Basic Video in the Summer

Congratulations!

2009-07-16T15:35:00.000-07:00

We saw some extraordinary work today. Thank you all for creating unforgettable images and sounds. I feel lucky to have had the chance to work with each of you.

DVD Authoring Tutorial

2009-07-14T14:04:00.000-07:00

EXPORTING YOUR VIDEO FROM FCP 5.1.2

1. We’re going to export our movie to Compressor because it’s the best encoder, and it will give us the best quality DVD image.

2. In your timeline, get your project to look exactly as you would like it appear on the DVD. Go to Mark IN to mark the start, and Mark OUT to mark the end. Then Render ALL – Both.

3. Go to FILE menu, EXPORT, USING COMPRESSOR

a. Once selected, FCP will launch Compressor itself, and you will see the Control windows come up on the screen.
b. In the BATCH window at the bottom of the screen, will see a box labeled SETTING.

i. Click the pop-up menu box with the arrows on it.
ii. You will see a window appear that lists a number of different encoding options.
iii. If you’re project is under 90 minutes, then I suggest that you use the BEST QUALITY 90 MINUTES OR LESS

1. This provides the highest quality image possible.
2. Feel free to experiment with other codecs, but I have found this to be the only one worth its sale.

iv. Once you select BEST QUALITY, a second window will appear asking which elements of the project you’d like to encode.
1. First select your audio. Usually AIFF
2. Reopen window and select your video, MPEG2

b. Now we must select a destination for the encoded files.
i. Click on the pop-up window labeled Source next to each of the entries we made earlier, AIFF and MPEG2.
ii. From here you will select a folder into which the compressed and encoded files will go. I suggest labeling this folder “YOURNAME_PROJECTNAME_DVDENCODES”

c. Now look up to the right at the window labeled INSPECTOR
i. Check to make sure that you are encoding in the proper format (either NTSC or PAL)

d. Click SUBMIT.
i. This will open another window (BATCH MONITOR), and you will see the progress of your project as it is being encoded.

We can now quit Final Cut Pro.

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DVD STUDIO PRO

Plug and Play Disc with no Menu (for festival entry)

1. Launch DVD STUDIO PRO

2. Pull-down WINDOW, CONFIGURATIONS, BASIC

3. I recommend saving your project right away
a. Place it in the same folder as the earlier files, and label it similarly

4. Go to Pull-down menu, FILE, IMPORT, ASSET
a. A pop-up window will appear
b. Find the folder you created while exporting from FCP/COMPRESSOR
c. Select both the AIFF and the MPEG-2 file that you exported (use shift select.)
d. Select IMPORT

5. Go to the tab labeled GRAPHICAL, click on it and press delete.

6. Pull-down WINDOW and select ASSETS
a. Brings up a window with the assets you imported.
b. Shift select these
c. Drop them into the icon labeled TRACK 1

7. In the GRAPHICAL Window, click on the large gray area,
a. To the right (or sometimes left) of that, you will see a window labeled, Disk.
b. IT IS IMPORTANT TO NOTE THAT THIS WINDOW CHANGES AS DIFFERENT PARTS OF YOUR PROJECT ARE SELECTED.

i. Pull-down FIRST-PLAY
ii. Select TRACKS AND STORIES
iii. Select your video project
iv. Select TRACK 1

c. In this window you can also select how the remote reacts when activated. For a Plug and play disc I leave it as not-set.

8. Press the button at the top of the screen labeled SIMULATOR. This will show you how your disc will react once burned and placed in a DVD player.

9. If you are satisfied with the results, insert a blank DVD-R. I recommend using DVD-R’s, as they are the most flexible DVDs to work with.

10. If a pop up box appears, asking you what to do with the disk, click IGNORE.

11. Click BURN, and your disc will be created.
a. Make sure to select the destination folder we created earlier.
b. Remember to save your session.

EXPORTING STILL IMAGES FROM FCP 5.1.2

I. You may want to create a menu for your DVD utilizing a still from your project, or you may want to include a photo gallery of still from your project on your DVD.

a. In order to do this we go back into FCP and choose a frame we want to make a still image of.
b. Once the PLAYBACK head is over the frame, select the pull-down menu FILE, EXPORT, USING QUICKTIME CONVERSION
c. Once the EXPORT window opens, go the format tab, and pull-down to select STILL IMAGE. Directly under that tab, select JPG 29.97
d. Click SAVE (MAKE SURE THIS FILM GOES INTO THE SAME FOLDER AS YOUR ENCODED ASSETS.)

