Thursday, December 24, 2009
Wednesday, December 2, 2009
final blog requirement for semester
Blog update
Opinion essay on video screened in class second half of semester.
Opinion essay on artist talk at mcad Kota Ezawa
Video of second assignment posted on blog
Description (treatment) for final assignment posted on blog.
Statement about what has been most worthwhile for you to learn in class this semester.
Opinion essay on video screened in class second half of semester.
Opinion essay on artist talk at mcad Kota Ezawa
Video of second assignment posted on blog
Description (treatment) for final assignment posted on blog.
Statement about what has been most worthwhile for you to learn in class this semester.
Tuesday, December 1, 2009
importing illustrator files into fcp
import the file into PhotoShop and save at a high enough res ( 300dpi) and as tiff format. then import into fcp. zoom if necessary
last days of video class
Tuesday, December 1
Class work day, logging sheets, capturing video and audio
Thursday, December 3
Handout and demo on archiving class work
Tuesday, December 8
final edits, mixdown for class screening
Thursday, December 10
Class screening final projects
Tuesday, December 15
final class, turn in DVD/CD of all class work, logging sheets and finalized blogs
Class work day, logging sheets, capturing video and audio
Thursday, December 3
Handout and demo on archiving class work
Tuesday, December 8
final edits, mixdown for class screening
Thursday, December 10
Class screening final projects
Tuesday, December 15
final class, turn in DVD/CD of all class work, logging sheets and finalized blogs
Wednesday, November 18, 2009
Tuesday, November 17, 2009
Tuesday, November 3, 2009
Tuesday, October 27, 2009
Final Assignment treatment
FINAL PROJECT f
TIME: Not critical, but between 3 and 20 minutes
To Begin
Select a story or topic you want to develop. Think through why this is important to you.
Do you have a story you are dying to tell, do you know a person, place or event you want to develop using a documentary approach, or are you interesting in exploring a more experimental approach.
Story/Narrative
This is a complex format. I would suggest a mini drama, comedy or horror video. Do a short scene with two or more actors in which you smoothly intercut the dialogue, action or humor. Write the script yourself, or borrow it from a film or play; it doesn't matter.
You will be required to hand in a typed script.
Documentary on a person, place or event
Which of the documentary approaches will you start with? How does this approach lend itself to your project idea?
For most documentary approaches, tell a complete story of the person, place or event through the use of establishing shots, close-ups, ECUs, etc. When you present your video in class we should get a clear idea of the person, place or event, who they are, how they got to be who they are and something of their personality and feelings.
Unless you are using a more poetic approach, you are required to include at least 6 images or appropriated video footage (existing films, archive.org, clear quality photos, and sound that will support your idea.
Experimental. Video
This style will allow you to experiment with imagery, sound and editing.
You will need to introduce to the class an artist or work that you will be building your work from by choosing works screened in class, books on hold for our class in the library, or an artist or film of interest to you.
Tuesday< do a 3-5 minute presentation to the class of the project you will develop. Give us a story about why this is of interest to you for developing.
Describe briefly the project, as though you were telling someone about a film you just saw and what it was about. Tell the class who the audience might be for your work, the expected length and any special needs you have. I.e. help from a class member to do audio for you while you do camera, vice versa. And finally if do you have a dream shot for this project? If so what would it be?
Please use some visuals for your presentation to support your ideas
TIME: Not critical, but between 3 and 20 minutes
To Begin
Select a story or topic you want to develop. Think through why this is important to you.
Do you have a story you are dying to tell, do you know a person, place or event you want to develop using a documentary approach, or are you interesting in exploring a more experimental approach.
Story/Narrative
This is a complex format. I would suggest a mini drama, comedy or horror video. Do a short scene with two or more actors in which you smoothly intercut the dialogue, action or humor. Write the script yourself, or borrow it from a film or play; it doesn't matter.
You will be required to hand in a typed script.
Documentary on a person, place or event
Which of the documentary approaches will you start with? How does this approach lend itself to your project idea?
For most documentary approaches, tell a complete story of the person, place or event through the use of establishing shots, close-ups, ECUs, etc. When you present your video in class we should get a clear idea of the person, place or event, who they are, how they got to be who they are and something of their personality and feelings.
Unless you are using a more poetic approach, you are required to include at least 6 images or appropriated video footage (existing films, archive.org, clear quality photos, and sound that will support your idea.
Experimental. Video
This style will allow you to experiment with imagery, sound and editing.
You will need to introduce to the class an artist or work that you will be building your work from by choosing works screened in class, books on hold for our class in the library, or an artist or film of interest to you.
