Embedded Files
content aware fill after effects
MONDAY - May 6
- For today while we're gone, we'll give a change of pace that will apply to everyone, TV OR film. Let's take a super brief look at photoshop.
- Whether you have never used photoshop or you're well-versed, there's an option below.
- If you're rather new to photoshop, then check out this video to get started.
- FOR THE TUTORIAL ABOVE, download and use this image, this image, and this image
- If you're well-versed in photoshop, check out this video for a nice hands-on tutorial.
FRIDAY - April 26
- Open up Premiere, and switch over to the Graphics Workspace at the top center (it's probably currently on Editing or Learn)
- Review this video on the Essential Graphics panel in Premiere Pro (it is indeed supposed to start at the 1:30 mark). Watch at least up until 10:30 or 11:00 into the video.
- In Premiere Pro, using your newfound knowledge, add a pre-existing Essential Graphic with an effect added to it somewhere in a previous project or footage you've created. If for some reason you have no footage on your computer, go into another person's folder on the D Drive (Storage D:) and import some of theirs into a new project in your own folder.
- Secondly, you will create a graphic with text on your own, like the red Philadelphia one.
- If you make it this far, continue watching past 11:00 and look into adding keyframes/animation to your creation.
FRIDAY - April 5
Review this video on types of cuts, and then script a PSA that is in regards to a school-related issue other than picking up trash, wearing your id's, or bullying. it should be approximately 1 minute in length, and utilize at least two of the types of cuts mentioned in the video other than a basic cut.
A/V Production 1 - 1st and 4th period
A/V Production 1 - 1st and 4th period
THURSDAY'S ASSIGNMENT
- Watch individually or as a group this video on Film Composition, being sure to take notes. You will be quizzed over this tomorrow.
WEDNESDAY'S ASSIGNMENT
- Click here and, as it says at top of document, make a copy to your own drive you can type in.
- Someone can log in on the podium computer just like you would on the other computers in the room, then using the touch panel on the wall, tap the 'plate' input to make the computer monitor appear on the projector. Or, you can do the next bullets on your own with headphones.
- Use the document above to answer questions tied to Video 1, Video 2, and Video 3.
- If the videos don't work due to the internet being blocked, play them from here.
- I WANT you to collaborate on this. BUT, I DON'T WANT you to just give answers to your classmates. Watch, look, talk, think together. But everyone fills out and turns it in.
- You're a team of 10, a team of 22, and one team of 32, whether you're in film or you're in TV. The more you all simultaneously know, the better.
- Don't hate me for the bad dubstep in these videos. They're from 2011. But, Vincent LaForet is a very knowledgeable and world-renowned photographer, actually, who used to work for the New York Times. He's moved into the world of filmmaking as well, having done commercials for Nike, among other clients.
- Whether you are a news person or a filmmaker, it's very important to understand how focal length of a lens affects a shot more than making your subject appear closer. You can walk closer to them and achieve that, but a lot more happens when you zoom.
Dialogue Script Submission - Save as a PDF and then drop in here; don't even have to log in to your Google Drive to do so.
THE SANDLOT ESSAY
While watching this film, you will need to keep your eyes open AND TAKE NOTES for several specific items. You will be writing a paper at the end of the week (due Monday before class; the only exception is if you are there for only one day of the movie... you don't have to see it start to finish to complete this!) These include:
Very specific Camera shots and movements that you find useful and artistic even now. This could be the way that very/extreme wide shots are used, times when close-ups are used well, or two-shots, cut-aways, etc... but BE SURE TO WRITE DOWN SPECIFIC EXAMPLES AS YOU WATCH.
Camera shots/movements or editing techniques (think transitions) that seem a bit cheesy/don't hold up in 2019.
