Syncing DSLR Dailies in Final Cut

 1.    After transcoding the picture clips, import them into your Final Cut project. Make sure all audio files are 48kHz AIFF files and import them into the project.

2.     Make sure "audio scrubbing" is on (toggles on and off with "Shift S.") Put the cursor
on the exact audio frame where the hand clap for the take closes (use the right and left arrows to navigate to the exact frame). Refer to the audio meters on the lower right to make sure you have the correct frame. Single click on the clip in the timeline to highlight it. Use the "m" key to place a marker on that frame.

3.    Drag the first picture clip to be put into sync from the browser to the timeline. Put the cursor on the exact frame where the hand clap closes. Click on the clip in the timeline to highlight it. Use the "m" key to place a marker on that frame.


4.     Line up the markers you have placed on the picture and sound clips. Expand the timeline view (command plus) to make sure that the two markers are actually lined up, then reduce the timeline view (command minus) Using the razor tool (command b), cut the sound clip to the exact length of the picture clip. The "snap to" function (toggles on and off with lower-case n)  will make it easier to line up the cursor (the CTI) with the beginning and end points of the picture clip so you can cut the sound clip in the correct place. Highlight both the picture and sound clips. Link the clips by hitting "Command L," or Modify>Link. The clips are now in sync.
   
5.   When you're syncing double-system material that has a single-system scratch track (for example, when shooting with a DSLR), you don't really need a slate, though it can make syncing faster. Just expand the vertical height of the track to make the waveform more visible and line up the waveform of the double-system track with the waveform of the single-system scratch track. Play the track. If it sounds "reverb-y," it's not quite in sync. Use the open or close bracket on the keyboard to nudge the double-system track right or left one frame until it's in sync. Be sure to remove the scratch track from the timeline before linking the picture and audio clips.

BLOG POST 4- Due Dec. 18

Sound-Image and Image-image Relationships

For this assignment, you will take a scene or sequence of an edited film (fiction, experimental or documentary), and examine the way it is constructed. Pick an example  where you think the editing has made a significant contribution to the storytelling and the  feel of the piece. What is the relationship of the sounds to the images? Of the images to one another? How are the shots organized in terms of their content, composition, color, movement, etc.? What determines how long the shots are and what order they are placed in? It there a “right” place to cut or not to cut? Are the cuts seamless or obvious? Is the  rhythm smooth or balky?

Once you have a sense of what is happening with the editing of the sequence, explain how this approach connects with and supports the overall goals of the film and its makers.

You should choose a short piece of media (2-3 minutes max) you can watch several times. The scene you pick should be available online so that your section leader can look at it as well. Please provide a link in your blog to the media.

250 Words

Due Dec. 18 at noon- FIRM

Take 2: Transcoding for High Def

3. TRANSCODE .MTS FILES INTO A .MOV FILE WITH ADOBE MEDIA ENCODER AND MPEG Streamclip

[High Definition Workflow]

1. Open the program Media Encoder in the Applications folder.
2. In Media Encoder, go to Preferences. In the General section, look under Output. Click on the “browse” button next to “specify output file destination” and select the folder that you just made in your External Hard Drive called MOV.
3. From the MTS folder, drag the .MTS files and drop them into the Queue in Adobe Media Encoder. The Queue is the large window on the left.
4. Uncheck the little box titled: “Auto encode watch folders” at the top.
5. Click on the Triangle button under Format to pull up the drop down menu of formats. Choose Quicktime.
6. Click on the Triangle Button under Preset to pull up the drop down menu of presets ----->    If you shot 30fps, choose:

            ------>    If you shot 24fps, choose:

7. Press the green play button to begin converting.
8. Now each .mts file should become an .mov file with the same name, in the folder called “MOV”. Close Adobe Media Encoder.
9. In your VIDEO Folder (in your external drive) create a new folder and call it “PRO-RES”.
10. Open the program MPEG Streamclip in the Applications folder.
11. In MPEG Streamclip, go to List > Batch List:
12. Go to Add Files and select your .mov files in your MOV folder. Then click To Batch.
13. A window will open. Select OK:

14. In the new window, select the folder that you just made in your External Hard Drive called “PRO RES”.
15. Now, at the top of the window, in the Compression category, choose the Apple Pro Res setting from the pop-up menu:

16. And set everything like this:

Note: At Frame Rate, type 29.97 if you shot 30fps; 23.98 if you shot 24fps.