II. These files are exported out of FCP at a very low resolution. (72 D.P.I.) If you were to want to use these files as promotional stills you would have to go into Photoshop and complete the following functions.
a. Resize the image, by changing the D.P.I to at least 300 and setting the print size appropriately (Usually around 4x6)
b. De-interlace the image by selecting FILTER, VIDEO, DE-INTERLACE.
c. Resaving.

III. For use as a DVD file though, the 72 D.P.I. export will work fine as most projectors cannot handle anything higher anyway.

We can now quit Final Cut Pro.
DVD STUDIO PRO

MULTI-TRACK DISKS WITH MENU

I. The process to create a DVD with multiple tracks is similar in many ways to what we have already learned. There are some key differences though.

II. For this disc you will import multiple assets. This can be done all at once, or over a couple of passes through the pop-up windows. You will bring in the AIFF and MPEG-2 file for each of the film/video projects that you wish to include, as well as any still images that you will have as either part of the disc itself or for use as background menus.

III. Launch DVD STUDIO PRO and Pull-down WINDOW, CONFIGURATIONS, Extended.

IV. I recommend saving your project right away
a. Place it in the same folder as the files you exported with Compressor, and label it similarly

V. Go to Pull-down menu, FILE, IMPORT, ASSET
a. A pop-up window will appear
b. Find the folder you created while exporting from FCP/COMPRESSOR
c. Select both the AIFF and the MPEG-2 file that you exported (use shift select.)
d. Select IMPORT

VI. Repeat the steps above to import other any other video and sound assets you would like to include on the DVD.

VII. You can then import the jpeg image you exported from FCP for use as the image on your Menu screen. Import this jpeg as an asset, just as you did with the MPEG-2 file for video and the AIFF file for audio.

VIII. Once you have imported all of the assets you intend to use, you need to create a track icon in the GRAPHICAL VIEW for each menu item.
a. This is accomplished by clicking on the ADD TRACK button at the top of the screen.
b. Once you have one track for each asset that is not being used as a menu item, you can place the Paired-Track Asset Items each into a Track Icon.
c. Also, you can drag and drop the still image you intend to use for your menu into the Menu Icon.
d. Also, it should be noted that for every menu page you intend to have, there needs to be a separate Menu Icon added to the GRAPHICAL view.

IX. Select the grey area between your icons and set your disc menu buttons.
a. In this instance FIRST PLAY should be set to your Menu #1.
b. Go through and set all the buttons to the appropriate functions.

X. Click on the first Menu icon (under the GRAPHICAL TAB) to activate it.
a. You’ll notice new options are available in the right lower hand window (the Menu window).
b. Click on the menu tab of the Menu window.
c. You need to make a BUTTON for every object that you wish to link to. In this case, we have two PROJECTS or videos so we need to make 2 buttons.
d. You make a BUTTON by clicking and dragging in the menu field as it is open in the center window.
e. Make two of similar size.
f. Now click on the menu image again, outside the button areas.
g. You need to go to the menu tab in the right hand window and set your defaults.
h. Now click on BUTTON 1
i. Set your target, the track you want it to play.
ii. Type text in the text box that will title your piece.
iii. (I often use CENTER, INCLUDE TEXT IN HIGHLIGHT, and HIGHLIGHT SET 2)
iv. Go to the advanced tab and make sure that the disc buttons are set to navigate how you want them to.
v. Repeat for BUTTONS 2 or 3 (if you have 3 buttons)

XI. You’ll notice that as you set your targets for each BUTTON, lines were drawn in the GRAPHICAL VIEW Window. These lines represent how the various pieces of your disc are connected, the arrows representing which way the flow happens.
a. Now I want to click on each asset and set the parameters for them separately.
i. At this point, you want to tell the DVD where you want it to jump as the piece completes it’s run.
ii. 9 times out of ten, you will go to the menu.

Press the button at the top of the screen labeled SIMULATOR. This will show you how your disc will react once burned and placed in a DVD player.

If you are satisfied with the results, insert a blank DVD-R. I recommend using DVD-R’s, as they are the most flexible DVDs to work with. If a pop up box appears, asking you what to do with the disk, click IGNORE. Click BURN, and your disc will be created.