Are there any unique ways that conversations are handled besides just flipping over the shoulder of a character and facing the person who is talking at the very moment they begin to speak (This is called a Dragnet edit)? "The original Dragnet television series used a certain approach to cutting dialogue scenes. Audio and video edits tended to be made as straight cuts between the actors without any overlaps as they delivered their lines. It followed this formula: cut to actor A – deliver the line; cut to actor B – deliver the line; cut back to actor A and so on. " Give very specific examples of times and ways that the camera behaves differently during conversations/dialogue.
WHEN THE MOVIE IS OVER
You will complete a one-page (double-spaced in DriveDriveDrive, standard tfontfonfontfontfonfont with only your name at the top for a heading... no 4-line headings here!) discussing the camera work as mentioned above. You may add a small section if you wish describing any other style choices that interested you regarding how this movie was filmed. It might be with regard to lighting, blocking, or other technical/artistic elements.
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Nov 13, 2018
Editing Dialogue
If at any point you need to get a good idea of the workflow you'd use full-on to edit a dialogue scene, this extensive video provides an excellent example of how the process unfolds.
When done, use Google drive to create a rough script of an approximately 1 minute long dialogue scene between two people, keeping in mind the way that they set up and shot the dialogue scene you see in the video. it obviously doesn't have to be on the same topic, but should involve a simple exchange just like you see.
AV Production 1 - 10.12.18
- Open Chrome
- Go to the folder here to watch some sample NHSTV shows (ideally, you'll watch them 3-4 people at a computer... they may run slow loading if you try to get to them all at once)
- Find 3 news packages that aired within a show from a school year OTHER THAN THIS YEAR (show date prior to April 2018)
- Create a Google doc in your shared folder for this class named 'package good bad ugly'
- In a google doc, take down the show's air date, the subject of the package
- Take down your thoughts on the package with regard to things they did well, things they could have done a little better, and outright major mistakes. Some packages will have all three, others some of the three.
- You must do AT LEAST three packages.
- Entertainment pieces aren't packages... these need to be news stories.
- Not every show has a package in it... some just have announcements. Happy hunting!
August 30, 2018
Career Infographic
Return to: 1st Six Weeks
Using an infographic creation tool such as Adobe Illustrator, Canva, or Piktochart, you will create an infographic detailing a career choice you have looked into. The information about the career should include the following:
An estimated salary for the most recent year figures are available
Description of duties/responsibilities for someone in this position
The education pathway that leads to your career of choice
Images of either individuals working in this career field, the job setting/environment, and/or the tools/equipment related to the chosen career.
The design of the infographic should reflect a limited, uniform set of no more than FIVE different colors (use the website http://color.adobe.com for reference if needed) and a limited set of no more than 2-3 fonts/typefaces that are easily read and consistent across types of information in the infographic.
Resources to find information about your career are at
https://www.bls.gov/ooh/ (NOTE: fields in A/V production are probably under the 'Entertainment and Sports' or 'Media and Communication' links at left
OR
onetonline.com (NOTE: go to 'find occupations' at the top, then under that menu go to 'career cluster,' and pick 'Arts, A/V, and Communications.'
May 22, 2017
Semester Exam Prompt
Create a 3/4 page script for either a direct video address or recorded voiceover. The script should include
- What brought you into AMAT TV/film
- What are your goals (more than one) for learning/achieving here by the time you graduate? What are some of the specific things you hope to learn/achieve/become?
- What do you think will be your biggest difficulties/setbacks we need to help you get past?
- What has been your biggest struggle this year in or out of AMAT?
- What has been your biggest success?
April 20, 2017
Lynda/Film Composition
Option 1 for while I'm gone today is to pick up where you left off a couple of weeks ago with the Adobe Illustrator Fundamentals videos. REMEMBER, YOU HAVE TO LOG IN WITH YOUR SCHOOGLE ACCOUNT before you access Lynda, as per the directions on the home page of this site.
Option 2 is to check out this video on composition in film, taking notes (relatively basic notes, but NOTES) in a google drive document you make/put in your shared folder you've used all year on Drive. Who knows? this may change some of the decisions in how you shoot your shots in your commercial project.
