| Home |
FPA
269/369 Spring 09/ SCHEDULE
Special Topics: Methods and Concepts-Time Based Media
Monday & Weds 2:30 to 5:20
Instructor: Judy Radul jaradul@sfu.ca
Teaching Assistant: Dylan Cree dcree@sfu
Texts: Grammar of the Shot, 2nd Edition, Roy Thompson, Christopher J Bowen ; The Focal Easy Guide to Final Cut Pro 6 (or 7 if you can get it) paperback
Materials on Reserve in Prof Copy Binder at Belzberg Library Harbour Centre
Monday, January 4
Introductory discussion and early video sampler
From "The Work of Art in the Age of Mechanical Reproduction"
Magician and surgeon compare to painter and cameraman. The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web. There is a tremendous difference between the pictures they obtain. That of the painter is a total one, that of the cameraman consists of multiple fragments which are assembled under a new law. Thus, for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. And that is what one is entitled to ask from a work of art.
The painting invites the spectator to contemplation; before it the spectator can abandon himself to his associations. Before the movie frame he cannot do so. No sooner has his eye grasped a scene than it is already changed. It cannot be arrested. Duhamel, who detests the film and knows nothing of its significance, though something of its structure, notes this circumstance as follows: “I can no longer think what I want to think. My thoughts have been replaced by moving images.” The spectator’s process of association in view of these images is indeed interrupted by their constant, sudden change. This constitutes the shock effect of the film, which, like all shocks, should be cushioned by heightened presence of mind. By means of its technical structure, the film has taken the physical shock effect out of the wrappers in which Dadaism had, as it were, kept it inside the moral shock effect.
-Walter Benjamin, 1936
Weds. Jan 6
Watch videos selection from Venice Biennial 2001, 2005, the "Beyond Cinema" exhibition of 2006.
Discuss: The Projected Image in Contemporary Art October. Spring 2003, No. 104: 71-96. (E Journal "October" magazine available through this link or library database JStor)
Monday January 11
Discuss Student Purchase of Portable External Harddrive, a least 500 gigs,7200 RPM, with firewire (firewire 400, 800 or both, and USB if possible)
Discuss: Dan Graham, "Television, Video, Architecture" and Paul Virilio, "The Third Window" (texts on reserve at Harbour Center under "Prof's Copies" Radul, if any issues email Judy)
Dan Graham References:Dan Graham Pavillion "New Design for Showing Video's "Video in Relation to Architecture Time Delay Room Steve Reich:Pendulum Music , listen to Drumming Part One The New Novel (Nouveau Roman), Alain Robbe-Grillet Marguerite Duras
Paul Virilio References:Tele- is a Greek prefix meaning "distant. Etienne-Jules Marey Speer's Nuremberg Rally Rodney Graham: Edge of a Wood Two Generators
Anne
Friedberg :Virilio’s Screen: The Work of Metaphor in the Age
of Technological Convergence
Extra Reference Material: The Library has the collection Surveying
the first Decade index: Watch Graham, Acconci, Jonas
Other works by Richard Serra, Dan Graham, Vito Acconci, Joan Jonas, Mike Kelley, Paul McCarthy
Acconci: http://camio.oclc.org.proxy.lib.sfu.ca/u?/SFMMA,3148
Serra: http://www.andrew.cmu.edu/course/48-305A/sketch.html
http://camio.oclc.org.proxy.lib.sfu.ca/u?/CNMAC,493
Graham:http://camio.oclc.org.proxy.lib.sfu.ca/u?/WCQ,376
http://camio.oclc.org.proxy.lib.sfu.ca/u?/WCQ,1792
Joan Jonas (scroll down) http://www.tate.org.uk/tateetc/issue9/symmetry.htm
Mike Kelley: http://www.mikekelley.com/links.html
Storyboard Assingment: for next Monday draw story boards for 3 to 10 minutes of a television show, film, music video or commercial. Using your text "Grammar of the Shot" from Chapter 1 and 5 note the type of shot (close up, medium shot etc.) and the camera movemen (hand held, dolly, pan, zoom, etc.)