After The batch, your files (In the “PRO RES” folder) are ready to be imported into Final Cut Express.

Transcoding: .mts to .mov

How to use Adobe Media Encoder to convert .mts files into Quicktime movies that Final Cut Pro can edit:

1. Launch Adobe Media Encoder.
2. Drag and drop your .mts  video files into the Queue window.  
3. Click on the Triangle button under Format to pull up the drop down menu of formats.  
4. Choose Quicktime.
5. Click on the Triangle Button under Preset to pull up the drop down menu of presets.
6. Choose HD 720p 24, H.264, AAC, 48kHz.
7. Once all files have been imported and you have applied all the settings click on the  Green play button. This will start converting all the files in the Queue.  

Select the destination of the files under Output File.

LAST extra credit opportunity & upcoming weeks

for extra credit:
1.
Visit the exhibition: Becoming Robot at the Asia Society and Museum
725 Park Avenue (at 70th Street)
Hours: Tuesday-Sunday, 11:00 am-6:00 pm; open until 9:00 pm on Fridays.
Admission: $7.00 for students with ID
Admission is free on Fridays from 6:00 pm to 9:00 pm.

2.
Blog at least 350 words about Paik's work general and what you learned from the exhibition. You should also include your thoughts about Paik's work in relation to technology and culture. This blog post is due on December 15 at midnight (this date is FIRM) to receive extra credit.

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As the end of the semester approaches, here is the schedule of what we will be working on in the upcoming weeks:

Lab 12- Dec 4: Edit Continuity Project
Please bring all your material ready to edit. That means having all your music, audio files, video files, additional graphics or text ORGANIZED in your hard drives, and ready to start a new Final Cut project. We will not have time to troubleshoot moving files around or trans-coding, so please do all that before Lab.

Lab 13- Dec. 11: Finish editing and uploading project
You should come to this lab ready to put the final touches on your project and review it with your group before you export. We will only be using 1 hour of Lab to finish editing. If you need more time, you will need to edit outside of class time between Dec. 4 and Dec. 11
Blog 4: "Sound and Image relationship" is due by December 13 at midnight.

Sony Alpha 3000 Basics

SONY Alpha 3000 Manual

FILMP/MEDP 150/160 • M. Lucas

The Sony Alpha  3000 looks like a DSLR, but it actually is closer to a video camera in an SLR body, AKA a “mirrorless” camera. It records a 20MB still image (5456 x 3632 pixels!) and can be set for JPEG or RAW + JPEG.

The camera comes with a battery, a charger, a lens cap, a lens hood and a shoulder strap. The lens has a UV filter, which can be cleaned without damaging the lens. There are two kinds of chargers, one where you plug in the camera, and the other where you just put the battery in the charger, a better idea. The batteries should last through more than one day of shooting.  But they should be charged at least once a week.

The camera stores images on an SD card, which is in a slot as shown.  Be careful with the door covering the card.  The card removes by pushing it in, and springing it out.

Side door for SD card and charger.

Using the Camera

The viewfinder is electronic, giving you the same image you see on the back viewscreen.  There is a button on the top right to switch between the two ways of viewing next to the Mode Wheel. (see below) The viewfinder is good for situations that are too bright for the rear screen, but not great for critical viewing.

The lens is interchangeable.  It is an E-mount lens, which is a new Sony mount.  So adaptors are needed for other lenses like Canon or Nikon.  

The lens feels like it should be a manual focus lens, but it is not. (The ‘focus’ ring seems to be a dummy.)  The only manual adjustment is for focal length, from 18-55mm.  It is also not a fast lens, maxing out at f3.5 on the wide, and f5.6 on the telephoto end.

