The cutoffs for letter grades are:
97 - 100 A+
93 - 96 A
90 - 92 A-
87 - 89 B+
83 - 86 B
80 - 82 B-
77 - 79 C+
73 - 76 C
70 - 72 C-
67 - 60 D+
63 - 66 D
60 - 62 D-
Lower than 60 yields an F.
Saturday, December 18, 2010
Monday, December 6, 2010
This Week
Week 16: Dec. 7 and 9 -- Meet in Mac Lab -- On this week, the Final portfolio is due: Students will add to their midterm portfolio for a total of 18 photos. Portfolio will be presented on students’ blog. Students are allowed to reshoot and improve their midterm photos. Final portfolio will include portraits, features, and documentary project presentation along with night shots, light, composition, illustration, name, and students’ choices. There should be links to video projects, too. View documentary projects, popcorn will be provided. We will work our way down the class list in alphabetical order by last name.
I'm bringing popcorn.
Here is the class list, in order, as far as I can tell:
Grace Allison
Margaret Bakle
Kevin Ho
Emilie Hocharoen
Greg Miller
Ed Mitchell
Jonathan Nondorf
Jacob Penner
Eric Sarla
Anthony Solis
Shanecia Spearman
Shaun Spreen
Kyle Steury
Bree Thomas
At, let's say, 5 minutes per student, the total review time for our class comes to one hour and fifteen minutes. Since you are in groups, it could actually take much less time. In other words, if everyone comes on Tuesday, we won't have any video watching to do on Thursday, so you could all use that time to work on your final portfolios.
I'm bringing popcorn.
Here is the class list, in order, as far as I can tell:
Grace Allison
Margaret Bakle
Kevin Ho
Emilie Hocharoen
Greg Miller
Ed Mitchell
Jonathan Nondorf
Jacob Penner
Eric Sarla
Anthony Solis
Shanecia Spearman
Shaun Spreen
Kyle Steury
Bree Thomas
At, let's say, 5 minutes per student, the total review time for our class comes to one hour and fifteen minutes. Since you are in groups, it could actually take much less time. In other words, if everyone comes on Tuesday, we won't have any video watching to do on Thursday, so you could all use that time to work on your final portfolios.
Thursday, December 2, 2010
Tuesday, November 30, 2010
Sick Today
I hope that at least one of you that knew the door code could let the rest of you into the lab today. I am not well, so had to miss class. I'm sorry that there wasn't any notice. I hope to see you all on Thursday.
Tuesday, November 23, 2010
Scraps and Leftovers
I know it's before Thanksgiving, but I wanted to point you to some scraps and leftovers I have not shared yet on this blog.
- Great article about The Future
- Three Documentary Films to Watch
- Great article about The Future
- Three Documentary Films to Watch
Tuesday, November 9, 2010
Still Images and Premiere Pro
There is a lot of good info for this here from Adobe.
In this case, our video images are 640 x 480 pixels. How do I know?
I select a video clip on the timeline, and go to File> Get Properties For > Selection (or hit shift-command-H) and see my Properties.
So, if I'm making slides in Photoshop, or resizing them, I know the exact pixel dimensions to use.
In this case, our video images are 640 x 480 pixels. How do I know?
I select a video clip on the timeline, and go to File> Get Properties For > Selection (or hit shift-command-H) and see my Properties.
So, if I'm making slides in Photoshop, or resizing them, I know the exact pixel dimensions to use.
Jump Cuts
There are two ways to end up with jump cuts in your edit.
1) Edit together two clips that are too similar.
2) Edit a portion out of a clip so that there is a jump.
Jump cuts are fine if you are making a video for Tool, but can be very distracting when you are trying to construct a smooth narrative.
So, one of the main reasons you need B-roll is to cover up your jump cuts. They also offer extra information and add dimension to your story. Not to mention earn you a better grade in this class.
In our example, we have cut at the beginning of the "um". We now cut at the end of the "um", too. If you hold down the shift key when you hit command-K, it will cut through the both the audio and the video clips, which is what you want.
