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.

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/

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

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

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.

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.

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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.