Usually you draw one frame per shot. However the point is to get the visual plan of the video across, so if it is a long shot and the image changes a lot from start to finish, you might have to use several frames. The storyboard is usually done before the shooting, but in this case you are using it as a tool for analysis.
http://accad.osu.edu/womenandtech/Storyboard%20Resource/
Wed. January 13
-discuss PROJECT proposals for first piece. Should include description, sketches, production timeline, budget, equipment needs, anything that will help get your ideas across. The project is quite open, it can be sound, video or a combination. It must be practical in terms of the technical knowledge you have (and will be able to aquire in the timeframe) and the equipment we have and/or you can obtain. Collaborations are welcome. A collaborative proposal should outline how the work will be divided.
Working with Cameras in Class:
-Exposure Control Basics
-intro to 1 chip video cameras
http://www.urbanfox.tv/workbooks/sonypd150/index.htm
Shooting Assignment General Instructions: adjust
exposure (46, 47), shutter(46, 47), white balance (50, 51),
focus (49,50), and "manual exposure" through the toggle
switch (p. 48)(which is more like "gain"), adjust audio
levels. Try shooting in 24 p, 30p, and 60i modes. Use a piece of
paper to record the point of the exercise with/in the clip image.
Keep notes.
Explore what the image looks like if you leave the exposure on "P" which is the Programmed Auto Exposure Mode. You'll see that if you shift from a bright o a dark subject the camera compensates. Watch what happens if you are shooting out the window and a human subject comes into frame and stands still, the camera will open up the aperture to expose for the face, this can be quite a unappealing effect.
Check out "Aperture Priority Mode" (p 47 of manual). Use existing light, both indoor and outdoor. Find a "high contrast" scene in which there is significant range of light, from bright (such as sunlight) to dark (such as dark shadows). Find a "low contrast" scene, such as an overcast day, or evenly lit space. Control your exposure manually and in both situations expose for a bright area or object, a middle tone area or object, and a dark area or object. Watch your footage back on a TV monitor.
Use this method, described on the "urban fox" site linked above, to set your exposure for a specific part of the image. In P mode (Func/Programed AE) Zoom in on the subject, then toggle to the Av mode(Aperture Priority AE), when you first choose that mode the camera will display a recomended F Stop. You can often use that as your Aperture setting in the AV mode. (The instructions from Urban fox which are more general and apply to any camera are as follows: "Zoom in to the subject - go to auto iris and let the camera decide the subjects's exposure - go back to manual iris - now zoom out to frame your shot. You must zoom in to the subject to prevent the auto function under or over compensating for the surrounding light levels. Remember there will be times when the subject will be correct but the background is too bright or too dark. That's the nature of video ie poor contrast ratios (about 50:1)."a0 (See page 74-85 of Grammar of the Shot)
Explore different shutter settings in the Tv or Shutter Priority mode.
Work with selective focus by first opening your aperture as wide as it will go (F2) in Aperture Priority mode. Then set up a scene, set zoom, and follow instructions in manual p. 49 about choosing a focus, try focusing on something close to the camera and see if you can get the background to be in soft focus, and then visa versa focus on something farther away.
Go into cine mode, and into the menu (p. 47 explains) and try shooting at the 24 fps rate.