March 29, 2017
Lynda and Show Analyses
For today, don't worry about the analysis of the five shows at ESE networks. Start working on the Adobe Illustrator Fundamentals (USE THIS LINK FOR THE SHORTER PLAYLIST AFTER HAVING LOGGED IN TO YOUR LYNDA ACCOUNT) course. With the three days at your disposal, you should easily make your way to the actual drawing section and begin creating content.
February 13, 2017
Editing Dialogue
If at any point you need to get a good idea of the workflow you'd use full-on to edit a dialogue scene, this extensive video provides an excellent example of how the process unfolds. In the short go of things,
- Edit for audio first. Don't pay attention to the visual cues; just get the lines in there cut from the over the shoulder shots or closeups as the camera/mic is pointed at the person speaking.
- BE SURE TO LOCK YOUR AUDIO TRACK ONCE YOU BEGIN VISUALLY EDITING.
- Turn off the targeted audio track so that all inserts from the source panel only bring down video.
- Make the targeted video track the layer above where your existing video is.
- Match the master shot to the scene's opening moments via some initial sound cue, then backtime it to fill in the opening seconds.
- Find a point to visually match cut from the master scene to your OTS. Use the trim tool to adjust the cut point via rolling edit.
- Add J, L cuts as needed to smooth dialogue transitions.
USEFUL KEYBOARD SHORTCUTS TO WORK ON:
- The period key will insert your content from the source panel into your timeline based on in/out points.
- The Q and W keys can be used to trim and delete content that is on a clip in the sequence after your playhead.
- B and N: your friendly ripple and Rolling edit tools.
- NEW: If you hold OPTION and click on a clip, it will select JUST the audio or JUST the video.
- NEW: Dragging a clip and holding OPTION will make a copy into the next layer/track.
February 9, 2017
While I am Gone - (SUPER BRIEF) Premiere Pro Training
Part 1
We will test over cables and connectors next week again. This will happen the 5th and 6th 6 weeks as well. On Tuesday we'll do the first 8 on the slide show, and on Wednesday the whole thing. So, if you need to, start studying. The link for the study slide show is under the August 29th entry on this page.
Part 2
Only two quick videos totaling 8 minutes. They are in the playlist, or you can directly access them below:
REMEMBER TO LOG IN TO LYNDA AS YOU BEFORE WATCHING/GOING TO THESE LINKS:
Using the Trim Monitor Window (whole video)
Trimming Tips Shortcuts (YOU CAN SKIP THE FIRST 2 MINUTES)
Part 3
We will distribute a copy of the dialogue scenes to each group member on Friday to begin edits. It may take a few days to edit, but likely not very long. After that, we'll be moving on to creating a commercial. We will talk concepts and such at the start of next six weeks, but before that we will cover the types of shots used in video production. Start looking at the links below and getting the names/look of each of these shots in your head.
Starting out, this link is the most important. Do NOT worry about noddy shots or weather shots.
Resource for Types of Camera Shots
Other Resources:
- https://www.youtube.com/watch?v=ICcE72RwEyc - camera shots guide
- https://www.youtube.com/watch?v=YhJArnjpWU8 - another camera shots guide
- http://www.mediacollege.com/video/camera/angles/ - A large list of camera angles.
- http://www.mediacollege.com/video/shots/movement.html - A large list of camera movements.
- http://www.mediaknowall.com/camangles.html - List of shots, angles, etc. with reasons for using them
- http://www.stevestockman.com/how-to-shoot-video-that-doesnt-suck-official-book-trailer/ - video trailer for the book we will study; it contains a few great, easy tips for shooting quality video people will watch.
- http://www.thewildclassroom.com/wildfilmschool/gettingstarted/camerashots.html - A good visual for camera shots.