Tuesday< do a 3-5 minute presentation to the class of the project you will develop. Give us a story about why this is of interest to you for developing.
Describe briefly the project, as though you were telling someone about a film you just saw and what it was about. Tell the class who the audience might be for your work, the expected length and any special needs you have. I.e. help from a class member to do audio for you while you do camera, vice versa. And finally if do you have a dream shot for this project? If so what would it be?
Please use some visuals for your presentation to support your ideas
final assignment timeline
What: 3 – 10 minute video
Producer/Director _____________________
Timeline Project will be done in three parts,
1. Preproduction October 20 – 29)
(Identifying project idea, audience, assets, goals)
Early idea discussions October 22 Sue presentation
Class treatment presentations (Tuesday Nov 3)
Halloween screening psycho (Thursday October 27)
2. Production November 1 – 12
(Video, audio work)
Tuesday November 1 – November 12 (field trip IFP tba)
3. Postproduction November 24 – December 15
(Editing and preparation for screening)
Logging sheet capture video and additional assets (November 24 – December 1
Demo making I DVD’s (December 3)
4. DVD’s turned into sue (December 10)
Project screenings December 10 and 15 (last days of class)
Producer/Director _____________________
Timeline Project will be done in three parts,
1. Preproduction October 20 – 29)
(Identifying project idea, audience, assets, goals)
Early idea discussions October 22 Sue presentation
Class treatment presentations (Tuesday Nov 3)
Halloween screening psycho (Thursday October 27)
2. Production November 1 – 12
(Video, audio work)
Tuesday November 1 – November 12 (field trip IFP tba)
3. Postproduction November 24 – December 15
(Editing and preparation for screening)
Logging sheet capture video and additional assets (November 24 – December 1
Demo making I DVD’s (December 3)
4. DVD’s turned into sue (December 10)
Project screenings December 10 and 15 (last days of class)
Monday, October 26, 2009
Blog update for mid term
posted october 26
Opinion essay on work screened prior to first assignment.
Opinion essay on work screened prior to final assignment
Assignment one video
Assignment two video
Shot list or storyboards for first assignment
Description of idea to develop for second assignment
Comments on at least one other class blog on first assignment
Opinion essay on work screened prior to first assignment.
Opinion essay on work screened prior to final assignment
Assignment one video
Assignment two video
Shot list or storyboards for first assignment
Description of idea to develop for second assignment
Comments on at least one other class blog on first assignment
Wednesday, October 21, 2009
REQUIRED attendance CVA Gallery
Photography Panel Discussion
Thursday, November 5, 6 - 8 p.m.
Moderated by Leslie Hammons,
Director, Weinstein Gallery
Location: CVA Gallery
Gallery Talk: Thoughts In and Around
Photography Today
Sunday, November 8, 4 p.m.
David E. Little, Curator and Head,
Department of Photography and New Media
Minneapolis Institute of Arts
Location: CVA Gallery
Register Now: $10
I am asking about this amount for us.
Thursday, November 5, 6 - 8 p.m.
Moderated by Leslie Hammons,
Director, Weinstein Gallery
Location: CVA Gallery
Gallery Talk: Thoughts In and Around
Photography Today
Sunday, November 8, 4 p.m.
David E. Little, Curator and Head,
Department of Photography and New Media
Minneapolis Institute of Arts
Location: CVA Gallery
Register Now: $10
I am asking about this amount for us.
Friday, October 16, 2009
Sunday, October 11, 2009
Thursday, October 8, 2009
Thursday, October 1, 2009
FINAL CUT - Format info for still images
Under file new select film/video
* Images can be TIF, PNG, or JPEG; however, I prefer TIFF.
* Create / size your image in Photoshop read on.
* Import the file into Final Cut using File > Import > File.
This process works for both 4:3 and 16:9 images.
Final Cut will scale the image into the correct aspect ratio for video automatically. if you want to crop or determine how image will look in final cut you may prep in photoshop
1. DV-NTSC
Flattened single later image, 720 wide X 540 high X 72 pixels per inch (tiff format)
Photoshop multi layer image, 720 X 480 X 72 pixels per inches (psd format)
2. DV – NTSC (16 X 9) widescreen
Flattened image one layer tiff = 864 X 480 X 72
Photoshop multi layer image = 720 X 480 X 72, Flattened aspect ratio 16 X 9
Under file new select film/video
* Images can be TIF, PNG, or JPEG; however, I prefer TIFF.
* Create / size your image in Photoshop read on.
* Import the file into Final Cut using File > Import > File.
This process works for both 4:3 and 16:9 images.