TOAST

I. Pros and Cons
a. Drag and Drop makes it easy
b. Toast will accept MPEG-2 files (like the ones exported from compressor.)
c. Uses its own encoder—which some people say is very good

II. Creating a DVD in Toast i
a. Drag and drop a video into the window.
b. Make sure DVD Video is selected in the left hand slide-out screen.
c. Choose automatic encode—BEST
d. Make any menu selection you desire.
e. Do you want it to be plug and play? Select that option.
f. Press the silver button at the bottom right of the screen.

III. Most effective ways to use Toast.
a. The way I most often use Toast is if I need to make a really quick DVD of a project.
i. I can then just export a QuickTime (Final Cut Pro) movie (which is much quicker than exporting from Compressor.
ii. Drag that into Toast
iii. Select Auto-play
iv. Burn the disc.

b. A second option, and one that might be a little easier than the DVD Studio Pro Model demonstrated earlier is as follows.
i. Export your project through Compressor as discussed earlier.
ii. Launch Toast.
iii. Click CUSTOM ENCODING in the left pull-out screen.
iv. Double click on the information that is below it.
v. In the pop-up window that appears, select REENCODING, NEVER.
vi. Go into the folder containing your “.m2v” and “.aiff” files. Make sure that the names of these files are exactly alike (other than the suffix)
vii. Drag these two items into Toast
viii. Select Auto-play
ix. Burn Disc.

By following the steps outlined in “III” you will have created an auto-play DVD with the higher quality Compressor encoding, but you have avoided the DVD-Studio Pro interface.

Final Cut Pro / Basic Instructions for Creating Text

2009-07-02T12:47:00.000-07:00

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.

Final Cut Pro Audio Editing

2009-07-01T23:06:00.001-07:00

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 -6db to -12db
- Middle Ground Sound or Sound FX between -3db 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.
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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.

Final Cut Pro Basic Steps & Keyboard Shortcuts

2009-06-29T18:32:00.000-07:00

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.

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

Final Project Proposal / due June 29th

2009-06-25T22:52:00.001-07:00

In the individual appointments, we discussed and agreed upon one idea to pursue for your final project. Now your production process and shooting should begin immediately. Your first raw footage is due on Monday. You will also need to write up the idea in a Final Project Proposal. The Final Project Proposals are due in class on Monday, June 29th. For full credit, these proposals should be 1 or 2 typed paragraphs, and they should contain the following information:

1. Your project idea

2. 5 specific shots you plan to include to best express the subject matter.

3. 5 specific sounds you plan to include to best express the subject matter.

4. The specific sounds you imagine you will use for foreground, middleground,
and background tracks

5. The specific change or transformation you imagine will take place from the beginning of the piece to the end. Or in other words, what will the viewer learn, uncover, or realize at the end of the project that he or she was unaware of at the start.

Audio Recording Notes

2009-06-25T21:30:00.000-07:00

16-bit sound is best
• bit = bit depth
• bit depth = the fidelity of the recording’s dynamics or volume levels.

• Always use 16-bit, as it holds the most sound data and gives the fullest range of sound.

• An 8-bit digital audio recording uses 256 levels to represent the dynamic range. A 16-bit recording uses 65,536 levels.

To set your JVC camera to record 16 bit sound:

- Press Menu
- Scroll to the A menu + press SET
- Choose Sound Mode, + select 16-bit

Just as you use your eyes to look for the strongest shots, you need to listen for + discover how to collect detailed sounds that define, push, or interact with your images.

Qualities of Interesting Soundtracks:

* sound sources with interesting or unusual rhythms either found or created

* a mix of high + low frequencies

* a mixture of both sustained + percussive sounds to create the illusion of space

*change or transformation in the soundtrack to create different movements in the whole composition, rather than 1 single mood

The human ear hears:
15 hertz to 20,000 hertz.

LOW FREQUENCES: 20Hz - 250 Hz
- traffic, construction, factory noise
- rumble, fans, transformer hums
- Bass musical instruments

MID FREQUENCIES: 250HZ - 4,000 Hz
- most of what we hear is in this range
- human voice in particular
- most musical instruments

HIGH FREQUENCIES: 4,000 - 20,000 Hz
- sizzling, rain, cymbal percussion
- consonant sounds of the human voice
- (pops, taps, scrapes)
- …and camera system noise

You define a scene with audio through the use of your high, medium and low
frequencies (high, medium or low sounds.)