While there is no manual focus, there are easy adjustments with the control wheel for both f-stop, and for shutter speed.  

The sensor is a standard APS-C  23mm sensor, similar to that on a Canon 7D.  This means the camera can give a 'film look' depth of field under the right circumstances.

Shooting and Controlling Exposure

Setting focus.  There is no real manual focus control with the standard lens.  To focus, you need to hold the shutter button part-way down, and the camera will focus based on a grid (you'll see little green markers).  If you let go of the button, the camera will keep that focus.

Setting the camera to Manual (M on the dial on the top right) allows you to control both aperture (f stop) and shutter speed.  Both are controlled by first clicking the control wheel on the bottom edge and then spinning it.  Pushing the wheel toggles the two controls, showing you the one you have control over in yellow.

You also have control over the ISO, the measure of the camera's sensitivity to light, clicking the control dial on the right side, and then spinning the dial.  

A good place to start is to set the ASA fairly low.  This could be ISO 100 outdoors, and ISO 400 or 800 indoors.  Then set the shutter speed to 1/60th, which is standard.  After that, you can play with the f stop, going from f5.6 to f8, to f11, and f16.

In practice, it may be necessary to vary the shutter speed a lot, going as high as 1/250 of a second when working outdoors.

The camera has a “steady shot” compensation for camera shake, which should probably be left in place for video recording.

MOVIE RECORD

The movie button acts pretty independently of the other controls.  You can use the shutter button for focus, and then hit the movie button.  It records AVCHD .mov files in full HD 1920 x1080 format.  These need to be transcoded to work with Final Cut Express.  The audio is for reference only, and is recorded at 48kHz.  There is no mic input. For consistency I recommend that we use the 60i (17M) setting “FH”.  See “Image Size” in the menu.

Storyboard

PROJECT 3: CONTINUITY STORYTELLING / MINI-DOCUMENTARY

FILMP/MEDP 160 • SPRING 2014

PROJECT 3: CONTINUITY STORYTELLING / MINI-DOCUMENTARY

You have the option of doing either a MINI-DOCUMENTARY or a CONTINUITY STORY for your final project. You will work in groups of two and create one project together.

OPTION 1

For this project you will work as a team (in groups of two) to write, shoot and edit a film that utilizes the basic principles of continuity shooting and editing. Your film may not be longer than 3 minutes.

We’re looking for a tightly shot and edited film that shows visual control and holds together as a  story.  A tight one minute film is better than a sloppy three minute piece.

We are working with double-system sound, so these stories must be conceived with strong visual continuity, and any dialog needs to be filmed with real care. You may certainly use ambience recorded at your location, as well as music and sound effects in post.

Pre - production involves conceiving of the story, writing a concept, scouting locations, finding actors, and storyboarding your film (required).

Devise your film story around one of the following continuity techniques (your choice):

1) A two person (or three person) interaction; or a person and object interaction (like a task). In this scenario you must observe the principles of continuity that we will review in class (180 rule, 30 degree rule, eyelines, cutting on action, etc.) AND you must include at least one POV shot. The idea here is to create narrative and emotional emphasis through careful control of scene coverage and editing.

2) Moving one person through space: Your character needs to move through space (interior or exterior or both). Their movement can be to accomplish a task (i.e. clean their apartment before someone arrives) or it can be to go toward a specific destination (such as get to a job interview despite encountering obstacles). In either case, the character has a clear objective and they either succeed or they fail or there is a twist at the end. Emphasis will be on proper screen direction, the sharp use of elliptical editing and pacing (and proper shot/reverse shot technique if any interactions are involved). AND you must include at least one POV shot sequence.

3) A chase/follow or meeting sequence: This option involves creating a story that

involves two people moving through space – one person chasing (or following or

meeting) another. The dramatic purpose of the chase or meeting needs to become

clear at some point. Maintaining proper screen direction and landmark details are

important. AND you must include at least one POV shot sequence.