Final Cut will scale the image into the correct aspect ratio for video automatically. if you want to crop or determine how image will look in final cut you may prep in photoshop
1. DV-NTSC
Flattened single later image, 720 wide X 540 high X 72 pixels per inch (tiff format)
Photoshop multi layer image, 720 X 480 X 72 pixels per inches (psd format)
2. DV – NTSC (16 X 9) widescreen
Flattened image one layer tiff = 864 X 480 X 72
Photoshop multi layer image = 720 X 480 X 72, Flattened aspect ratio 16 X 9
Tuesday, September 29, 2009
preproduction
In producing video, preproduction planning can make or break you. It the critical first step in a successful production. Here is a quick checklist of procedures and terms to assist you in producing a quality video. Planning ahead will help you not forget some critical piece of the movie.
One:
The Plan or Treatment or Video Project Proposal
This is an excellent way to do a certain amount of preplanning for your video project.
Your concept written down helps you shoot less and use your time and resources more efficiently. The more time you spend developing your concept, the easier your production will be.
Identify your audience, message and treatment. Whom do you want to reach? What do you want to say? How are you going to say it? And why.
Brainstorm. All ideas are equal — no bad ideas. Pick the best and evaluate. Go with the one that most effectively and creatively meets your message, audience and resource criteria (budget, time, experience, etc.)
Determine resources needed to complete shoot:
People (both on camera and behind camera)
Locations (permissions, transport, light, noise, accessibility)
Graphics, Music, Props, Costumes, Equipment
Two:
Storyboards
The ultimate in preplanning is the use of storyboards. Here you draw your shots and also list camera movements, talent directions, and lines. Nothing is left to chance with storyboards. The storyboard is the visual map of the action you intend to shoot.
Script. The script is the written portion of your production. It includes dialogue (what the actors say) or narration (the voice-over of the narrator).
Four:
Shot List
For this type of preplanning, a shot list comes in handy. Here you simply list the shots you want to have and check them off as you get them. You can always add footage to the list, but thinking about the core elements of your film ahead of time is always always helpful.
One:
The Plan or Treatment or Video Project Proposal
This is an excellent way to do a certain amount of preplanning for your video project.
Your concept written down helps you shoot less and use your time and resources more efficiently. The more time you spend developing your concept, the easier your production will be.
Identify your audience, message and treatment. Whom do you want to reach? What do you want to say? How are you going to say it? And why.
Brainstorm. All ideas are equal — no bad ideas. Pick the best and evaluate. Go with the one that most effectively and creatively meets your message, audience and resource criteria (budget, time, experience, etc.)
Determine resources needed to complete shoot:
People (both on camera and behind camera)
Locations (permissions, transport, light, noise, accessibility)
Graphics, Music, Props, Costumes, Equipment
Two:
Storyboards
The ultimate in preplanning is the use of storyboards. Here you draw your shots and also list camera movements, talent directions, and lines. Nothing is left to chance with storyboards. The storyboard is the visual map of the action you intend to shoot.
Script. The script is the written portion of your production. It includes dialogue (what the actors say) or narration (the voice-over of the narrator).
Four:
Shot List
For this type of preplanning, a shot list comes in handy. Here you simply list the shots you want to have and check them off as you get them. You can always add footage to the list, but thinking about the core elements of your film ahead of time is always always helpful.
Monday, September 28, 2009
class blog address list
Rosa
http://rosasvideo.blogspot.com/
Rachel
http://rachelvideorachel.blogspot.com/
Michael
http://michaelroerick.blogspot.com/
Cara
http://missfazio.blogspot.com/
Lindsay
http://www.lpaczkowski83.blogspot.com/
Katie parr
http://katie-parr.blogspot.com/
Katrina
http://kmcmahon10.blogspot.com/
Ruth
http://ruthabend.blogspot.com/
ki
http://kihopark1.blogspot.com/
Allan
http://allansalmi.blogspot.com/
Kayla
www.kaylahalberg.blogspot.com
Rudy Arnold
http://Rudyintrotovideo.blogspot.com/
http://rosasvideo.blogspot.com/
Rachel
http://rachelvideorachel.blogspot.com/
Michael
http://michaelroerick.blogspot.com/
Cara
http://missfazio.blogspot.com/
Lindsay
http://www.lpaczkowski83.blogspot.com/
Katie parr
http://katie-parr.blogspot.com/
Katrina
http://kmcmahon10.blogspot.com/
Ruth
http://ruthabend.blogspot.com/
ki
http://kihopark1.blogspot.com/
Allan
http://allansalmi.blogspot.com/
Kayla
www.kaylahalberg.blogspot.com
Rudy Arnold
http://Rudyintrotovideo.blogspot.com/
Friday, September 18, 2009
Assignment Two
Create a 2-3 minute story/documentary combining digital stills, audio recorded with a microphone and video.