To create a sense of space and depth in your soundtrack, it takes a mix of 3 elements:

- Foreground sounds
- Middleground sounds +
- Background sounds

1. Foreground sounds
- loud sounds that seem close -12db to -3db
- Voice should peak no higher than -3db
- careful not to record at the ceiling 0db

2. Background sounds
- soft sounds that seem far away
-15db to -20db

3. Middleground sounds
- zipper or water fountain
- soft to medium loud details
from the immediate the area
-15db to -3db

• To Subvert means to “overthrow the authority of”.
• How can you use sound to change the meaning of the image? To overthrow the authority the image seems to hold? To enlarge the meaning of it? To make it your own?

• The JVC camera uses a series of green and red bars to indicate sound levels.
• The sound should peak with 1 red bar only.

MICROPHONES

- Should be kept away from the camera
- Kept dust free

DYNAMIC MICS
- Recommended for voice-overs
- Excellent for musical instruments
- Rugged
(RE-10 is a type of dynamic mic)
CONDENSER MIC
- Amplifies all sounds across the frequency spectrum equally -very sensitive
- Good frequency response - ability to capture the speed of a musical instrument or voice
- Battery powered
- Fragile
- (Lavaliere mics are condenser mics)

MICROPHONE PICK UP PATTERNS:

Omni-directional microphones pick up sound from all directions equally.

Cardioid microphones have a heart-shaped (cardioid) pickup pattern and are sensitive to sounds predominantly from the front of the microphone diaphragm.

Hyper or super cardioid microphones are even more directionally sensitive and are sometimes called “shotguns” because of their long length.

Bi-directional microphones are sensitive to sounds from the front and rear, while rejecting sound from the top, bottom, and sides.

There are 4 MICS available to you:

PZM - or Pressure Zone Mic
- use a large flat surface, such as a tabletop or wall to create a large, smooth, dome- shaped pickup pattern.
- condenser microphone
- needs 1/4 mini adaptor
- excellent for environments…
like meadow, coffee shop, room tones.
- half moon pickup pattern.
- not ideal for isolated voices
- mostly used for background sound

SP LAVALIERE
- used for interviews.
- always omni-directional
- windscreen, tie clip
- can be hidden easily
- placed 6-9 inches away from mouth, out of the wind path

RE 10
- used for interviews, the human voice, singing and all middle ground sounds
- cardioid pick up pattern
- sound problems around cable attachment
- dynamic mic

- Rode Mic
- very sensitive mic
- Directional Condenser Microphone
- Needs batteries

You have 4 ways to control your sound levels on the JVC camera:

1. Adjust the volume on your camera (which you can’t do.)
2. Lower or raise the volume of your source.
3. Change the distance between your mic and your sound source. But the closer the mic, the more bass frequencies and more “P’s” and “Ss.”
4. Choose a mic that is less sensitive.

Think Outside the Camcorder:

Don’t use the camera’s onboard mic
- poor quality
- camera noise
- lack of flexibility with the image

Practice using the equipment:

Bring-
- Spare batteries
- Extra tapes, as you never know what you’ll find.
- A pen to label!
- Always wear headphones when recording
- Try to get the microphone close to your subject.

Avoid popping
"p" and sharp "s" sounds

Choose a quiet recording space:

- carpeted
- with a door to close
- not much traffic…
Don't be afraid to make mistakes & record again. …

Locations change in character over time, so make sure to make long recordings. Record at least 15 minutes in each mic position, and use at least 2 mic positions for each location.

For every scene, for every interview, record extra audio. Remember that even silence is sound. Make long recordings of the background space in every room or environment you’re shooting in.

Panasonic GS400 / Basic Steps

2009-06-25T21:26:00.000-07:00

Charging the Batteries
• Attach the battery to the AC adaptor and plug it into the wall.
• The Charge lamp lights to indicate charging has begun.
• When the green light disappears, charging is complete.

Auto/Manual Focus
• Set the lever to MANUAL
• Press the FOCUS/ZOOM button
• The MF or Manual Focus indicator appears
• Turn the Multi Manual Ring to adjust the focus

Manual Iris Adjustment
• Set the Auto/Manual/AE lock lever to Manual
• The MNL indicator appears
• Press the Shutter/Iris button twice
• The Iris indicator appears
• Turn the Multi Manual Ring to adjust the iris.
• The exposure range runs from F16 to 18dB

Manual White Balance
• Set the Auto/Manual/AE Lock button to Manual
• The MNL indicator appears
• Press the WB button until the WB indicator appears
• Point the camera at a full screen white subject
• Keep pressing the WB button until the indicator stops blinking
• Be careful not the cover the White Balance sensor during recording or the White Balance won’t function normally