Learn about the playback (38), select, delete and organization functions (p. 41) and move ino playlists (58) (when playing back, to get to be able to use the function menus of search on date, delete, divide etc, you must first press stop on the LCD buttons, then toggle to the hard drive icon, make sure it goes orange/slected, and then toggle into the clips, one will have an orange selection highlight around it, then press FUNC on the buttons below LCD, now you will be able to toggle through and choose the function icons such as scene search, delete, choose, etc. I found this a little confusing, will demonstrae in class)
-Shooting assignment Part 2 : set up a shot (with a tripod) and try these camera movements: pan, tilt, small zoom, large zoom, tracking or dolly with rolling chair, hand held. Try in-camera edit of: eyeline match and shot reverse shot. Turn off "auto focus" and try being selective about what is in focus in your frame (see p. 172, 173 of Grammar of the Shot)
-a good site that has clips and discusses camera motion/editingfrom Yale: http://classes.yale.edu/film-analysis/
Monday January 18
Storyboard Assingment Due
Continue in class work with cameras as above.
Weds, January 20
Hand in: project proposals for first piece
Hand in proposal for first (optionally also the second and for 369, third) area of “further investigation.” This proposal should outline what you are investigating, what you want to learn and the steps you plan to take along the way, and how you will present the results.
Group 1
Importing video into the computer/settign your scratch discs in Final
Cut Pro
Info about the AVCHD format VIXIA records in and FCP : http://support.apple.com/kb/TA24840
NUMBER ONE RULE OF FINAL CUT PRO: BEFORE STARTING TO WORK ON A NEW PROJECT OR AN EXISTING PROJECT GO TO: FINAL CUT PRO (FIRST ITEM ON L OF MENU)/SYSTEM SETTINGS, AND SET YOUR SCRATCH DISCS!!! OTHERWISE YOU WON'T KNOW WHERE YOUR MEDIA AND RENDERS ETC. ARE BEING STORED.
NUMBER TWO RULE: NAME YOUR CLIPS DURING LOG AND TRANSFER, MAKE SURE THE CLIP NAMES IN THE CAPTURE SCRATCH REFLECT THE NAMES YOU WANT TO GIVE THE CLIPS. DON'T JUST RENAME CLIPS IN BROWSER. IF YOU WANT TO RENAME A CLIP AFTER CAPTURE/TRANSFER THEN GO TO YOUR CAPTURE SCRATCH FILE, RENAME THE CLIPS, REIMPORT THEM INTO YOUR PROJECT BIN (DRAGGING WILL WORK) . OTHERWISE FILES IN YOUR BIN WILL HAVE DIFFERENT NAMES FROM YOUR CAPTURED FILES. THIS LEADS TO PROBLEMS, HEADACHES, STOMACHACHES.
See page 30 of your tex or the document below:
What Files Does Final Cut Pro HD Create (and where are they stored)?
The Site for Final Cut Pro advice from professionals: http://www.kenstone.net/fcp_homepage/fcp_homepage_index.html
Various notes about FCP and Soundtrack Pro Audio (In Progress)
Group 2
Intro 3 point lighting for video, please read and bring p. 86-91 of Grammar of the Shot and the handout which is in the "Prof Copy" reserve readings: Chapter 6 and 7 Basic Lighting Techniques from Lighting for Digital Video and Televison, John Jackman.
Monday January 25
Group 2
Importing video into the computer/settign your scratch discs in Final Cut Pro
Group 1
Intro 3 point lighting for video, please read and bring the handout which is in the "Prof Copy" reserve readings: Chapter 6 and 7 Basic Lighting Techniques from Lighting for Digital Video and Televison, John Jackman.
Weds. January 27
-individual short meetings re: project proposals and further investigation proposals.
-Introduction to lighting, using reflectors, and 3 point lighting
-for your workbooks: understanding where FCP stores your files, the viewer, canvas, timeline, browser windows, explore basic editing, exploring motion effects and video filters, bringing in still images, importing and (in near future) exporting audio in Final Cut Pro. You won't necessarily have to hand these projects in but I will walk around and make sure that you have got a handle o these basics.
Monday February 1:
-individual short meetings re: project proposals and further investigation proposals.