Requirements:
1. Use one or both of the school microphones to record your audio.
2. Write one paragraph (a treatment) describing the project, who will be telling the story.
3. Add digital photos, video clips, additional sounds that will add interest to your story.
4. Include a title at the beginning and credits at the end of the work.
Check out the links under storytelling and documentary
Screening samples:
experimental
Pipolitti Rist, I am not the girl who misses much
short errol morris interview
Requirements:
1. Use one or both of the school microphones to record your audio.
2. Write one paragraph (a treatment) describing the project, who will be telling the story.
3. Add digital photos, video clips, additional sounds that will add interest to your story.
4. Include a title at the beginning and credits at the end of the work.
Check out the links under storytelling and documentary
Screening samples:
experimental
Pipolitti Rist, I am not the girl who misses much
short errol morris interview
Video installation
Here are few excerpts of several artists doing
video installation. (Video presented in spaces
absent of auditorium seating, generally projected
on walls to allow viewers freedom to move thru
space and come and leave as desired)
First Doug Aitken
video installation. (Video presented in spaces
absent of auditorium seating, generally projected
on walls to allow viewers freedom to move thru
space and come and leave as desired)
First Doug Aitken
Tuesday, September 15, 2009
Walker Art Center Visit
Thursday, September 24 our class will go the Walker to see
the exhibition, The Quick and The Dead.
Please write a journal entry about one work you have seen in the
exhibition on your blog. Here is a sample about one artist,
Pierre Huyghe, discussed by the exhibition curator, Peter Eleey.
the exhibition, The Quick and The Dead.
Please write a journal entry about one work you have seen in the
exhibition on your blog. Here is a sample about one artist,
Pierre Huyghe, discussed by the exhibition curator, Peter Eleey.
Thursday, September 3, 2009
Opinion essay
1. Take a few moments and consider which work you are interested in considering.
2. Is it something you really like and want to think about why, or something you
really disliked and want to consider why?
3. Start with the information you have, the title of the work, the artist or videomaker's name, the year of creation, the format it was made in (film or video) and finally the total length of the work.
4. Tell the reader what about the work you are most interested in developing your opinion about. Consider the formal elements, light, color, form, composition: the moving elements pans, movement within the camera frame or the camera moving itself,
Consider the subject or theme of the work: i.e. james benning making a work about 13 lakes. What did you know and didn't you know about his selections to film. How did the lack of or information help or not help you form an opinion of this work.
5. Compare this work to another work that you see some likeness or relationship to.
Nam June Paik's work that started with nature but turned to electronic forms and sounds?
6. How might you describe this work to someone you would like to watch this to see how they might respond.
7. After you consideration, what is your opinion at this time about this work?
Date you entry and title it by the name of the art you are considering.
2. Is it something you really like and want to think about why, or something you
really disliked and want to consider why?
3. Start with the information you have, the title of the work, the artist or videomaker's name, the year of creation, the format it was made in (film or video) and finally the total length of the work.
4. Tell the reader what about the work you are most interested in developing your opinion about. Consider the formal elements, light, color, form, composition: the moving elements pans, movement within the camera frame or the camera moving itself,
Consider the subject or theme of the work: i.e. james benning making a work about 13 lakes. What did you know and didn't you know about his selections to film. How did the lack of or information help or not help you form an opinion of this work.
5. Compare this work to another work that you see some likeness or relationship to.
Nam June Paik's work that started with nature but turned to electronic forms and sounds?
6. How might you describe this work to someone you would like to watch this to see how they might respond.
7. After you consideration, what is your opinion at this time about this work?
Date you entry and title it by the name of the art you are considering.