Manual Shutter Speed
• Set the Auto/Manual/AE Lock button to Manual
• The MNL indicator appears
• Press the Shutter/Iris button once
• The Shutter Speed indicator appears
• Turn the Multi Manual Ring to adjust the Shutter Speed
• The standard Shutter Speed is 1/60 s
Menu Buttons
• Hit the MENU button to activate the main menu
• Use the control wheel to move up, down, left + right through the menu

Menu Selections

Digital Zoom
• Under the CAMERA menu, scroll to D.Zoom
• Be sure to turn off the Digital Zoom function to avoid grainy images
Recording Menu

• Check to see that you’re shooting in SP mode
• Check to see that your sound is set to 16 bit

Microphone Sensitivity Level
• Scroll to the Advanced Menu
• Scroll down to Mic Level
• Select “YES”
• Press the right or left arrows on the control wheel to raise or lower the gain

Tele-Macro Function
• Press the Tele-Macro button
• The Zoom magnification is temporarily set to 12X, and the subject can be focused on as close as 19 inches.
• To cancel Tele-Macro mode, press the Tele-Macro button again.

Soft Skin Function
• Enables you to record skin in a softer tone.
• Press the Soft Skin button and the Soft Skin indicator appears.
• For the best result, avoid background colors similar to the skin color of the subject.

The H4 Zoom Recorder / Basic Steps

2009-06-25T21:24:00.000-07:00

Within one compact recorder, the H4 offers a high-performance stereo condenser mic, SD card recorder, mixer, effect section, and metronome.

Operation on Battery Power;
• The H4 can be powered from 2 AA batteries.

• Insert the batteries as follows:
• 1. Open the battery compartment cover, being extremely gentle.
• 2. Insert two size AA batteries.
• 3. Close the battery compartment cover.
• When the unit is operated on batteries, the indication "Low Battery!" will appear on the display when the batteries are exhausted.
• When the unit is operated on batteries, you should not open the battery compartment cover while power is on. Otherwise the sudden interruption of power may lead to data loss.

Power-on:

• 1. Verify that power to the H4 and any peripheral equipment is off. Turn down the volume control on connected instruments, the H4, and the monitoring system.
• 2. Insert the SD card into the [SD CARD] slot.
• 3. Set the [POWER] switch on the H4 to On.

Power-off:

• 1. Turn power to other equipment off in this order
• a) monitoring system
• b) connected instruments
• 2. Set the [POWER] switch on the H4 to Off. The message "GoodBye See You!" is shown on the display and the H4 is turned off.

Recording steps:
• 1. Turn power to the H4 on.
• 2. The [MODE] indicator lights up. Verify that the H4 is set to stereo mode. If the [MODE] indicator is out, the H4 is in 4-track mode. Switch it to stereo mode.
• 3. Use the TRACK [1] – [4] keys to select the recording format. The recording format selected by each key is as shown below. Recording quality and file size decrease from top to bottom. Press the key for the desired format and sampling rate, so that the key lights up.

• For video, we want to select: WAV 48kHz

4. Press the [REC] key. The [REC] key flashes and the H4 goes into record standby mode. The display now operates as a level meter showing the input level from the built-in stereo mic. The input signal can be monitored via the [LINE OUTPUT] jack and [PHONES] jack.

5. Press the [REC] key once more. The [REC] key lights up and recording starts. To stop recording, press the [REC] key or press the top of the [MENU] key.

What is stereo mode?

• In stereo mode, two signals either from the built-in stereo mic or from the [INPUT 1] / [INPUT 2] jacks are used as recording sources to create a stereo file.
• You can select either WAV or MP3 as a format for the recorded file.
• The two main operation modes of the H4 are stereo mode and 4-track mode.
• When power to the H4 is turned on, it will be in the mode that was selected the last time the unit was used.

To enter Stereo Mode:
• 1. Stop the recorder and press the center of the [MENU] key. The main menu for making various settings appears.
• 2. Move the jog dial up/down to bring the cursor to “MODE” and then press the jog dial.
• 3. Move the jog dial up/down to bring the cursor to "STEREO RECORDER" and then press the jog dial.
Select input source:
• 4. You can select either the signal from the [INPUT 1]/[INPUT 2] jacks or the built-in stereo mic as an input source

Input Menu:
• 1. At the stereo mode top screen, press the bottom (INPUT MENU) of the [MENU] key. The INPUT menu for making various input related settings appears.
• 2. Move the jog dial up/down to bring the cursor to “SOURCE”, then press the jog dial.
• 3. Move the jog dial up/down to select the input source.