-Introduction to lighting, using reflectors, and 3 point lighting
Understanding Video Resolution/Size http://en.wikipedia.org/wiki/480i
Weds. February 3:
Outputting
1) Export as Quicktime, Quicktime conversion, or through Compressor
2)Author to DVD (or blu ray) using Toast or IDVD (or skip step two if you are playing back the quicktime from a computer)
Because our cameras record digially in the AVCHD format some of the information in the textbook about "print to tape" etc, or shooting HDV is not applicable. However this info will be very useful for other common HD cam corders.
HD or HighDefinition video really comprises a whole number of standards. The pixel size is 1920 x 1080i (or 720p). We have used Pro Res 422 compression to edit with but this is an editing codec and not a playback codec so the files must be exported to some form of playback. Either a hi res .mov in H.264 or a standard definition .mov (for toast or idvd) or a .m2v file (for toast or DVD studio Pro).
Outputing your video to play on a DVD player:
DVD is no a HD format. DVD's use video in an MPEG-2 format. If you want to "down res" your HD timeline to make a MPEG-2 for DVD you can use Quicktime Conversion (choose DV
You can read abou MPEG-2 here http://en.wikipedia.org/wiki/MPEG-2.
Or you can use the SD settings in Compressor. You will get a .m2v file (the movie) and a .ac3 file (the audio). You can burn these to DVD in Toast. You just have to drag in the .m2v file in the DVD window in toast and as long as it has the same name (different extension of course) toast will find it and combine the two.
If you drop a SD quicktime into toast, it has audio and video together and Toast does the converstion to a .m2v (DVD) file.
Outputting through Quicktime
Final Cut/File/Export/Quicktime (choose DV NSC 48 khz from the drop down menu) (If you have shot at 24 frame rate then choose DV NSC 48-24). Make sure to choose "Make Movie Self Contained" and unclick "hide extension"
or for more control
Final Cut/File/Export/Quicktime Conversion/Options/Settings (this is described in your text book) Compression Type/DV/DVCPRO-NTSC
Then use TOAST to burn your file to DVD
Outputing your video to maintain HD and play as a quickime on a computer:
Same as above but choose H.264 compression
http://www.apple.com/quicktime/technologies/h264/
HD Playback by Disc:
Blueray which is the disc format for HD uses MPEG-4 AVC also called H.264.
We do not currently have a Blu Ray burner or player, but I expect will will soon.Therefor for now, I suggest you output your files using either compressor or Quicktime converstion, to create a H264 compression quicktime file.
-Intro to iDVD.
Here is the Ken Stone article which is quite comprehensive about authoring DVD's in IDVD. http://www.kenstone.net/fcp_homepage/idvd_5_stone.html
Monday February 8:
Project Presentations/Crits Students 1-8
Weds. February 10
Project Presentations/Crits Students 8-16
FEBRUARY 15-26 OLYMPIC GAMES BREAK: CLASSES CANCELLED
Monday March 1
Workbooks due (you will hand them in again at end of semeser)/ 1st further investigation due
-External microphones: types of microphones, using an external mic with the video camera
-Intro to sound/acoustics read in class and discuss a selection from Michel Chion, Audio Vision: Sound on Screen
Chapter 4, The Audiovisual Scene
-View/listen to works by Janet Cardiff
-Go on Sound Walk
Related Links:
-Christian Marclay: Shake Rattle Roll
-Christian Marclay Video on Youtube
-Marclay Video Quartet 2002 on Vimeo
Maryanne Amacher and "Aural Architecture"
Maryanne Amacher and Thurston Moore
Even more links:
Quote from the above article by Douglas Morrey about Godard's "Nouvelle Vague" soundtrack
Wednesday March 3
-Discuss workflow/timelines in audio/video projects ie: preproduction, production, post production
-Intro to Sound Track Pro
Links for further reference:
audio file formatsfree sound effects : http://www.grsites.com/sounds/Basic Audio FiltersFinal Cut 4: Audio Essentials
Scroll down on this article to
find ino on converting MP3's into AIFF's to bring them into Final Cut
Pro using Quick Time. Final
Cut Pro 4 Audio Essentials - Optimizing Sound For Beginners - by Dan
Brockett
Workbook Assignment: Take out flash media recorders, record some audio and import it into a Final Cut Pro or Soundtrack Pro Project.
