20-1
"A scene is a single action or process" (Stinson 394).
20-2
"A sequence is a single unit of fiction or non-fiction content" (Stinson 394).
20-3
The principle of editing emphasis is used by managing content, angle, timing, , and rreinforcement.
c. shot order
20-4
Music videos are a good example of or "cutting to music."
b. rhythmic cutting
20-5
This year we explored many different types of video project creations. Opener, Teleprompter,
Commercial, Interview, Project Choice, Anchor Piece.
My favorite project this year was the almost final project of the Video Montage. I enjoyed this project because I was able to make it my own and I could make it for my mom. It was a more personalized project in which I could use my own creativity. My least favorite project was the Commercial. I didn't like it because there was many hours of editing that needed to be done. It was more tedious than fun. I would have liked to have made a music video as an entire class because it would have been more memorable to me.
Wednesday, June 8, 2011
Friday, June 3, 2011
19-1 - 19-5
19-1
Editing is the task of taking the materials recorded during production and transformation them into a finished audiovisual program.
1. Software programs must be organized. 2. Features must be labeled, often with icons or words that fail to illustrate its function.
19-4The name of the editing system that we use in video class is a work screen from Casablanca.
19-5
Two ways to "Archieve" your video in the finished form:1. Rendering 2. Storing 19-2
Some of the many layers that make up an edited program are production video and audio, audio effects and background tracks, music, transitions, DGEs as well as title and other graphics.
19-3
Two challenges of digital editing:
19-1
Editing is the task of taking the materials recorded during production and transformation them into a finished audiovisual program.
Editing is the task of taking the materials recorded during production and transformation them into a finished audiovisual program.
1. Software programs must be organized.
2. Features must be labeled, often with icons or words that fail to illustrate its function.
19-4
19-4
The name of the editing system that we use in video class is a work screen from Casablanca.
19-5
Two ways to "Archieve" your video in the finished form:
19-5
Two ways to "Archieve" your video in the finished form:
1. Rendering
2. Storing
19-2Some of the many layers that make up an edited program are production video and audio, audio effects and background tracks, music, transitions, DGEs as well as title and other graphics.
19-3
Two challenges of digital editing:
Friday, May 27, 2011
18-1 - 18-5
18-1
Coverage means more than just recorded the production. Good coverage requires:
1. Repetition
2. Overlap
3. Variety and Protection
4. Cutaways - shots that show information other than the main action
18-2
Good continuity within a program/video production "appears to be a single continous presentation that has no mismatches in information, action, or screen direction" (Stinson 345).
18-3
Three styles of coverage:
1. Repition
2. Overlap
3. Variety and Protection - varying angles helps make invisible edits and tends to hide small mismatches between different takes.
18-4
Three types of screen direction.
1. Look
2. Movement
3. Convention - how the screen is displayed, for example a car traveling from New York to California is going from left to right on a map, therefore it is displayed that way on the screen.
18-5
Action line is an imaginary line seperating camera and subject. Keeping the camera on its side of the line maintains screen direction.
Coverage means more than just recorded the production. Good coverage requires:
1. Repetition
2. Overlap
3. Variety and Protection
4. Cutaways - shots that show information other than the main action
18-2
Good continuity within a program/video production "appears to be a single continous presentation that has no mismatches in information, action, or screen direction" (Stinson 345).
18-3
Three styles of coverage:
1. Repition
2. Overlap
3. Variety and Protection - varying angles helps make invisible edits and tends to hide small mismatches between different takes.
18-4
Three types of screen direction.
1. Look
2. Movement
3. Convention - how the screen is displayed, for example a car traveling from New York to California is going from left to right on a map, therefore it is displayed that way on the screen.
18-5
Action line is an imaginary line seperating camera and subject. Keeping the camera on its side of the line maintains screen direction.
Tuesday, May 10, 2011
17-1 - 17-5
17-1:
Four main tasks that a video director must have to have the ability to juggle: 1. Communication, 2. Performance, 3. Editing, and 4. Camera.
17-2
Inexperienced directors have problems with important information because they tend to omit it.
17-3
When adding emphasis to information you have several tools to use. These four tools are: 1. Image Size, 2. Composition, 3. Camera Angle, and 4. Shot Duration.
Shot Duration is the control of how long you show a certain piece of information on the screen.
17-4
Feeling can be created utilizing camera angles, image sizes, shot lengths, lens perspectives, camera movement as well as other tools. A director can represent feeling within a series of shots by image size. Image size controls the emotional impact created.