CVA Building Hours
2009 - 2010 Building Hours
Summit Building
8:00am to 12:00am Monday -Thursday
8:00am to 4:30pm Friday
12:00pm to 6:00pm Saturday
12:00pm to 12:00am Sunday
Grotto/Western Buildings
8:00am to 12:00am Monday-Thursday
8:00am to 4:30pm Friday
12:00pm to 6:00pm Saturday
12:00pm to 12:00am Sunday
Marquette Building
8:30am to 10:30pm Monday-Thursday
11:00am to 4:30pm Friday
12:00pm to 4:00pm Saturday
6:00pm to 10:00pm Sunday
CVA Library/Dayton Building
8:00am to 10:00pm Monday-Thursday
8:00am to 4:30pm Friday
12:00pm to 4:00pm Saturday
6:00pm to 10:00pm Sunday
Campus Security 612/839-3505
Summit Building
8:00am to 12:00am Monday -Thursday
8:00am to 4:30pm Friday
12:00pm to 6:00pm Saturday
12:00pm to 12:00am Sunday
Grotto/Western Buildings
8:00am to 12:00am Monday-Thursday
8:00am to 4:30pm Friday
12:00pm to 6:00pm Saturday
12:00pm to 12:00am Sunday
Marquette Building
8:30am to 10:30pm Monday-Thursday
11:00am to 4:30pm Friday
12:00pm to 4:00pm Saturday
6:00pm to 10:00pm Sunday
CVA Library/Dayton Building
8:00am to 10:00pm Monday-Thursday
8:00am to 4:30pm Friday
12:00pm to 4:00pm Saturday
6:00pm to 10:00pm Sunday
Campus Security 612/839-3505
Storyboards and shot list
Copy from www.videomaker.com
Some DVDs (The Matrix, for example) include sample storyboards shot-by-shot sketches drawn to visualize the action of key sequences as bonus material. As you study these slick drawings, you'll notice that most frames are remarkably close to the actual shots they predict. Back in Hollywood's glory days, most directors (with Hitchcock a notable exception) rarely worked with storyboards; today, however, they're everywhere.
Storyboards Visualize
Basically, pre-designed storyboards in pencil or marker predict what shots will look like. Why not just invent shots as you actually shoot? Here are three reasons.
First, storyboards let you test complicated setups cheaply on paper instead of expensively on location. Secondly, you can check your coverage of a sequence and preplan your video camera angles for variety, continuity and rhythm. Finally, storyboarding is essential for planning special effects. Say you want to establish a "pirate ship" by compositing stock footage of a three-master riding off-shore with our hero in the foreground. A sketch will guide your placement of the camera and the actor so that he'll relate properly to the scene.You've learned how to make a storyboard for your own use, but storyboards also communicate your vision to others. Verbalizing image ideas is always chancy, so it's better to show what you have in mind visually.
Shot Lists
Think of a shot list as the writing on a storyboard, without the pictures. Though simple lists of shots don't let you pre-test potential setups, they do allow you to systematically verify that you are covering every angle you need. Often shot lists are just quick and dirty notes that help you remember everything you need in a particular sequence. You can also cull a shot list from a fully-written script if you separate the video into separate columns (or separate paragraphs). Just build a word processor macro that will strip out everything but the scene number as well as any of the visual descriptions. On the other hand, a shot list built in a database program (such as File Maker Pro) can be one of the most versatile production tools in your kit. Design a database using some or all of the fields that are suggested in the sidebar, using each shot as a separate record.
Some DVDs (The Matrix, for example) include sample storyboards shot-by-shot sketches drawn to visualize the action of key sequences as bonus material. As you study these slick drawings, you'll notice that most frames are remarkably close to the actual shots they predict. Back in Hollywood's glory days, most directors (with Hitchcock a notable exception) rarely worked with storyboards; today, however, they're everywhere.
Storyboards Visualize
Basically, pre-designed storyboards in pencil or marker predict what shots will look like. Why not just invent shots as you actually shoot? Here are three reasons.
First, storyboards let you test complicated setups cheaply on paper instead of expensively on location. Secondly, you can check your coverage of a sequence and preplan your video camera angles for variety, continuity and rhythm. Finally, storyboarding is essential for planning special effects. Say you want to establish a "pirate ship" by compositing stock footage of a three-master riding off-shore with our hero in the foreground. A sketch will guide your placement of the camera and the actor so that he'll relate properly to the scene.You've learned how to make a storyboard for your own use, but storyboards also communicate your vision to others. Verbalizing image ideas is always chancy, so it's better to show what you have in mind visually.
Shot Lists
Think of a shot list as the writing on a storyboard, without the pictures. Though simple lists of shots don't let you pre-test potential setups, they do allow you to systematically verify that you are covering every angle you need. Often shot lists are just quick and dirty notes that help you remember everything you need in a particular sequence. You can also cull a shot list from a fully-written script if you separate the video into separate columns (or separate paragraphs). Just build a word processor macro that will strip out everything but the scene number as well as any of the visual descriptions. On the other hand, a shot list built in a database program (such as File Maker Pro) can be one of the most versatile production tools in your kit. Design a database using some or all of the fields that are suggested in the sidebar, using each shot as a separate record.
Subscribe to:
Posts (Atom)