Monday March 8
2nd Project Proposal Due
In regard to the 2nd project proposal again the theme is quite open. You should take into consideration that in the 2nd half of the class we will be working more with video, but we will also be working with audio and talking about installation, the spatial presentation of video and audio. This proposal should, like the first, include a description of what you plan to do, a discussion of the ideas, concepts, formal issues you are working with, a timeline, the resources and budget needed, sketches,and anything else that will help you get your ideas across.
Discuss: Frances Dyson, The Geneology of the Radio Voice
Reading references-anechoic-Logos: By the time of Socrates, Plato, and Aristotle, logos was the term used to describe the faculty of human reason and the knowledge men had of the world and of each other. Plato (who had many mystical tendencies) allowed his characters to engage in the conceit of describing logos as a living being in some of his dialogues. Aristotle, who studied under Plato and who was much more of a practical thinker, first developed the concept of logic as a depiction of the rules of human rationality. (excerpt from wikipedia definition)
Related Links:
Jacques
Derrida "Of Grammatology" online 
Frances
Dyson: A Philosophonics of Space:
Sound, Futurity and the End of the WorldSound
Symposium
Wednesday March 10
Editing: go over handouts on: the 180 "rule" and spatial continuity, three simple times of temporal continuity in editing, lenses and depth of field/background foreground compression
Go over handouts on: the 180 "rule" and spatial continuity, lenses and depth of field/background foreground compression
ReRead and come prepared to discuss any questions in regard to the technical PDF's "Basic Lighting", "Camera Buttons and Controls and Audio for Video" (one PDF), you can also download this PDF which explains some of the technical ways video works: www.filmclass.com/flm222/hwvdwrks.pdf
Monday March 15
Meet with Judy about Project 2
Wednesday March 17
Meet with Judy about Project 2
Reference: Video: The Aesthetics of Narcissism Rosalind Krauss, October, Vol. 1. (Spring, 1976), pp. 50-64
FYI : Doug Aitken: sleepwalkers, Documentation of the exhibition http://www.youtube.com/watch?v=UVRds0rTILM
Monday March 22
2nd Further Investigation Due (if you are in 369)
Wednesday, March 24
Audio Video Quiz 2: (CANCELLED)
Final Cut Pro: importing media "capture now" and "batch capture", identify and describe the functions of the browser, timeline, viewer and canvas, describe an instert and overlay edit, how to export using "Quicktime Conversion" and how to set your scratch discs in Final Cut. Soundtrack Pro: identify the difference between audio files and multi track projects, how to import sound into Sountrack how/why import video, working with tracks, how do you set the scratch discs (where Soundtrack stores your media and files). Exporting single tracks and multi track mixes.
Video Projection, Screen Materials, Shot Composition
Monday, March 29
In class work day, come prepared.
Toast/Compressor
Ken
Stone on using Compressor
Ken Stone site for making a looping DVD with DVD Studio Pro (the instructions are for a quick time file, but it would be essentially the same if you use an .m2V (video) and .ac3 (audio) file you have generated through compressor and just drag them into the Studio Pro timeline and then follow the instructions.
Wednesday, March 31
IN CLASS WORK
Monday, April 5
HOLIDAY EASTER
Wednesday April 7
Second projects
due: Crit
Presentations: students students
, Stacey, Sarah, Christine, Monica, Olivia, Collette, Kailey, Sairom, Yi
Xin,
Monday April 12
Second projects due: Crit Presentations: students students Lee-Ann, Zoe, Charlotte, David, Shelly, Marco, Pegah, Nathaniel
Weds April 14
independent study
-Workbooks due and 3rd further investigation due (if taking 369 rather than 269) Please include a self addressed and STAMPED envelope so I can return your projects.