GENERAL REQUIREMENTS:

• Options 2 and 3 may be interior, exterior or both, but MUST involve several different

locations. (i.e. Exterior Hunter North, interior hallway, interior elevator, etc.)

• You will be expected to maintain cinematic continuity (interactions and movement)

from cut to cut. Some controlled non-continuity sections for dramatic emphasis may

also be employed.

• Framing is important. Take time to create interesting and appropriate frames for

the action.

• You MUST utilize at least ONE looking/POV/reaction sequence during the film.

• You may edit this piece to appropriate music but it is not required (i.e. music

that adds mood, tension, or momentum to the piece).

OPTION 2: MINI-DOCUMENTARY

This assignment involves creating a short portrait of an individual or group here at Hunter.

The idea is to develop a short (1:15 to 2:00) non-fiction piece that involves an interview as well as visual evidence. Hunter College, with its tens of thousands of students and thousands of staff members, is as big as a small town. And as in any small town, there are myriad activities that go into making it what it is. Pick an individual, group, faculty member, student or staff person who you think has something of interest to offer. Remember that you will need to have some visuals that tell a story in addition to your interview.

You should pre-interview, as we did with our audio profiles, and restrict yourself to 5 to 10 minutes of interview material. Remember you will be working with our zoom recorders, with limited capabilities, so you will have to get close and pick a quiet location. In addition you should plan to get some type of visual material that will enrich the interview, whether it is a sports or club activity, a class, or even a particular job on campus. Remember, the visuals are more than just “B-roll.” They should help tell the story on their own.

Narration/Voice-over: While not required, you can add additional info as a narration/voice- over track as you see fit. This can be recorded onto one of the zoom recorders, and inserted during your editing, for example to introduce and perhaps wrap up your story. (No on-camera hosts please!)

Titles. For a story of this sort remember you'll need main titles, as well as “lower third” identifying titles for the people you speak to.

Preproduction for this includes a one-page Treatment or Proposal, a list of interview questions and a shot list of what you hope to get.  

Treatment and storyboard or shotlist due Lab 11

Final Project due Lab 14

NOTE:  Due to the complexities of editing sound and picture, you should expect to do some editing on this project OUTSIDE of class time.

Reminder: extra credit opportunity

Attend one panel or film screening at the conference. Write a blog post with at least 3 paragraphs reflecting what you learned/saw/heard. You may offer your own thoughts about the subject matter, critique, or further questions left unanswered. Please include at the beginning of the blog the date, time and full title of the panel or film and the presenter(s). Blogs must be posted by Monday, November 17.
Don't forget to register!

Looking forward to reading your blogs about this exciting conference!

​

 CODES AND MODES:
 THE CHARACTER OF DOCUMENTARY CULTURE


Dates: November 7, 8 and 9, 2014


Location: Hunter College, CUNY

Hunter North Building, 4th and 5th Floor
enter on 69th St. btwn Park Ave. and Lexington Ave.

Free and Open to the Public! (Registration Requested):

http://ima-mfa.hunter.cuny.edu/codesandmodes/registration/

Conference Schedule:

http://ima-mfa.hunter.cuny.edu/codesandmodes/conference-program/

The conference will bring together scholars, makers, graduate students, and curators. This event is an invitation to interrogate the social spaces and the formal and thematic boundaries within which contemporary documentary culture is produced.

The keynote presenter will be documentary scholar Brian Winston, who has produced a seminal body of writing on the documentary and documentary ethics over the previous three decades.  In addition we will offer an homage to Brazilian documentary filmmaker Eduardo Coutinho with Professor Ivone Margulies.

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The conference is sponsored by the Integrate Media Arts MFA Program 

Quiz 2 on November 12

The second quiz will be during the first half hour of lecture 10 on November 12. We will go over what you should look at on November 5. 

The quiz will be based on the sound lectures, numbers 5, 6, and 7. You should review your notes. And be sure to go over the following parts of the V&V book: Chap 15 pp 329 to 339. and pp 345 – 350. Also Chap 22 p 471-481, Chap 23 491-501.