- http://www.youtube.com/watch?v=tbeVSx1Gf4k&list=PLC79531D28EBF3988&index=3&feature=plpp_video - a fun video about creating big camera movements in small-scale environments
January 24, 2017
Pixel Dimensions and Frame RatesRatesRatesRatesRatesRatesRatesRates
January 20, 2016
Interview Cuts - Greyhounds
Create a sequence using a clip from the Barbara Interviews. Then delete that single clip you used off of the timeline, leaving the sequence blank to start. Now, go back and play through, mark very specific sound bites, and add them to the timeline from all of her interviews. Do this as well for Genie's interviews if time allows.
When you are done, save this PREMIERE PROJECT FILE to the top-level folder of the Greyhounds exercise files as 'sound bite clips.'
January 19, 2016
TYPES OF FILM CUTS
Here's the link for the film that demonstrates them:
https://www.youtube.com/watch?v=OAH0MoAv2CI
ASSIGNMENT: Find ONE example of THREE different types of cuts from the clip above in a movie of your choice, and describe the scene where they take place/what happens before/after the cut.
January 6, 2016
Premiere Pro Lynda Training - Day 1
After logging in to Lynda, go here.
NOTES:
- Given we've already watched the 'what is the creative cloud?' video, skip it.
- Watch all of the next two videos.
- When watching the fourth video, "Launching Premiere Pro and starting a new project," start at 3:15 into the video.
- From there, watch all parts of videos 4-7, doing your best to make it through 'starting from scratch: importing media."
- For the video 'setting up a sequence,' you may stop watching at 1:30. The methods used after that are not ones we will use.
- Be sure you are working along with the sample files we unzipped yesterday, getting a feel for how to navigate. I could care less how far into the playlist you've watched if you're not going hands on and actually doing/learning what she is doing.
Semester Exam Project Portion
Create a design using an analogous or monochromatic color harmony (don't know what these are? look them up real quick!), involving brushes, shapes, and typography. Your design must include
- at least 8 separate text items
- A coherent shape/structure to the groups of text.
- at least four shapes
- layer styles utilized on some of the items
- brushes used to stroke paths
- A theme regarding your goals for 2017.
- NOTE: There is nothing on here about photos. This is intentional, to help you save time/focus on design. Don't get wrapped up in adding work with photos and miss the target of what you actually need to do to complete this.
November 28, 2016
Apply Image
Aged Photos
Add an aged look to photos
- Select two photos/faces of approximately the same resolution, perspective (such as looking straight forward or to the side). It should be at least somewhat of the same shape, too.
- One of these is a class photo.
- The other is a wrinkly face of an old person.
- Open the face of the person you are wanting to ‘age,’ and then unlock the layer.
- Duplicate this layer.
- If your pixel dimensions are nowhere near the same, and your ‘young’ photo is significantly larger, then go to image → image size and reduce the size to match the ‘old’ photo.
- Copy in the second “old” photo, then duplicate that layer as well. Hide the two duplicates as the bottom-most layers in the photo.
- Lower the ‘old’ photo’s transparency to 50% or so, and then begin using transformations (scale, rotate, and eventually warp) to roughly position the eyes, mouth, and nose of the ‘old’ image on top of the “young” one.
- Use the transform → scale tool to size down either your face or the old face.
- Select the old person photo, and then use the transform → warp tool to better place the eyes mouth, nose, etc. they just need to be in place, not match in size.
- Next, shrink the eyes & mouth a little if needed. Go to Filter → Liquefy.
- On the left-hand side of the liquefy window, there is a set of tools, such as Bloat, Turbulence, and Mirror. Select the Pucker tool.
- Pick a Brush size on the right that is perhaps one-third to one-half the size of the eyes, and click and hold in the middle of each eye using the tool. Do not drag/paint with this tool. Do the same with the mouth. The longer you hold, the more it will shrink.
- Switch the Blending mode of the “old” photo to ‘Overlay’ in the Layers Panel.
- Use a layer mask to ‘hide’ everything but the face in the old photo (hair, clothes, background, etc.); consider using a soft-tip brush to soften the transition edges.
- Hide the eyes and (if showing) teeth of the “old” photo, or any places where the mouth shows outside of the younger person’s face.