If you hold down the control key and click on the little sliver of an edit we have made, you will see a menu.
Choose "Ripple Delete" and the program will take out the piece of your clip you have selected, and move the other pieces over to fill in the gap. Otherwise, you would have a moment of blackness and silence in that spot.
Now you have a jump cut. Let's grab some b-roll to cover it up.
Before we add anything, I like to use the page-up and page-down commands to line up where my b-roll should add. Otherwise, it's easy to accidentally have one or two frames in the wrong place.
1) Edit together two clips that are too similar.
2) Edit a portion out of a clip so that there is a jump.
Jump cuts are fine if you are making a video for Tool, but can be very distracting when you are trying to construct a smooth narrative.
So, one of the main reasons you need B-roll is to cover up your jump cuts. They also offer extra information and add dimension to your story. Not to mention earn you a better grade in this class.
In our example, we have cut at the beginning of the "um". We now cut at the end of the "um", too. If you hold down the shift key when you hit command-K, it will cut through the both the audio and the video clips, which is what you want.
If you hold down the control key and click on the little sliver of an edit we have made, you will see a menu.
Choose "Ripple Delete" and the program will take out the piece of your clip you have selected, and move the other pieces over to fill in the gap. Otherwise, you would have a moment of blackness and silence in that spot.
Now you have a jump cut. Let's grab some b-roll to cover it up.
Before we add anything, I like to use the page-up and page-down commands to line up where my b-roll should add. Otherwise, it's easy to accidentally have one or two frames in the wrong place.
I want to use my close-up of hands knitting as my b-roll, so I bring it up in my preview window.
We want the video, but not the audio, so we can grab just the video off of the preview window.
Drag it down to the timeline, and away we go.
Now I can add more b-roll, and photos, and I'm on the way to being practically finished with my project.
Thursday, November 4, 2010
Next Week
Week 12: Nov. 9 and 11 -- First documentary shoot is due. - should also read "Meet in Mac Lab".
So, see you there.
So, see you there.
Thursday, October 28, 2010
The Razor Tool
Now, I'm just going to start by saying that I know that the whole A-roll and B-roll thing is kind of old-fashioned. Single-track editing is faster, and, supposedly, makes more sense, but A-roll and B-roll is how I learned it, so that's sort of how I think.
And, actually, the way I edit is a sort of hybrid of the two methods. The beginning of my careful edit starts by listening carefully to the sound on my timeline.
My interview subject is a good speaker, but like most people, she does say "um" every once in a while. One of those times starts at just about 3 seconds into the piece.
Now, I can find the beginning and end of the "um" by moving my little cursor over the timeline track slowly and listening for it. But I can also look for it. To do that, I have to expand the audio track out so that I can see the waveform of her speaking. I do that by clicking the little right-facing arrow next to "Audio 4" in my timeline.
And, actually, the way I edit is a sort of hybrid of the two methods. The beginning of my careful edit starts by listening carefully to the sound on my timeline.
My interview subject is a good speaker, but like most people, she does say "um" every once in a while. One of those times starts at just about 3 seconds into the piece.
Now, I can actually look for the waveform (also I zoom in using the slider with the little mountains on it), and place my cursor exactly where her "um" begins. Then I select the razor tool at the top of my window.
My mouse's cursor takes on the shape of the razor tool, and I then click on the timeline's video or audio to cut it. This is what it looks like after I have cut in the position of my cursor.
Note: You can also just place your cursor wherever you want to cut and hit "command - k" on your keyboard.
Wednesday, October 27, 2010
Sense of Place
This is a very focused piece on a particular place. It has less of a storyline, but still is interesting to watch and includes a lot of information.
Much More Simple Piece, but very nice
This video really shows what you can do with an interview and a little action.
Well-Done Video from the Boston Globe
This piece shows a great blending of interviews, file photos, and stock footage.
Tuesday, October 26, 2010
Midterm Portfolio
Have your midterm portfolio photos selected by October 19. Start uploading to your blog by October 19. You must create a separate page on your blog for your portfolio, not just a blog post. Your portfolio should consist of 10 photos from: name project, night shots, light, illustration, composition, portraits and your choice.