• When using the [INPUT 1]/[INPUT 2] jacks as input source, verify that an external microphone or other device is connected.

Use the [MIC GAIN] switch (for the built-in stereo mic) or the [INPUT 1 GAIN]/[INPUT 2 GAIN] switches (for the [INPUT 1]/[INPUT 2] jacks) to adjust the input sensitivity.

• There are three settings for the input sensitivity:

• L (Low) → M (Medium) → H (High)

• Note that the signal input to the H4 will be distorted if the input sensitivity is not set correctly.

• In general, switch the gain to M. You can change your mind depending on the volume of your sound source.

• Don’t adjust the gain while recording, or you’ll hear it in the recording.

• You can’t necessarily rely on this recorder for creating sync sound.

Adjusting Levels
• 1. At the stereo mode top screen, press the bottom (INPUT MENU) of the [MENU] key. The INPUT menu for making various input related settings appears.
• 2. Move the jog dial up/down to bring the cursor to “LEVEL”. Then press the jog dial. The INPUT LEVEL screen for adjusting the recording level appears. The alphanumeric indication at the left of the signal level bars shows the input source (“1” and “2” for the [INPUT 1]/[INPUT 2] jacks and “L” and “R” for the built-in stereo mic).
• 3. Bring the cursor to the track whose recording level you want to adjust, and then press the jog dial. A fader icon appears next to the meter display, and the recording level can be adjusted.
• 4. To adjust the recording level, move the jog dial up or down. The recording level changes according to the jog dial up/down movement.
• 5. To record with optimum sound quality, the input signal level should be set as high as possible, without exceeding the 0 (dB) indication on the meter. The setting range is 0 – 127. When the recording level is too high, the sound will be distorted.

Composition Principals

2009-06-23T22:36:00.000-07:00

-Simplicity

Be sure to make a choice about what you want to highlight within the frame.

Be sure the composition is highlighting the meaning of your subject.

Be sure that your subject doesn’t get lost within a busy background.

Move around to get into the best position to feature your subject.

-Rule of Thirds

Imagine two horizontal and two vertical lines dividing your photo into thirds with four intersecting points—just like a tic-tac-toe board.

Place your main subject where the lines cross, rather than centered in the frame.

Your photo will feel more balanced when your subject is off-center.

-Avoiding Mergers

Be aware of the background; avoid clutter and objects that will distract from the main focal point of your shot.

-Lines

Look for dynamic lines and graphic patterns when creating compositions.

Diagonal lines are especially dynamic.

S-Curves within the frame create graceful, eye-catching compositions.

Use lines to lead viewers into the frame.

-Framing

Frame objects of interest with natural cropping tools.

Guide the viewers eyes to certain parts of the frame by dissecting it, cropping it, and re-framing.

Establish depth, scale, play with foreground and background.

Video Production Checklist

2009-06-23T19:40:00.001-07:00

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 tea box with the top and bottom cut out. This will fold up nicely to fit inside of your camera bag. Use it for shading the LCD screen from the bright sun.
-1 pair of covered headphones
-1 small piece of felt (approx. 4” by 4”) for placing under a PZM mic
-AA batteries + AAA batteries for use in PZM and mono SP lav mics
-A roll of lighting or gaffer’s tape for securing cords from the mics and headphones attached to the front of your camera.
-A small notebook to take notes about project ideas and production experiments and results.

Checklist:

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 this camera 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 an external microphone 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 in 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. 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.

17. 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.

18. To create a dynamic soundtrack mix 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.

19. 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.

20. 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.

21. Don’t forget to bring a supply of double A and triple A batteries for use in the mono SP lav and PZM microphones.

22. 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.

Scavenger Hunt Exercises

2009-06-22T19:14:00.000-07:00

The Effects of Weather

Find one object, place, or person that can illustrate the effects of weather. Spend at least 30 minutes observing the effects. Write down every detail you can see, hear, and touch. If you can catch the environment’s effects (wind, erosion, pressure, etc.) in action, include these as well.

The second part of this assignment requires you to determine the effects of weather on your mood. First, determine some of the causes of the effects you’ve observed: for example, sun, wind, erosion, rain, pressure, stress, etc. What kind of effects do these elements of weather have on your emotions and mood? Write down as many details about your reactions, moods, and feelings as you can. What kind of feelings do you suppose the object, place, or person has about what’s affected it or him/her?