17-5
Four ways a director can assist actors with being effective on camera: 1. Turn off the tally light, 2. Keep actor movements simple and natural, 3. Use cue cards and 4. Create marks on the floor for the actor's convience.
Four main tasks that a video director must have to have the ability to juggle: 1. Communication, 2. Performance, 3. Editing, and 4. Camera.
17-2
Inexperienced directors have problems with important information because they tend to omit it.
17-3
When adding emphasis to information you have several tools to use. These four tools are: 1. Image Size, 2. Composition, 3. Camera Angle, and 4. Shot Duration.
Shot Duration is the control of how long you show a certain piece of information on the screen.
17-4
Feeling can be created utilizing camera angles, image sizes, shot lengths, lens perspectives, camera movement as well as other tools. A director can represent feeling within a series of shots by image size. Image size controls the emotional impact created.
17-5
Four ways a director can assist actors with being effective on camera: 1. Turn off the tally light, 2. Keep actor movements simple and natural, 3. Use cue cards and 4. Create marks on the floor for the actor's convience.
Thursday, May 5, 2011
16-1 - 16-5
16-1
A microphone is "a device that translates the original noise created by a pattern of moving air into an electrical signal that closely imitates that pattern" (Stinson 302).
16-2
The types of microphones that we use in video class everyday are independent mikes, user-worn mikes and cabled mikes. A cabled mike is exactly what it sounds as, being a microphone communicated via special cables.
16-3
Two ways a microphone can transmit a signal is 1. cable transmission and 2. radio transmission.
16-4
Professional productions use separate mikes for recording audio, instead of using the camera's built-in microphone. True
16-5
Lavaliere microphones have a(n) narrow pickup pattern
A microphone is "a device that translates the original noise created by a pattern of moving air into an electrical signal that closely imitates that pattern" (Stinson 302).
16-2
The types of microphones that we use in video class everyday are independent mikes, user-worn mikes and cabled mikes. A cabled mike is exactly what it sounds as, being a microphone communicated via special cables.
16-3
Two ways a microphone can transmit a signal is 1. cable transmission and 2. radio transmission.
16-4
Professional productions use separate mikes for recording audio, instead of using the camera's built-in microphone. True
16-5
Lavaliere microphones have a(n) narrow pickup pattern
Friday, April 29, 2011
15-4 and 15-5
15-4:
To produce completely shadowless lighting, a white fabric sheet can be used.
15-5:
Classic three-point lighting uses key, fill , and rim(back) lights on the subject, plus a background light.
To produce completely shadowless lighting, a white fabric sheet can be used.
15-5:
Classic three-point lighting uses key, fill , and rim(back) lights on the subject, plus a background light.
Monday, April 25, 2011
15-1, 15-2, 15-3
15-1:
Classic studio lighting is a system in which uses three lights on the subject and usually one or more on the background. It is often referred to as three-point lighting.
1. Key Light - this is the main illumination which is similiar to a light or lamp fixture. The end of the key light is commonly a spotlight.
2. Fill Light - this is the filling of the shadows created by the key light. It is used to reduce the cheek, lip, and neck shadows.
3. Rim (Back) Light - typically behind the subject of the frame. Generally mounted on over-head clamps or stands.
4. Background Light - Similiar to the key light, it is the light that would naturally fall on the walls or other background items.
15-2:
Natural lighting is a more natural form of lighting as opposed to three-point lighting. The key to this approach is using soft light.
15-3:
One way to light a background is adjusting the intensity. To do this, one must even out the light pattern by using a double screen positioned in the spotlight's filter holder.
Classic studio lighting is a system in which uses three lights on the subject and usually one or more on the background. It is often referred to as three-point lighting.
1. Key Light - this is the main illumination which is similiar to a light or lamp fixture. The end of the key light is commonly a spotlight.
2. Fill Light - this is the filling of the shadows created by the key light. It is used to reduce the cheek, lip, and neck shadows.
3. Rim (Back) Light - typically behind the subject of the frame. Generally mounted on over-head clamps or stands.
4. Background Light - Similiar to the key light, it is the light that would naturally fall on the walls or other background items.
15-2:
Natural lighting is a more natural form of lighting as opposed to three-point lighting. The key to this approach is using soft light.
15-3:
One way to light a background is adjusting the intensity. To do this, one must even out the light pattern by using a double screen positioned in the spotlight's filter holder.
Subscribe to:
Posts (Atom)