Sunday, October 17, 2010
Preview, Review and the Timeline
File DSCN0515 has my interview, so I drag and drop the filename into the preview panel from the bin. Now, the preview window looks like this:
I use the play/pause button to play the clip for myself.
I don't want to use the entire clip, so I let it play to where I want it to start in my video, and hit "i", for in. My preview window now looks like this:
I play the clip to where I want it to end in my final video, and hit "o", for out. My preview window now looks like this:
I then drag the image of the video from the preview pane to the timeline, below. The timeline now looks like this:
I can zoom in on the timeline by sliding the slider with the mountains on it to the right.
The timeline itself has a little red line above it because the video has not yet rendered. It isn't a big problem, but if your playback looks choppy or the audio and video don't seem to be lining up, always check to see if your video has been rendered. You can use Sequence > Render Entire Work Area, if this is bothering you, but I tend to wait until the end or until it bothers me.
Oh yeah. Now is when I save. I like to save whenever I've added a clip to the timeline. It keeps me from having to do too much over again if the system crashes and I lose my changes.
Next Post: The Razor Tool, jump cuts and why you REALLY need b-roll.
I use the play/pause button to play the clip for myself.
I don't want to use the entire clip, so I let it play to where I want it to start in my video, and hit "i", for in. My preview window now looks like this:
I play the clip to where I want it to end in my final video, and hit "o", for out. My preview window now looks like this:
I can zoom in on the timeline by sliding the slider with the mountains on it to the right.
The timeline itself has a little red line above it because the video has not yet rendered. It isn't a big problem, but if your playback looks choppy or the audio and video don't seem to be lining up, always check to see if your video has been rendered. You can use Sequence > Render Entire Work Area, if this is bothering you, but I tend to wait until the end or until it bothers me.
Oh yeah. Now is when I save. I like to save whenever I've added a clip to the timeline. It keeps me from having to do too much over again if the system crashes and I lose my changes.
Next Post: The Razor Tool, jump cuts and why you REALLY need b-roll.
How To Convert Movie Files Using VLC
There is a good description here. If you have trouble, just bring your source files to the video classes and we will go from there.
Changes
I don't think we will have time to properly go over how to make a website, so I've changed the syllabus to reflect that everything will be done on your blogs. Please contact me if you have any questions.
Thursday, October 14, 2010
Lynda.com
Here is some info on Lynda.com:
Lynda.com Training
--
This is a great resource and you should take advantage of it. Lyndacom is a great way to learn new software or learn more about software you already know.
Lynda.com Training
(on campus - ip address required)
About Lynda.com
- IT Services has joined our friends at IU as part of the Lynda.com contract.
- Lynda is an online training resource with video training ranging from Operating Systems to Adobe Photoshop.
- No authentication is needed other than an on campus ip address. (This ip-based authentication will work so long as Lynda.com servers see your request as coming from IPFW.)
- This training is available for all faculty, staff, and students.
--
This is a great resource and you should take advantage of it. Lyndacom is a great way to learn new software or learn more about software you already know.
Step 2: Getting Started in Premiere, Importing Your Video Files
This is what you see when you bring up the software:
I know it looks pretty terrifying, but it's really not that bad.
This is a copy of what you're seeing above, with my notes about terms used for the different segments.
Now, I'm actually going to add some video files to my project. I've taken the card out of my camera and put it in a card reader attached to the computer. After a few seconds, I see this in the Media Browser:
Getting through the disk structure for your particular camera can be strange, but I know where my files are and I know they should end in .AVI. The .JPG are pictures, not video. If I had used VLC to convert my files to MP4, it would be even easier for me to find what I need.
Now that I've found them, all I need to do to import my files is drag and drop them into the Bin. After a few seconds (or minutes, depending) it will then look like this:
I know it looks pretty terrifying, but it's really not that bad.
This is a copy of what you're seeing above, with my notes about terms used for the different segments.
Now, I'm actually going to add some video files to my project. I've taken the card out of my camera and put it in a card reader attached to the computer. After a few seconds, I see this in the Media Browser:
Yes, my media disk has a fancy name: NO NAME.