- Increase the saturation and lower the darkness of the “young” eyes if needed under Image → Adjustments → Hue/Saturation.
- If the “old” face does not appear to completely cover the “young” one (for instance, the forehead isn’t tall enough), then use the Clone stamp tool to paint some wrinkles a little higher. Be sure the Blend mode for this tool is set to normal. Remember, to use the clone stamp tool, you hold ALT to take a sample you’ll paint with, and then stamp the area you wish to change. ALSO, note how the extra set of crosshairs moves with regard to the painting area. You often have to re-sample or let go of your mouse button and begin painting again to use this effectively.
- Change the Opacity of the ‘old’ face if needed, too.
November 16, 2016
Apply Image
November 14, 2016
Learning Photoshop Channels
See Bottom of this page for practice image downloads
November 9, 2016
Photoshop Composite - November
For this assignment, you'll need to utilize the following to create an image that tells me what November means to you. That might mean thankfulness, the launch of the holiday season, the month of beards, etc... but either way, it needs to include the following:
- At least four objects compiled into a high-resolution background image.
- At least two text items: One larger "Headline," along with a smaller, descriptive "paragraph" that might be only 1 to 2 sentences. Remember, the secondary text shouldn't include extensive layer styles. Simple and easy to read text.
- Adjustment layers that target specific layers instead of every layer beneath
- Filters applied using Smart Filters/Objects
- Compositing work done using masking versus selecting then copy/pasting
- Refined selections
- Polish.
- Usage of a clipping mask.
- Usage of blending modes on a layer to effect one or more layers beneath (to effect only a single layer, clip the layer with the blending mode to the layer beneath it).
November 7, 2016
Select and Mask in Photoshop
Julieanne Kost Tutorial - Text and Video Resources
November 2, 2016
Pen Tool Resources
October 26, 2016
Adding texture via Blending Modes
October 11, 2016
Learning Selections
September 19, 2016
Typography Poster
Today you'll begin work on your typography poster. Remember the following:
- Your quote used on this poster should contain at least 10 words.
- It should be attributable (you'll add the source to the design later)
- Your end product should involve at least 5 different type designs (different fonts, typefaces, sizes, etc)
- Your design should/will include brushes used to create lines/additional art (remember... shift to draw straight lines, brush panel to add spacing and flair)
- We will look at layer styles further when I return. Simply work to get started today!
- Remember... cables quiz tomorrow!
September 22-6, 2016
Brushes Practice (2 parts; be sure to read!)
The following assignment essentially has two parts. The project will involve two daily grades, and one summative. You will proceed through a guided practice of sorts, and then move on to more of a free-roaming assignment thereafter. If at any time you need help finding an item or menu, consult the image at the bottom of this assignment. Or, you know, ask me or a classmate.
Part 1: Learning the Brushes Panel.
- Open up Photoshop, and go to the menus at top. Click on File --> New.
- Create a document with the following settings in the boxes you see:
- Name: (your name here) Brushes Practice - (for example, 'Joshua Gaston Brushes Practice')
- Document Type: Custom (it will change to custom from any other options you pick as we punch in the settings below)
- 1920 pixels wide by 1080 pixels high, 72 ppi, RGB color.
- Background contents - white
- Leave everything else as you see it, and hit OK.
- Now go to File --> Save As... and check the name. It should match what you initially named it.
- Check the Format at the bottom of the box, and be sure it says 'Photoshop.' This will save a .PSD file that you can open and edit later.
- Navigate to your photoshop folder you created, and then hit 'Save.'
- Now that you're in photoshop, click on the Brush Tool on the brushes Panel. You can alternatively hit the 'B' key on your keyboard and it will select it.
- Open up the Brush panel (see image below if you don't know how), and in the list of options on the left, make sure all options are unchecked. If smoothing is checked, though, that is okay.
- Select the standard Hard Round brush (the solid circle that is second in the list of brushes). If you place your mouse over a brush, it will tell you the name of it.