______________________________________________________________________________
Course Work:
Projects: A piece or body of work which reflects
your committed engagement with the ideas and techniques offered in the
class. An ongoing investigation of your medium as well as a development
of individual subject matter. The piece should be ready and installed
for crit. Your preparedness is part of your grade.
In regard to the 2nd project proposal again the theme is quite open. You should take into consideration that in the 2nd half of the class we will be working more with video, but we will also be working with audio and talking about installation, the spatial presentation of video and audio. This proposal should, like the first, include a description of what you plan to do, a discussion of the ideas, concepts, formal issues you are working with, a timeline, the resources and budget needed, sketches,and anything else that will help you get your ideas across.
WorkBook:
Assignments, Working Notes and Further Investigations:
Assignments: Throughout the course of the
class students will be assigned various readings, and technical and creative
explorations. The results of these must be record in appropriate form
(video clip, written notes, drawn plans etc.) and organized in a binder.
All assignments must be carefully labeled (don’t assume I have any
idea what I’m looking at).
Working Notes: these are the plans,
sketches and tests which accumulate around your two class projects
Further Investigations: Each student
is responsible for developing areas for “further investigation.” Students
at the 269 level should develop 2 “further investigations”
and students at the 369 level should develop 3. A “further
investigation”
means that you spent a significant amount of time and gained significant
knowledge in an area related to the class topic. It may be you
devoted several weeks to becoming competent in Final Cut Pro or
Sound Track, or you may have done extensive testing and research
to create a surround sound installation. These investigations can
certainly be related to your two class projects but they are not
synonymous with them; they represent a related but distinct body
of work and investigation.
You will propose these topics to your instructor. The proposal should indicate the area of investigation, the method of research (including reading and practical research), the way the research will be presented (in print, audio, DVD, form) and, how you will make this research meaningful to yourself and your work. That is, what learning strategies will you use? The primary learning strategy would be to have meaningful reason to know the information you are seeking.
Other examples of further investigations:-research on and experiments with audio filters to change and clean sound; -Lighting studies, i.e. variations on a three or four point lighting set up. Using bounce light and diffusion. -continuity editing, and camera work, planning shots and camera movement with edits in mind.-a group of theoretical or historical readings on a time based media related topic that you would like to pursue. -working with "Color", "Live Type","DVD Studio Pro" which are all programs in the Final Cut 6 Suite. -understanding how video works: video codecs, video standards, compression, video colour, etc. -With permission "Further Investigations" can also be done in collaborative pairs or groups.
If there are any questions please come and see me.
In
class quizzes: You will get most of the
questions ahead of time. This is technical knowledge
that you should know by memory.
Grading:
Mid term and final projects 40 %
Further Investigations 25 %
Workbook 15 %
Quizzes 10 %
Participation 10 %
Supplies:
-Students are expected to supply their own headphones for recording and
audio editing.
-Be prepared to supply some mini DV or other video tapes, DVD and other
media as needed for your projects-having
your own firewire drive to store projects will be very beneficial if
not essential, for video projects. If you have a Costco membership
apparently you can get a 500 GB firewire drive for about 160.00. -access to
a mini DV camcorder would be a great asset for the student-if planning
to digitize more than approx. 20 min of footage (or do complicated editing
and effects which are computer memory/hard drive intensive) the student
should be prepared to purchase their own fire wire external hard drive.
Artists who use video and audio
Recommended Readings
Reading :Should
We Put an End to Projection?
Authors: Païni, Dominique/Krauss, Rosalind E.
Source: October; Fall 2004 Issue 110, p23, 26p
Walter
Benjamin: The Work of Art in the Age of Mechanical Reproduction
Making Video Together : notes from NOT TO MAKE SOMETHING ABOUT SOMETHING, BUT TO MAKE SOMETHING