In class Wed Oct 30th

Once your images are saved from Photoshop into a folder they need to be processed into a video. Use QuickTime Player 7 or Framed to do this.

Making an Animation

Assembling your Folders full of images into Video


Check out Quicktime Pro 7
- Open Image Sequence
--> pick your frame rate try between 6 and 12.

- Export
--> choose Quicktime Movie

-- Options
---> Size HD1920 x 1080 (or 1280 x 720 16:9)
--- Choose 'perserve aspect ratio' - letterbox
---> Settings
-- H.264
-- Frame Rate 'current'
-- Key Frames 'auto'
-- Quality - set to the highest
-- Encode ' Best Multi pass'
-- Data Rate 'Auto'

- Choose the Desktop
- Click 'Save'

Now that you have your video file you need to edit it in a video editor. You can use Final Cut Express or iMovie to do this.

Make a folder on your desktop and name it with your name and drop your video file and audio files in it.

Final Cut Express

Make a file on your Desktop labeled: your name_final_cut

Open a file and save it

- Close old projects

- file --> new Project

- file --> save Project (put it in the folder with your name on the desktop)

Import your media

- file --> import --> files (locate your video file and audio files)

Manipulate your media on the timeline

- drag and drop your video file on the timeline in the "V" section

- drag and drop your audio files on the timeline in the "A" section

* note you can use the "arrow" tool in the toolbar to move the video or audio tracks

- If you see a red bar at the top of the timeline you need to render. use 'command+R' to do this

Edit the film and audio

- use the "blade" tool in the toolbar - 'B' is the Hotkey

- click on the track you wish to cut to select it.

- place the marquee where you want to cut the movie and click the mouse.

-- the timeline will now be in two pieces

-- you can delete part of a track by selecting it and clicking "delete"

-- get to the selection tool by pressing the "A" key

* Don't forget to hit SAVE a few times during the process.

Export your video

- When your video and audio are ready goto file --> export

- choose the QuickTime option and save it full size and 'self contained'

- export it to the desktop, this is your final video.

- Make sure your name is on the file. This one is the full size and goes to Joe

-Use iMovie for titles and fades

Open a file and save it

- Close old projects

- file -->new Project

* choose the 16x9 aspect ratio

- file --> save Project (put it in the folder with your name on the desktop)

- file --> import movie

- create a "new event" labeled with your name

- make sure the optimize check box is checked

- make sure 'copy files' is checked

* you can make titles and transitions

Titles

- You should have the name of your video at the beginning of your video

- You need to have the following info at the end of your video:

* your name

* the name of the person or place you got your audio from

* Art 213 Fall 2013

* Hartwick College

Export the Movie as large as you can.

- this video you will put up on youtube.

Work on Project 4

In class Mon Oct 28th

Making an animation in Photoshop
- Move layers / change content
- Save for Web and Devices
- Number images yourname-001, yourname-002, ect..

* You can save different scenes from your animation in different folders if you want.

How to turn your folder full of images into a video.
- Quicktime Pro is best to use because of the HD size

- "Import Image Sequence"

- Frames Per Second - FPS

Video Formats
- contain both a video and audio trac
- not all codex's are cross platform
- NTSC & PAL

Finding legal content
- CCmixter
- Archive.org

*What is Creative Commons

- cc
- check out Flickr



Work on Project 4

In class Wed Oct 23rd

Digital Video Resolution

Camera Angles, Movement and POV

Camera Angle

Eye Level

• An eye-level shot is the most basic type of shot and involves simply picking up a camera or video recorder and taking a straight-on, eye-level photograph. This technique is the most common shot used by photographers, seen in many casual pictures, such as family photos or vacation shots.

High Angle

• A high-angle shot involves taking a photograph from someplace above a subject at a diagonal angle. This type of angle may make a subject look smaller or even childlike.

Low Angle (Worms Eye)

• A low-angle shot is the opposite of the high-angle shot. In a low-angle shot, the photographer is below the subject and takes a photograph looking up at the subject. This angle is often used to make a subject appear larger, taller or more powerful.