- Make a new, blank layer. Why? Because we always paint in a new layer.
- Set the size of your brush to about 60 pixels. Doesn't have to be exact, but close.
- Set your brush color to a bright version of a color of your choosing: red, blue, green, orange... doesn't matter.
- In the left-hand side of the brush panel, make sure that 'Brush Tip Shape' is highlighted, and that the following settings are correct:
- Angle: 0
- Roundness: 100%
- Hardness: 100%
- Spacing: 1%
- Click and hold the left mouse button, but don't move it. Hold the SHIFT key and then move it to paint a straight, solid line.
- Increase the spacing to 200%, and then paint another straight line. it is key that you press shift AFTER you first click. To be sure, your spacing will STAY AT 200% FOR THE REST OF THE ASSIGNMENT.
- Change the roundness to 60%, and then paint another straight line.
- Change the angle to 45 degrees, and then paint another straight line.
- Return your angle to 0 degrees, but leave the roundness as it is.
- Change the hardness to 50%, and paint a straight line.
- Remember that you can change hardness on the fly by pressing ALT and the RIGHT mouse button at the same time, and then dragging up and down. Dragging left and right with these held was the way to quickly resize the brush.
- Change the hardness back to 100%. If this makes no sense to you, don't worry; i will show you when i get back.
your progress will look something along the lines of this:
- At this point, you're going to follow the next steps to save a picture of your progress.
- If you haven't already, make a Photoshop folder inside of your named folder on your Mybook (or your named folder on your desktop, depending on your class period). You can do this within photoshop, but it might be easier to do it by simply going to your Named Folder in Finder.
- Now, go back into Photoshop. Like at the start of this, go to Save As..
- When the Save As... box appears, make your way to your new Photoshop folder and the file will show the name you put in when we first made the document. Keep it.
- From the 'Format' field beneath where you type the file name, pick 'JPEG.' Not JPEG 2000, but JPEG. Who uses JPEG 2000, anyway? That's so last decade.
- Save the file.
- Remember, JPEGs will open on pretty much any computer, phone, etc, but if you only save that file type, you won't have laters or text to edit... just pixels of color.
If at any point from here on out you have to save at the end of the period, then make sure you save where you are using a PSD (photoshop) file. BUT, when the instructions below indicate, save your work as a JPEG so I can see your progress along the way.
- Set your hardness back to 100%.
- Press Command + option + Z a few times (this is the keyboard shortcut for undoing actions in photoshop; command + z only lets you undo one step back, then redo that same step. you can also do this by going to Edit --> Step Backward) until you only have one painted line remaining on the page. If you don't like keyboard shortcuts, go to Edit --> Step Backward instead.
- In the Brush Panel, Click on 'Shape Dynamics.' Do not just click the check box, but the actual word.
- Make sure all your 'jitter' values on this page are set to 0%, except for size jitter. Set it to 30%, and paint a line.
- Set the size jitter to 100%, then paint another straight line.
- Notice that the higher the jitter is set, the more variation in size occurs.
- Set the size jitter back to 0%.
- We will talk about the 'control' drop-downs when I return. The minimum diameter settings set a minimum size for each tip the brush paints... like a floor it can't go under. The ceiling is the max brush size.
- Raise the Angle jitter to 50%, and paint a straight line.
- Set the Angle jitter back to 0%.
- Set the Roundness Jitter to 100%, and paint a straight line.
- Since your constant roundness was already changed on the Brush Tip Shape menu, it's already been affected. Take note of the fact that these two settings affect one another. The constant roundness is a 'starting point' for the jitter, so to speak. This is kind of like how your specific brush size is a starting point for size jitter.
- Go to File --> Save As again, and save another JPEG in your named folder titled '(your name) Shape Dynamics.'
- Do some CTRL+ALT+Z's again to remove all but your very first painted line.
- In the Brush Panel, Un-check Shape Dynamics (this quickly turns off all settings we had for the angle/size jitters), and then click on 'scattering.'