I click on the arrow to the left of the NO NAME disk and I see what's inside.
Now that I've found them, all I need to do to import my files is drag and drop them into the Bin. After a few seconds (or minutes, depending) it will then look like this:
Next Up: Preview, Review, and the Timeline.
Note
If you want to see any of the images in these posts in a larger size, just click on them. They will be true to size, exactly as you see them in the software.
Starting Up Adobe Premiere Pro CS5
Opening Premiere isn't like opening other software. Some of the menus are strange and you have to have an open project for the software to even start up. I'm using Premiere Pro CS5 and a Mac using OS 10.6.4, but most of this is rather universal.
To start before the beginning, when working with video (and most other projects, in my opinion), organization is the key to managing your files and not wasting time searching around for things. In the case of video, it also keeps you from separating your source material from your Premiere files, a situation that nearly always leads to disaster, tears, and the rending of garments.
So, you have to begin by making a new folder. Click on the desktop and pull down the File menu on the upper-left-hand side of the screen to create a New Folder.
Usually, I save my project files somewhere around here:
Since I am in a computer lab and not at home, I don't have the option of renaming or saving or moving files in that location, so instead I made a folder on the desktop. I will take it all with me when I leave.
For various reasons, where you save a file can matter a great deal. It affects where your scratch disk information is saved, which can be very large. If you find that your system is crashing a lot, or even just Premiere is crashing a lot, you may need to manage your scratch disk situation.
But for here and now, I will just vow to save often, and since we won't be doing terribly long or difficult sequences of editing, we should be able to get away with not worrying about a scratch disk.
Here's my folder. I like to name it with the date my first footage was shot and some keyword.
In this case, you want to hit "New Project", which brings up this:
I like to leave the default settings alone unless I know why I would change them. In this case, I've pointed the Location to my Desktop folder by using the Browse button and named the project "Knitter". After I hit "OK", I get this:
I just leave everything in this window alone and hit "OK".
Next post: What you see after this.
To start before the beginning, when working with video (and most other projects, in my opinion), organization is the key to managing your files and not wasting time searching around for things. In the case of video, it also keeps you from separating your source material from your Premiere files, a situation that nearly always leads to disaster, tears, and the rending of garments.
So, you have to begin by making a new folder. Click on the desktop and pull down the File menu on the upper-left-hand side of the screen to create a New Folder.
Since I am in a computer lab and not at home, I don't have the option of renaming or saving or moving files in that location, so instead I made a folder on the desktop. I will take it all with me when I leave.
For various reasons, where you save a file can matter a great deal. It affects where your scratch disk information is saved, which can be very large. If you find that your system is crashing a lot, or even just Premiere is crashing a lot, you may need to manage your scratch disk situation.
But for here and now, I will just vow to save often, and since we won't be doing terribly long or difficult sequences of editing, we should be able to get away with not worrying about a scratch disk.
Here's my folder. I like to name it with the date my first footage was shot and some keyword.
This is the screen that comes up when you first go to open Premiere.
Next post: What you see after this.
Really?
So, not one student was able to find VA 212. I realize parking on this side of campus is a problem, but the location change was clearly on the syllabus, and I talked about it last week in class. I'm just a bit shocked that none of you made it.
I'm taking the time now to walk through Premiere using screenshots. I hope we can catch up. Please review the syllabus carefully and be as prepared as possible for our next meeting.
For your reference, here is a section of the syllabus:
Week 8: Oct. 14 (no class on the 12th because of Fall Recess) - Meet in Mac Lab in VA (Visual Arts Bldg) Room 212. We will spend this class working on our videos. Make sure you covert them to .mpg files before class using vlc. It will be hard enough to learn Adobe Premiere. You will be light years behind if you don’t come prepared. Video will be uploaded to class You tube account.