Face Detective

Play the role of detective in examining one or more faces. The face(s) can belong to a stranger or someone you know well. Collect 10 clues by examining the facial features, movements, changes, and reactions of the person who is your subject. Determine whether or not your own mood or feelings are influencing your interpretation of this person. Come up with one line to summarize your diagnosis of this person’s thoughts, experience or mood based on the visual clues you’ve collected.

Human Pattern Scavenger Hunt

Choose a public place to visit -for example, a laundromat, or a bus stop. Take detailed notes on what is going on around you. Pick up on the activities, patterns, pace, and rhythms of the people moving through the environment. What kind of mood do the people seem to translate to the space? Is there anyone who doesn’t seem to belong or who breaks a significant pattern, rhythm, or mood?

Foregrounding An Object

Find 1 object. Try to see the object as a character. Collect details from its point of view? What does it observe, hear, fear, crave, etc? What kind of shots could express this?

The 5 Senses

Part One: Find a place that either irritates you or a place that you feel drawn to. Take 20 minutes to write down everything you see, hear, smell, touch, and taste (possibly) in great detail.

Part Two: Next, sketch everything you find yourself thinking about. Write down every thought that drifts into your head…as though it’s not your own. Are there any connections you’ve found between part one and part two?

Individual Appointments

2009-06-22T13:33:00.001-07:00

Wednesday, June 24th / 9am -12:45pm

Wang,Li 9:00-9:10am

Markfort,Ed 9:10-9:20am

Eller,Catherine 9:20-9:30am

Biehl,Katherine 9:30-9:40am

Haynes,Andrew 9:40-9:50am

O'neill,Mark 10:00-10:10am

Deutmeyer,Justin 10:10-10:20am

Hansen,Derek 10:20-10:30am

Vargas,Antonio 10:30-10:40am

Duckart,Brooke 10:40-10:50am

Vazquez,Gio 11:00-11:10am

Busse,David 11:10-11:20am

Yang,Jean 11:20-11:30am

Dowell, Chase 11:30-11:40am

Hofstedt II, Mike 11:40-11:50am

Ortiz,David 11:50-12:00am

Stacker,Monique 12:00-12:10am

Final Project Questionnaire

2009-06-22T12:49:00.000-07:00

BASIC VIDEO QUESTIONNAIRE

This assignment needs to be typed and stapled, and is due at your Individual Appointment (Wednesday, June 24th). Your answers should be thorough and detailed. Please print a copy for yourself before turning it in. Bring both copies to your appointment.

Name:

1. List 2 final video project ideas (a, b) you would be interested in exploring and creating:

a.

b.

2. Which of the 2 projects are you most excited about?

3. Do you have a strong emotional connection to both of these subjects / ideas? Answer yes or no for both, and How?

a.

b.

4. Do you have a drive to learn more about both of these subjects / ideas? Answer yes or no for both, and Why?

a.

b.

5. What is the real significance of both ideas to you:

a.

b.

6. In your opinion, what is unusual, interesting, and fresh about both ideas / subjects:

a.

b.

7. Is there anything that might be too predictable or overdone about each idea?

a.

b.

8. Describe, in detail, a unique experience or perception that is behind your interest in both potential video projects:

a.

b.

9. 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.

10. What change and development would both video projects show? What would change from beginning to end?

a.

b.

11. Define what you would want to avoid in both videos:

a.

b.

12. Which aspects of both potential projects are likely to be the most challenging for you to pull off?

a.

b.

13. 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.

Basic Elements of Video Syllabus

2009-06-22T12:32:00.000-07:00

BASIC ELEMENTS OF VIDEO FILM - 222, LAB 851
Summer 2009 / June 22 – July 16
Monday - Thursday / 9:00am – 12:45pm / Mitchell Hall B-56

Instructor: Alex Torinus
Office Hours: Mon. 1-2pm & Tues. 1-2pm / B-55B
Email: atorinus@uwm.edu
Office Phone: 229-3907
Film Dept. Office: B-70
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 5. 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://basicvideosummer.blogspot.com

Required Supplies / Cost:

- 4 or 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 5 by Lisa Brenneis
$27.57 for a new copy of FCP 5 at amazon.com, from $4.06 used, from $1.10 for a used copy of FCP 4 at amazon.com

Requirements: - Minimum of 20 hours of production time outside of class each week.
- Regular and prompt attendance - more than 2 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. Strictly enforced.
- Notes taken during all technical lectures. Missed technical lectures cannot be made up.
- No late assignments accepted.