- Set your count jitter to 0%, count to 1, and Scattering to about 75%. Paint a straight line. Or try to, muahahaha!
- Set your scattering to 300%, and then paint again. Even better!
- Step backward (as in CTRL + ALT + Z) a couple of times to get rid of the scattered lines.
- Set your count to 4, leaving the scattering at 300%.
- Wow.
- Step backward again, and then paint at 90% scattering with a count of 4.
- Basically, each time the brush would have painted a single circle that was part of the dotted line, it's painting 4 (because the count is 4)... and it's scattering them at random.
- Save a JPEG of this step called 'scattering.'
- Do a few m ore CTRL +ALT+ Z's to clean up everything but that very first painted line.
- Un-check Scattering, and then click on the name 'Color Dynamics.'
- Be sure 'APPLY PER TIP' is checked. This means every 'dot' of paint the brush paints will be affected by the options below. otherwise, the jitters and such affect every stroke/click of the mouse instead.
- SKIP Texture and Dual Brush for now... you can mess around with it after you finish this, and I'll show you more of how it goes down later this week.
- Set all sliders to 0%
- Note that the 'purity' slider is at 0% when it is in the middle.
- On your Tools Panel on the left-hand side of the page, set your background color (the swatch behind your color of choice) to another bright color.
- Turn foreground/background jitter up to 100%, and paint a straight line.
- Notice how your paint includes both of your selected colors, as well as various mixes of the two.
- Turn foreground/background jitter back down to 0%.
- Turn 'hue jitter' to 30%, and paint a straight line.
- Low hue jitter samples colors that are near your chosen color on the color wheel. When you use colors that are close to one another/touching on the color wheel, this is called an analogous color scheme
- You need to know 'analogous' (look up or ask for the pronunciation) color scheme from this day forward. Trust me.
- Turn hue jitter up to 100%, and any color is game.
- Notice that the lightness/darkness of the colors are the same, as well as the saturation (how bright or dull the color appears).
- Low hue jitter samples colors that are near your chosen color on the color wheel. When you use colors that are close to one another/touching on the color wheel, this is called an analogous color scheme
- Turn hue jitter to 0%, and then saturation jitter to 30%. Paint a straight line.
- The colors vary in richness, but are all the same color.
- Turn saturation jitter to 0%, and then Brightness jitter to 30%. Paint a straight line.
- Don't worry about the 'purity' slider. You can look it up on google and read about it, but for now it's more of a pain than anything. It can really screw up how your colors actually appear when painting, and then we'll be very confused when trying to put things back to normal.
- Save a jpeg of your screen named 'color dynamics.'
YOU SHOULD NOW HAVE FOUR JPEG IMAGES SAVED IN YOUR NAMED FOLDER, IN THE PHOTOSHOP SUBFOLDER.
- Lastly, turn on some brightness/hue jitters, size jitters, roundness jitters, etc, and then set your brush's spacing to about 45%. Paint a line.
- Cool!
August 29, 2016
Cables and Connectors
See the link here
April 28, 2016
JVC Camera Info
See the link HERE
January 11, 2016
Semester Exam Study Guide
For your exam, you will need to study the following items:
- The information on the handout about pathos, ethos, and logos. you can find the link farther down the page.
- The camera shots link found here - only worry about knowing extreme wide shot through extreme close-up.
- The picture below about pixel dimensions, aspect ratios, and frame rates.
December 18, 2015
Commercial Shot List Submission
Submit your shot lists for your commercial here. Before you submit:
- Have you visualized your commercial, closing your eyes and timing it with a stopwatch/app on your phone? If so, did it run 20-40 seconds as you imagined it?
- Do you have at least 15 shots to show your story play out?
- Do you have a paragraph description to accompany it?
- Have you described your shots AND given them an actual shot type (wide, close up, etc?)
December 15, 2015
Advertising Techniques - Pathos, Ethos, Logos
Submit the ethos, pathos, logos sheet HERE
Submit your commercial reviews HERE
Before we begin, we'll take a quick look at some specific names for techniques to make your advertisement appealing.