Assignment: 1) Read Chapter 7. Start thinking of your own documentary project. 2) Have your midterm portfolio photos selected and stored in your web folder in your I Drive by October 19. Start uploading to your website on October 19. Portfolio should consist of 10 photos from: name project, night shots, light, illustration, composition, portraits and your choice. 3) Begin to arrange campus video shoot and make contacts. Finalize plans with your group.
Week 9: Oct. 19 and 21 -- How to build a web page using NVU (http://net2.com/nvu/download.html). This is a class you will not want to miss because it will be the basis of your work the next half. If you miss class, you will be on your own setting up a web page. Have some of your midterm portfolio photos selected and stored in your web folder in your I Drive so that you can upload to your website as you start to set up your site in class.
Test -- Oct. 19, on Chapter 7.
Assignment: 1) Read Chapter 9. Students need to be thinking about a project for the second half. Write two sentences about your project and bring to class to share Oct. 26. 2) Continue working on your website and uploading midterm photos to this site. I don’t expect this process to be completed by next week but there should be some progress. 3) Organize with your group Campus Documentary shoot. Make contacts and be ready for shoot on Oct. 26.
Helpful websites:
www.zreportage.com
http://americanphotojournalist.com/ http://www.life.com/Life/essay/country_doctor/sec1/page1.html
http://mediastorm.org
SECOND HALF
Week 10: October 26 and 28 -- Meet in Mac Lab, VA (Visual Arts Bldg) Room 212 - Documentary Photography – the long-term project.
“Day at Campus Class” shoot to be presented with SoundSlides and audio or video. Student groups need to make shooting arrangements in advance and bring a camera to class. Available class time will used to shoot, interview, and edit project into a video/SoundSlides. Each photo must have a caption. If there are four or fewer people in the photo they must be identified with their first and last name. These photos will be on the class website so getting their name is basically them giving you permission to run the photo. If there are more than four people in a photo, don’t worry about the names. View portion of video on James Nachtwey.
Assignment: 1) Web page needs to show that it is a work in progress and be up on Nov. 2 for first initial grade. Your midterm portfolio should be on your website before Nov. 2. 2) Start working on documentary project. First shoot is due Nov. 11.
Helpful websites:
http://www.art-dept.com/artists/davidson/
http://en.wikipedia.org/wiki/Peter_Magubane
http://www.international.ucla.edu/article.asp?parentid=2993
--
You all need to form up into groups for your shoot on Oct. 26, so it is especially vital that no one miss class on Tuesday, Oct. 19, which will be in our usual meeting room. If you do miss that class, I will randomly assign you to a group.
I'm taking the time now to walk through Premiere using screenshots. I hope we can catch up. Please review the syllabus carefully and be as prepared as possible for our next meeting.
For your reference, here is a section of the syllabus:
Week 8: Oct. 14 (no class on the 12th because of Fall Recess) - Meet in Mac Lab in VA (Visual Arts Bldg) Room 212. We will spend this class working on our videos. Make sure you covert them to .mpg files before class using vlc. It will be hard enough to learn Adobe Premiere. You will be light years behind if you don’t come prepared. Video will be uploaded to class You tube account.
Assignment: 1) Read Chapter 7. Start thinking of your own documentary project. 2) Have your midterm portfolio photos selected and stored in your web folder in your I Drive by October 19. Start uploading to your website on October 19. Portfolio should consist of 10 photos from: name project, night shots, light, illustration, composition, portraits and your choice. 3) Begin to arrange campus video shoot and make contacts. Finalize plans with your group.
Week 9: Oct. 19 and 21 -- How to build a web page using NVU (http://net2.com/nvu/download.html). This is a class you will not want to miss because it will be the basis of your work the next half. If you miss class, you will be on your own setting up a web page. Have some of your midterm portfolio photos selected and stored in your web folder in your I Drive so that you can upload to your website as you start to set up your site in class.
Test -- Oct. 19, on Chapter 7.
Assignment: 1) Read Chapter 9. Students need to be thinking about a project for the second half. Write two sentences about your project and bring to class to share Oct. 26. 2) Continue working on your website and uploading midterm photos to this site. I don’t expect this process to be completed by next week but there should be some progress. 3) Organize with your group Campus Documentary shoot. Make contacts and be ready for shoot on Oct. 26.