Equipment Room Hours: Mondays + Wednesdays from 12pm – 6pm
Tuesdays + Thursdays from 12pm – 2pm
Room B-54
229-4643
UWMEquipmentRoom@gmail.com

Equipment:

JVC camcorders, Panasonic GS400 camcorders,
Microphones: RE-10, SP lav, PZM, Rode,
Zoom Handy H4 recorders, Tube Kits, Gitzo tripods

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 Zelazo Center Monday through Friday,10am – 4pm. The door with the hand scan unit in Mitchell Hall is the basement entrance near the loading dock.

Assignments:

Carnival Video Project: 15%

Based upon your creation of a short project (no longer than 2 minutes) that illustrates an unpredictable perspective of a place, event, object, or person. To accomplish this goal, you will use sounds that provide sufficient detail to define the place, event, object or person, sounds that change the expectation delivered by the place, event, object or person, and images that are unpredictable, fresh, and personal…as well as in focus, well lit, and properly white-balanced. Your grade will also be based on the quality of your audio recording. This video is meant to be a jump-start for capturing images and sounds for your final project.

Rough Edit: 15%

Based upon the quality of editing (see below for “qualities of an excellent or “A” project”), as well as the quality of shot compositions, lighting, and audio recordings selected to create a rough cut for your final project.

Class Participation: 20%

Based on the following:

- 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
- meeting deadlines for questionnaire, final project proposal, raw footage due date, rough cut due date, and fine cut due date (counts as 10% of the 20% for participation, 2% for meeting each deadline)
- work on in-class exercises and assignments
- general classroom conduct

Final Project: 50%

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 on time unless it is contained within a plastic Mini DV case, and it has a label both on the tape itself and on the tape case with the following information:

- Your full name
- The assignment (Carnival Project, Final Project)
- The date (day, month, year)
______________________________________________________________________________________

Course Schedule:

Monday, June 22 – Introduction to the Course & Project Ideas / Scavenger Hunting
Tuesday, June 23 – Introduction to the Cameras and Lighting, Bring a Mini-DV tape to class
Wednesday, June 24 - Individual Appointments & Questionnaires due
Thursday, June 25 - Introduction to Audio and Microphones, Bring a Mini-DV tape
+ batteries to class

Monday, June 29 - Raw Footage Due, Final Project Proposal due
Final Cut Pro Capturing and Editing
Tuesday, June 30 - Continued viewing of raw footage, Capturing raw footage
Wednesday, July 1 - Final Cut Pro Editing and Audio
Thursday, July 2 - Final Cut Pro Titling, Effects, and Exporting, Editing Techniques Lecture

Monday, July 6 - Carnival Videos Due, Raw Footage Viewed
Tuesday, July 7 - Editing in Class, Individual Help + Critique
Wednesday, July 8 - Rough Cuts Due
Thursday, July 9 - Rough Cuts Viewed and Critiqued

Monday, July 13 – Fine Cuts Due
Tuesday, July 14 – Editing in Class, Individual Help + Critique
Wednesday, July 15 – Fine Cuts Viewed and Critiqued
Thursday, July 16 – Final Projects Due & Screened
______________________________________________________________________________________

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

F Grades:
http://www3.uwm.edu/Dept/Acad_Aff/policy/new_gradepolicy.cfm

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.

For more information on fair use laws, visit the following website:

http://www.utsystem.edu/ogc/intellectualproperty/whowns.htm

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 Fall semester 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.

Welcome to Basic Video!

2009-06-21T08:23:00.001-07:00

Your Poem, Man...

unless there’s one; thing seen
suddenly against another - a parsnip
sprouting for a President, or
hailstones melting in an ashtray--
nothing really happens. It takes
surprise and will connection.
doesn’t it? A walrus chewing
on a ballpoint pen. Two blue tail-
lights on Tyrannosaurus Rex, Green
cheese teeth. Maybe what we wanted
least. Or most. Some unexpected
pleats. Words that never knew
each other till right now. Plug us
into the wrong; socket and see
what blows -- or what lights up.
Try
untried
circuitry
new
fuses.
Tell it like it never really was,
man,
and maybe we can see it
like it is.

-Edward Lueders