- Log in to your google drive.
- Remember, if you log someone out and they keep showing up when you try to log in, then you need to log them out one more time, press Command + Q to 'Quit' your browser, then go back in and log in.
- If all else fails, try another computer.
- Download this document and then 'Make a Copy' to your drive.
- Read the handout, and fill out the section identifying pathos, ethos, and logos
- Create another new, blank document in your google drive, and in it you will do the following:
- Find 4 commercials that are 30 seconds in length on youtube. Copy and paste the link to the commercial in the document.
- Beneath each link, describe how pathos, ethos, and/or logos were apparent in each commercial.
- Also describe any of the most specific strategies listed on the second page of the handout.
- If you finish this, make ANOTHER copy of your shot list (from the template we got before... if you don't have it, scroll down to the November 16 entry below) and begin creating a shot list for your commercial idea.
- REMEMBER that you should have at least 15 (but no more than 30) shots in your commercial. BE SPECIFIC WITH SHOT TYPE AND DESCRIPTION, but DO NOT worry about the grip/electrical column.
December 11, 2015
Submitting your Deliverables
Use the links below to submit your needed documents. For the shot list, you can have one person per group submit. HOWEVER, BE SURE OF THE FOLLOWING:
- When you click on get shareable link, you have to change it to 'anyone can view' instead of 'anyone in nisdtx can view' if you are using a school account
- be sure you DO NOT just copy and paste the link at the top of the document; it IS NOT the same as the shareable link.
- be sure to add all names of your group members somewhere on the shot sheet.
December 8, 2015
Side-by-side '15 seconds'
Use your shots to create a side-by-side recreation of your 15 seconds video project. The two versions of the video should play out beside one another, allowing us to compare the frame rate. You should have used the 1280x720, 60 frames per second clip to make the sequence. You can check this by clicking anywhere on the timeline to make it the active panel, then going to Sequence --> Sequence settings. Titles, transitions, and effects (other than scale and position, of course) are of no consequence here.
November 16, 2015
Shot Lists
Google Drive - Shot List Template - Right off the bat, go up to File --> Make a copy
Resource for Types of Camera Shots
Download the AVST shot list at the bottom of the page, then add it to your Google Drive. Fill it out in there.
Other Resources:
- https://www.youtube.com/watch?v=ICcE72RwEyc - camera shots guide
- https://www.youtube.com/watch?v=YhJArnjpWU8 - another camera shots guide
- http://www.mediacollege.com/video/camera/angles/ - A large list of camera angles.
- http://www.mediacollege.com/video/shots/movement.html - A large list of camera movements.
- http://www.mediaknowall.com/camangles.html - List of shots, angles, etc. with reasons for using them
- http://www.stevestockman.com/how-to-shoot-video-that-doesnt-suck-official-book-trailer/ - video trailer for the book we will study; it contains a few great, easy tips for shooting quality video people will watch.
- http://www.thewildclassroom.com/wildfilmschool/gettingstarted/camerashots.html - A good visual for camera shots.
- http://www.youtube.com/watch?v=tbeVSx1Gf4k&list=PLC79531D28EBF3988&index=3&feature=plpp_video - a fun video about creating big camera movements in small-scale environments
November 13, 2015
Pixels, Resolution
If all of this still confuses you, check out this video and this video.
- For the second video, you can save yourself some time with the following:
- In the first two minutes, make sure you understand these:
- HD 1080p = ? pixels wide by ? pixels high
- HD 720p = ? pixels wide by ? pixels high
- These are both an aspect ratio of 16:9.
- Old school aspect ratio is ?
- Starting after about 4:45, know this:
- 4k is a term that isn't solidified just yet. In fact, most people aren't actually getting true 4k; they're getting what's called ultra HD.
- Scaling problems mentioned at about 6:15
- everything between about 2:30 to 4:45 is good to know, but you don't have to worry about.
Google Sites
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