Helpful websites:
www.zreportage.com
http://americanphotojournalist.com/ http://www.life.com/Life/essay/country_doctor/sec1/page1.html
http://mediastorm.org
SECOND HALF
Week 10: October 26 and 28 -- Meet in Mac Lab, VA (Visual Arts Bldg) Room 212 - Documentary Photography – the long-term project.
“Day at Campus Class” shoot to be presented with SoundSlides and audio or video. Student groups need to make shooting arrangements in advance and bring a camera to class. Available class time will used to shoot, interview, and edit project into a video/SoundSlides. Each photo must have a caption. If there are four or fewer people in the photo they must be identified with their first and last name. These photos will be on the class website so getting their name is basically them giving you permission to run the photo. If there are more than four people in a photo, don’t worry about the names. View portion of video on James Nachtwey.
Assignment: 1) Web page needs to show that it is a work in progress and be up on Nov. 2 for first initial grade. Your midterm portfolio should be on your website before Nov. 2. 2) Start working on documentary project. First shoot is due Nov. 11.
Helpful websites:
http://www.art-dept.com/artists/davidson/
http://en.wikipedia.org/wiki/Peter_Magubane
http://www.international.ucla.edu/article.asp?parentid=2993
--
You all need to form up into groups for your shoot on Oct. 26, so it is especially vital that no one miss class on Tuesday, Oct. 19, which will be in our usual meeting room. If you do miss that class, I will randomly assign you to a group.
Sunday, October 10, 2010
5-Shot Rule
This is a quick explanation from the BBC of the 5-shot rule, which makes sequences easy to edit together.
Tuesday, October 5, 2010
Kodak Video Camera
It's available here and a bunch of other places. It's affordable, small, and flexible.
DSLR Cinematography Guide: FREE!
This is a great resource for anyone who is using, or thinking of using, a DSLR to shoot video.
Great Essay by David Leeson
"Ultimately, I discovered a constant truth in the standards of truth itself through the lessons taught me by history: the more things change, the more they stay the same."You should really read the whole thing.
Monday, October 4, 2010
Changes This Week
1. We are not going to have class on Thursday, Oct. 7.
2. We are not going on a field trip to see the lab - that will come later.
3. I'm considering changing the way I hand out your grades. Speak now or forever get your feedback through email.
2. We are not going on a field trip to see the lab - that will come later.
3. I'm considering changing the way I hand out your grades. Speak now or forever get your feedback through email.
Video About Peter Turnley
http://www.cpac.ca/forms/index.asp?dsp=template&act=view3&pagetype=vod&lang=e&clipID=4345
It is here.
It is here.
Sunday, October 3, 2010
Quick Video Shooting Tips
Ambient Sound
Your brain filters sound for you, but the microphone and camera operate differently. So, be sure to wear headphones when you are recording, if possible. That is the only way you can really know what is happening with your audio.
What if you can’t listen to your sound directly while recording? Some cameras don’t have this as an option. Consider adding that ability with a BeachTek box, if possible. As a last resort, record about a minute in the location where you will be recording, and play it back for yourself. Hopefully, you will be able to hear and identify problems.
Potential audio problem sources include, but aren’t limited to things like traffic, air traffic, air conditioners, fans, and freezers.
One audio problem source is easy to fix - you. If you’re used to talking a lot during an interview, train yourself out of it. After your first recording, you might be surprised to hear how often you interrupt people. Also, simply saying “yes” or “uh-huh” feels completely natural to most people, but can create real problems in the edit room. If you find that you are cutting people off a lot, practice mentally counting to five before you ask your next question. Smile a lot and nod so that the person knows you are listening. You may have to explain that you have to be quiet, because you will be edited out later.
Verticals and Tilted Frames
Video editing software can’t straighten or turn video the same way that photo editing software can for photos. So, please don’t turn a video camera to shoot a vertical in the same way you would for a still photo. The lack of ability to fix a tilt brings us to our next subject.