Bird's Eye

• This type of shot is similar to the high-angle shot in that the photographer is situated above the subject. However, unlike a high-angle shot, a bird's eye shot looks straight on at a subject rather than using an angle. This type of shot is used to achieve very dramatic images.

Slanted

• A slanted shot, or dutch tilt, is where the camera is tilted to the side to give the horizon a unique, angled appearance. This is a popular shot for movie stills and in magazines as it portrays a hip, edgy feeling in the photograph

Camera Point of View (POV)

Close-Ups

• A close-up (abbreviated "CU") is when the camera focuses on just one character's face or other part of him, taking up the entire frame. These shots are used often when a character is talking, because it puts the viewer in an almost face-to-face context. When the camera zooms directly into part of a person's face or body, so that the frame shows nothing but his body, this is an extreme close-up, or ECU. Going in the opposite direction, a medium close-up (MCU) is halfway between a standard CU and a mid-shot--which shows part of the scene and the subject.

Wide Shots

• Wide Shots (WS) give a great view of the entire area your subject is standing in, and you can see the person's entire body against the backdrop of his setting. As the camera zooms out, making the person almost unrecognizable but giving a good view of the entire area, it becomes a VWS, or very wide shot. Finally, an extreme wide shot (EWS) takes the camera out so that you can't even see the subject, but gives the viewer a clear picture of where the viewer is supposed to be--these are generally used as establishing shots. VWS are generally taken from cranes, so they're sometimes called crane shots, and EWS can be taken from helicopters and called aerial shots.

Multiple People Shots.

• Conversations between two people require a special camera angle to capture the intimacy of the conversations. A two shot (TS) is the most common way to show conversation: place both subjects in the same mid-shot. The next most familiar style is the over-the-shoulder shot, or OSS, which looks at the talking subject from the listener's perspective, quite literally over his shoulder. Some camera operators also set up the noddy shot, which is most common in interviews, and is taken from the perspective of the interviewee.

POV

• The first-person perspective is a useful way to put the audience almost directly in the character's shoes. The POV shot is pretty much what the character would see--as if she is actually holding the camera herself. POV, meaning point-of-view, shots are often used to heighten the intensity of a scenario.

Weather Shots

• If the subject is the weather itself, it is referred to as a weather shot. These images give the viewer a moment's reprieve from the action or drama of the film as well as establishing what's going on in the world around them. If the weather is wet and rainy, that will affect the mood of the film overall; a bright, shiny day on the other hand lightens the mood.

Camera Movement

1. Pans

• A movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.

2. Tilts

• A movement which scans a scene vertically, otherwise similar to a pan.

3. Dolly Shots

• Sometimes called TRUCKING or TRACKING shots. The camera is placed on a moving vehicle and moves alongside the action, generally following a moving figure or object. Complicated dolly shots will involve a track being laid on set for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping trolley (good method for independent film-makers looking to save a few dollars). A dolly shot may be a good way of portraying movement, the journey of a character for instance, or for moving from a long shot to a close-up, gradually focusing the audience on a particular object or character.

4. Hand-held shots

• The hand-held movie camera first saw widespread use during World War II, when news reporters took their windup Arriflexes and Eyemos into the heat of battle, producing some of the most arresting footage of the twentieth century. After the war, it took a while for commercially produced movies to catch up, and documentary makers led the way, demanding the production of smaller, lighter cameras that could be moved in and out of a scene with speed, producing a "fly-on-the-wall" effect.This aesthetic took a while to catch on with mainstream Hollywood, as it gives a jerky, ragged effect, totally at odds with the organized smoothness of a dolly shot. The Steadicam (a heavy contraption which is attached a camera to an operator by a harness. The camera is stabilized so it moves independently) was debuted in Marathon Man (1976), bringing a new smoothness to hand held camera movement and has been used to great effect in movies and TV shows ever since. No "walk and talk" sequence would be complete without one. Hand held cameras denote a certain kind of gritty realism, and they can make the audience feel as though they are part of a scene, rather than viewing it from a detached, frozen position.

