good spatial “imagery”, clarity, and variation. Good or “B” final projects have some of these qualities. Average or “C” projects are often predictable with little development of ideas or form.
Qualities of an Excellent or “A” Project:
- Successfully posing a question, perception, or situation to explore, learn about, or account for.
- Images that are unique, unpredictable, detailed, personal.
- A sufficient number/variety of video images and audio recordings with which to fully complete the final project.
- Development of a point of view and/or personal visual style.
- Sound and Image relationships that are imaginative, unpredictable, and unique.
- High quality microphone recording, track building, and mixing techniques for soundtracks.
- Pacing that establishes and develops rhythms.
- Attention to structure, focus, and balance of the original idea
Portfolio Review Projects:
All of the above especially applies to work being considered for Portfolio Review. Suggested running time for final projects is 2.5 - 5 minutes. Creative accomplishment is given much greater weight than technical execution. Here are some qualities that the faculty look for in Portfolio Review:
- Curiosity: Evidence of passion for exploration, increasing one’s experience and knowledge as evident in the conceptual planning for the video or film.
- Perceptual Skills: The ability to find qualities of interest in things, persons, and events immediately around oneself as evident in the video or film and sound materials generated.
- Process and Discovery: Evidence of conceptual and aesthetic development in the video or film and sound materials generated over the period of principle photography. The ability to recognize the inherent strengths of the materials you have generated.
- Creative Voice: The ability to draft an editing plan that combines inherent strengths of the material with goals of personal expression.
- Technical Competency: Self-sufficiency in using the basic tools of video and cinema production.
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