In class Mon Apr 17th

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Assembling your Folders full of images into Video

Check out TimeLapse Assembler

- Use "Choose" to pick you Folder

- Codec should be "h.264"

- Save your movie at different Frame Rates 4,8,10 fps

- Dimensions should be set as seen above!

- Quality set to 'High'

- Hit "Encode" to save your movie with the current settings (save it to the desktop)

Premiere Pro (a video editor)

Creating a 'Resources' folder

- save this folder somewhere safe

- put all video, audio, and jpg files used in your project, in this folder

- never move the Resource Folder

Opening the Program

- Starting a New Project

Whats Where

- 4 windows: Media browser, Media viewer, Timeline, Timeline viewer

- tools

Import your video files and audio

-- you can Drag and Drop onto the time line

Zooming

Selecting & Moving a clip

Cutting

Rendering

Export the movie

Work on Projects

In class Mon Apr 10th

The camera's lens is the eyes of the audience!






or "Birdman"




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.

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.




Mapping out your Motion Graphic Sequence

- How many changes do you want to have in the sequence?
- What direction is the content moving in each part? How does it relate to the parts before and after?
- How long is each part?
- What content do you need to collect for each part?
- What is the purpose of each part? (what do you want your viewer to get out of it?)

Work on Project 4

Project 4 Due Dates

Content folder and Storyboard Mon 4/10

Folder full of images due Mon 4/17

Final Video due Wed 4/19

In class Wed April 5th

What is your idea for your motion graphic animation?


Motion Graphics

Examples

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where to find free stock video check out Makerbook

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Photoshop Video
- Open the "Timeline". You can find it under "Window"
To use video in Photoshop:

1) Drag a video file onto the Photoshop icon, it will appear in the Layers window and the Timeline window


2) Select the layer and "control"click to bring up the menu. Pick "convert to smart object"

3) To make a new video layer click the drop down menu on the videos timeline and click "new video group".

3a)You can duplicate video layers

4) Layer Adjustments, Blend modes and Opacity all work the same as still images




- To save your file "Save As" a .PSD

- To save the final video file goto "File" --> "Render Video"



Hand in your town seal as a flattened JPEG before you leave class today.

I class Mon Apr 3rd

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

Digital Video Resolution

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We are talking your Oneonta Town Seals!


Review what you have so far.

Work on the Project





The town wants to have the (semi)final images by Friday April 7th!

In class Wed Mar 22nd

Critique Final Posters


Look at your 20 Town Seals


Work on Projects

In class Mon Mar 13

Answers to our questions about the "Town" Seal!

Create 3 ideas for the town seal for Wednesday March 15th






Critique your 3 Posters Revisions

Create and get printed a final version of your best Poster idea for next Monday the 20th at the beginning of class.




Work on Projects 

In class Wed Mar 8th

Finish the Critique for Project 2


Lets review your questions for the client about the City Seal



Your 3 poster ideas are due today

Logos

Logo inspiration:
logogala & logomoose


Logo colors:

Logo work through Guide


Things to avoid:
- Watch out for Cliches'
"Light bulbs for 'ideas', speech bubbles for 'discussion', globes for 'international', etc. These ideas are easy to come up with but how is your design going to be unique when so many other logos feature the same idea?"

- Avoid Gimmicky Fonts
"When it comes to logo design, keep your font choices classic and simple and avoid over-garnishing"

- Don't make the logo too busy
"Keep it simple"

- Be inspired but don't steal ideas - logothief.com  

Critique Projet 3 The Movie Posters

In class Mon Mar 6th

Logo Creation/Seal Creation 


12 general rules to consider


Some Basics 

1. The logo should reflect the company in a unique and honest way.

2. Avoid too much detail.

3. Your logo should work well in black and white (one-color printing). 

4. Make sure your logo's scalable. 

5. Your logo should be artistically balanced. 

Critique Part 3

Things to consider:
We are using the format of a CD cover so our viewer is already aware that the image has something to do with music and the music industry.

What we are looking at:
- Color
- Composition (placement of visual elements in 2d space...positive & negative space, rule of thirds)
- Image - subject matter
- Image - style
- Font - literal reading
- Font - style


Each of these elements becomes a "signifier" to the viewer. Which means from these visual elements we will try to make sense of the image. In this case what genre of music might this CD contain?



Work on Project 3 - Ask Questions