Tripod
They can be awkward, but they really do offer you a peace of mind you can’t get anywhere else. Make sure the tripod is not crooked and that the camera is firmly attached.
Never leave a camera attached to a tripod. The second you walk away, there’s a good chance the camera will be knocked over.
In some situations, you can’t avoid using your camera without a tripod. In those cases, shoot what you have to without a tripod and then use a tripod to take some stable shots of the situation. In the edit room, you can use the audio you shot with the shaky camera with some stable shots you took with the tripod. It just gives you a chance to improve the quality of shooting in those spot-news or fast-moving situations.
B-Roll
B-roll is used to add context and interest to a situation.
If you think you will need 5 shots, try for 10. That way you will have more options later.
Hold each shot for at least 10 seconds. There’s often a shakiness at the beginning and end of a clip, so you need to leave yourself room to edit around that.
Your brain filters sound for you, but the microphone and camera operate differently. So, be sure to wear headphones when you are recording, if possible. That is the only way you can really know what is happening with your audio.
What if you can’t listen to your sound directly while recording? Some cameras don’t have this as an option. Consider adding that ability with a BeachTek box, if possible. As a last resort, record about a minute in the location where you will be recording, and play it back for yourself. Hopefully, you will be able to hear and identify problems.
Potential audio problem sources include, but aren’t limited to things like traffic, air traffic, air conditioners, fans, and freezers.
One audio problem source is easy to fix - you. If you’re used to talking a lot during an interview, train yourself out of it. After your first recording, you might be surprised to hear how often you interrupt people. Also, simply saying “yes” or “uh-huh” feels completely natural to most people, but can create real problems in the edit room. If you find that you are cutting people off a lot, practice mentally counting to five before you ask your next question. Smile a lot and nod so that the person knows you are listening. You may have to explain that you have to be quiet, because you will be edited out later.
Verticals and Tilted Frames
Video editing software can’t straighten or turn video the same way that photo editing software can for photos. So, please don’t turn a video camera to shoot a vertical in the same way you would for a still photo. The lack of ability to fix a tilt brings us to our next subject.
Tripod
They can be awkward, but they really do offer you a peace of mind you can’t get anywhere else. Make sure the tripod is not crooked and that the camera is firmly attached.
Never leave a camera attached to a tripod. The second you walk away, there’s a good chance the camera will be knocked over.
In some situations, you can’t avoid using your camera without a tripod. In those cases, shoot what you have to without a tripod and then use a tripod to take some stable shots of the situation. In the edit room, you can use the audio you shot with the shaky camera with some stable shots you took with the tripod. It just gives you a chance to improve the quality of shooting in those spot-news or fast-moving situations.
B-Roll
B-roll is used to add context and interest to a situation.
If you think you will need 5 shots, try for 10. That way you will have more options later.
Hold each shot for at least 10 seconds. There’s often a shakiness at the beginning and end of a clip, so you need to leave yourself room to edit around that.
Photoshop Shortcuts
History Brush Tool, Part 2 of 2
You can also apply the History Brush tool to lighten (or dodge) a small part of an image.
The other main way you can use the History Brush tool by applying a change over the entire image, then removing that change from a small part of it.
Let’s say I start with this image.
I want the whole thing to be darker, so I make it darker using Curves.
But I want the “light” to be nice and bright on the girl, so I point the History Brush tool to be set to before the change.
Now I use the brush to paint an area where I’m basically undoing the change I did before with Curves. The brush settings are the same as before, at 30% and a fairly large size.
The final image looks like this:
The other main way you can use the History Brush tool by applying a change over the entire image, then removing that change from a small part of it.
Let’s say I start with this image.
I want the whole thing to be darker, so I make it darker using Curves.
But I want the “light” to be nice and bright on the girl, so I point the History Brush tool to be set to before the change.
Now I use the brush to paint an area where I’m basically undoing the change I did before with Curves. The brush settings are the same as before, at 30% and a fairly large size.
The final image looks like this:
Using the History Brush Tool to Dodge and Burn in PhotoShop, Part 1 of 2
I’m using Adobe Photoshop CS 5 on a Macintosh computer, but the history brush has been around for at least the last eight versions of the software, so it should work in the same way for pretty much any Photoshop currently available.