5. Crane Shots

• Basically, dolly-shots-in-the-air. A crane (or jib), is a large, heavy piece of equipment, but is a useful way of moving a camera - it can move up, down, left, right, swooping in on action or moving diagonally out of it. The camera operator and camera are counter-balanced by a heavy weight, and trust their safety to a skilled crane/jib operator.

6. Zoom Lenses

• A zoom lens contains a mechanism that changes the magnification of an image. On a still camera, this means that the photographer can get a 'close up' shot while still being some distance from the subject. A video zoom lens can change the position of the audience, either very quickly (a smash zoom) or slowly, without moving the camera an inch, thus saving a lot of time and trouble. The drawbacks to zoom use include the fact that while a dolly shot involves a steady movement similar to the focusing change in the human eye, the zoom lens tends to be jerky (unless used very slowly) and to distort an image, making objects appear closer together than they really are. Zoom lenses are also drastically over-used by many directors (including those holding palmcorders), who try to give the impression of movement and excitement in a scene where it does not exist. Use with caution - and a tripod!

7. The Aerial Shot

• An exciting variation of a crane shot, usually taken from a helicopter. This is often used at the beginning of a film, in order to establish setting and movement. A helicopter is like a particularly flexible sort of crane - it can go anywhere, keep up with anything, move in and out of a scene, and convey real drama and exhilaration — so long as you don't need to get too close to your actors or use location sound with the shots.

What is your story?
- Who are the characters?
- What is the setting?



Mapping out your story 
- Shreck Storyboards


Finding Content - Due on Monday at the beginning of class!




Work on Project 4

In class Wed Oct 16th

Storytelling

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Stop motion Animation - images through time

- FPS (frames per second) or frame rate is the number of images that are shown in a seconds worth of time.

Traditional film = 24 FPS

Traditional animation = 12 FPS

Digital film = 30 - 60 FPS

Modern animation = 12 - 30 FPS

Which means 1 minute of 

Film = 1440 still images

Animation = 720 still imagesv

Digital = 1800 - 3600 still images

Story Dice


Project 4 Assigned

Project 4

Walk through of Project 4

Step 1 Come up with a story. Beginning - Middle - End

Step 2 Collect images to be used as your characters and backgrounds

Step 3 Create a new document sized 1920 pixels wide by 1080 pixels tall in Photoshop.

Step 4 Save the file with your name on the desktop.

Step 5 Create a folder on the desktop called : P4-your-name

Step 6 Animate

--> Move --> Save for Web --> Move --> Save for Web

* Save your files in your folder on the desktop. Make sure to name each saved file in number order. EX. A001.jpg, A002.jpg, A003.jpg

Project 3 - Hand in your jpeg image labeled with your name on you USB thumb drive.

In class Mon Oct 14th

Critique Project 3


Project 4 assigned.

In class Oct 9th

Stopmotion Animation

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Project 3 on Monday at the Beginning of Class

In class Mon Oct 7th

Time based Media

John Whitney's

John Whitney created his amazing visuals through the manipulation of his analog computer/film camera device. He built the device by using the pieces from a WWII anti-aircraft gun sight. One of his most famous works created on his device was the animated title sequence from Alfred Hitchcock's 1958 film Vertigo, which he collaborated on with the graphic designer Saul Bass.

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Film & Stop motion Animation = sequence images through time.

- FPS (frames per second) or frame rate is the number of images that are shown in a seconds worth of time.

Traditional film = 24 FPS

Traditional animation = 12 FPS

Digital film = 30 - 60 FPS

Modern animation = 12 - 30 FPS

Which means 1 minute of 

Film = 1440 still images

Animation = 720 still imagesv

Digital = 1800 - 3600 still images

Work on Project 3

Project 3 due Printed OCT 14th at the beginning of class!

In class Wed Oct 2nd

Critique Project 2


Ask Questions about Project 3


Work on Project 3