Darkening one area of a photograph is known as “burning”. Let’s start with this image from a beach in Oregon.
It’s a pretty good photo, but the lighter area on the left-hand side is a little distracting.
In Photoshop, go to Image > Adjustments > Curves and pull down the entire image so that it’s a bit darker.
We don’t want the entire image to be that dark, just the small section on the left-hand side, so we’re going to go to the history palette, undo the change, and set up the history brush. You can find it under Window > History.
Undo the Curves change by clicking on “Open”, and then click the little gray box on the left to set up the history brush.
Now, go over to your tools palette and choose the history brush.
You can change the size and everything about the brush just like any other. For this example, I’m going to use a brush 300 pixels wide set at 30% opacity.
Now, every time you click on the image, you will move that particular section of the image 30% closer to the change you made with your curves. You can then make the change subtle or harsh, depending on how much you click. If you don’t like your affect, you can always undo it.
Here’s the final image:
It’s not a very dramatic change, but that’s the point. You just have a little more detail than you had before, and you could always make the change more obvious by making the original Curves change more dramatic when you begin.
Darkening one area of a photograph is known as “burning”. Let’s start with this image from a beach in Oregon.
It’s a pretty good photo, but the lighter area on the left-hand side is a little distracting.
In Photoshop, go to Image > Adjustments > Curves and pull down the entire image so that it’s a bit darker.
We don’t want the entire image to be that dark, just the small section on the left-hand side, so we’re going to go to the history palette, undo the change, and set up the history brush. You can find it under Window > History.
Undo the Curves change by clicking on “Open”, and then click the little gray box on the left to set up the history brush.
Now, go over to your tools palette and choose the history brush.
You can change the size and everything about the brush just like any other. For this example, I’m going to use a brush 300 pixels wide set at 30% opacity.
Now, every time you click on the image, you will move that particular section of the image 30% closer to the change you made with your curves. You can then make the change subtle or harsh, depending on how much you click. If you don’t like your affect, you can always undo it.
Here’s the final image:
It’s not a very dramatic change, but that’s the point. You just have a little more detail than you had before, and you could always make the change more obvious by making the original Curves change more dramatic when you begin.
Monday, September 27, 2010
Quick Little Trick
In Photoshop, pull down from Image > Adjustments > Saturation.
Pull down from the menu on the top of the Saturation window to see different effects. This is "cyanotype," one of my favorites.
Pull down from the menu on the top of the Saturation window to see different effects. This is "cyanotype," one of my favorites.
Food 4
Camera: Nikon D100
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
I burned the pine nuts.
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
I burned the pine nuts.
Food 3
Camera: Nikon D100
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
Food 2
Camera: Nikon D100
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
Food 1
Camera: Nikon D100
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
Food/Halloween Illustration
Camera: Nikon D100
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
Black shapes drawn in Photoshop.
Shutter: 1/60 s
Aperture: f/2.8
Exposure Setting: Manual
ISO: 800
Strobe Flash: Did Not Fire
Lens Focal Length: 70 mm
White Balance: Cloudy
Black shapes drawn in Photoshop.
Tuesday, September 21, 2010
Thursday, September 16, 2010
Sunday, September 12, 2010
Playing With A Filter
Saturday, September 11, 2010
Coming Up
Just a reminder:
Assignment: 1) Read Chapter 5 in your book. 2) Shoot composition assignment as specified under assignments at end of the chapter (due date: Sept. 16). Shoot at least 36 exposures or more if shooting digital. Make sure to shoot the six different compositions that are listed and post the results to your blog. To receive an A, spend time with this assignment and give it a lot of thought.
Assignment: 1) Read Chapter 5 in your book. 2) Shoot composition assignment as specified under assignments at end of the chapter (due date: Sept. 16). Shoot at least 36 exposures or more if shooting digital. Make sure to shoot the six different compositions that are listed and post the results to your blog. To receive an A, spend time with this assignment and give it a lot of thought.
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