Remarks on Signing the Economic Growth and Tax Relief Reconciliation Act (June 07, 2001)
George W. Bush
Thank you. Sit down. Behave yourself. You're at the White House. [Laughter]
Laura, thank you very much for being here on this historic moment. Mr. Vice President, Secretary O'Neill, Director Daniels, Secretary Evans and Chao are here, as well. Secretary Abraham, Administrator Christine Todd Whitman, Members of the United States Senate, Members of the House of Representatives, fellow Americans, welcome.
Some months ago, in my speech to the joint session of Congress, I had the honor of introducing Steven Ramos to the Nation. Steven is the network administrator for a school district. His wife, Josefina, teaches at a charter school. They have a little girl named Lianna, and they're trying to save for Lianna's college education. High taxes made saving difficult. Last year they paid nearly $8,000 in Federal income taxes. Well, today we're beginning to make life for the Ramos' a lot easier. Today we start to return some of the Ramos' money and not only their money but the money of everybody who paid taxes in the United States of America.
Across the board tax relief does not happen often in Washington, DC. In fact, since World War II, it has happened only twice: President Kennedy's tax cut in the sixties and President Reagan's tax cuts in the 1980s. And now it's happening for the third time, and it's about time.
A year ago tax relief was said to be a political impossibility. Six months ago it was supposed to be a political liability. Today it becomes reality. It becomes reality because of the bipartisan leadership of the Members of the United States Congress, Members like Bill Thomas of California, Ralph Hall of Texas, Charles Grassley of Iowa, Max Baucus of Montana, Zell Miller of Georgia, John Breaux of Louisiana, Trent Lott of Mississippi and the entire leadership team in the Senate, and Denny Hastert of Illinois and the leadership team in the House of Representatives—some Democrats, many Republicans—who worked tirelessly and effectively to produce this important result.
I also want to pay tribute to the members of my administration who worked with Congress to bring about this day: Vice President Cheney, Secretary O'Neill, Director Daniels, and the team inside the White House of Andy Card and Larry Lindsey, Nick Calio, and their staffs.
With us today are 15 of the many families I met as I toured our country making the case for tax relief�hard-working Americans. I was able to talk about their stories and their struggles and their hopes, which made the case for tax relief much stronger than my words could possible convey. And I want to thank you all for coming.
And here at the White House today are representatives of millions of Americans, including labor union members, small-busi-ness owners, and family farmers. Your persistence and determination helped bring us to this day. The American people should be proud of your efforts on their behalf, and I personally thank you all for coming.
Tax relief is a great achievement for the American people. Tax relief is the first achievement produced by the new tone in Washington, and it was produced in record time.Tax relief is an achievement for families struggling to enter the middle class. For hard-working lower income families, we have cut the bottom rate of Federal income tax from 15 percent to 10 percent. We doubled the per-child tax credit to $1,000 and made it refundable. Tax relief is compassionate, and it is now on the way.
Tax relief is an achievement for middle class families squeezed by high energy prices and credit card debt. Most families can look forward to a $600 tax rebate before they have to pay the September back-to-school bills. And in the years ahead, taxpayers can look forward to steadily declining income tax rates.
Tax relief is an achievement for families that want the Government tax policy to be fair and not penalize them for making good choices, good choices such as marriage and raising a family. So we cut the marriage penalty.
Tax relief makes the code more fair for small businesses and farmers and individuals by eliminating the death tax. Over the long haul, tax relief will encourage work and innovation. It will allow American workers to save more on their pension plan or individual retirement accounts.
Tax relief expands individual freedom. The money we return, or don't take in the first place, can be saved for a child's education, spent on family needs, invested in a home or in a business or a mutual fund or used to reduce personal debt.
The message we send today: It's up to the American people; it's the American people's choice. We recognize, loud and clear, the surplus is not the Government's money. The surplus is the people's money, and we ought to trust them with their own money.
This tax relief plan is principled. We cut taxes for every income-tax payer. We target nobody in; we target nobody out. And tax relief is now on the way.
Today is a great day for America. It is the first major achievement of a new era, an era of steady cooperation. And more achievements are ahead. I thank the Members of Congress in both parties who made today possible. Together, we will lead our country to new progress and new possibilities.
It is now my honor to sign the first broad tax relief in a generation.
Friday, December 12, 2008
Friday, November 21, 2008
Professor Writes First Book about Life in the American College Town
Blake Gumprecht, associate professor of geography and chair of the UNH Department of Geography, has published The American College Town (University of Massachusetts Press, 2008). In his new book, Gumprecht examines some of the most interesting aspects of college towns in the United States – their distinctive residential and commercial districts, their unconventional political cultures, their status as bohemian islands, and their emergence as high-tech centers.
"College towns are exceptional places, worth knowing and worth knowing about. They are an essential component of American geography. They are part of what makes life different in these United States. They reflect the singular nature of American higher education and the indelible characteristics of American culture," Gumprecht says.
In researching the American college town, Gumprecht conducted more than 200 interviews, took 2,000 photographs and amassed enough material to fill three filing cabinets and a six-foot-long bookshelf. He visited numerous U.S. college towns, and several are explored in depth in the book. They include Norman, Oklahoma, Ithaca, New York; Manhattan, Kansas; Davis, California; Athens, Georgia; Auburn, Alabama; Ann Arbor, Michigan; and Newark, Delaware.
Gumprecht’s book has been praised by scholars nationwide.
So what are some of those unusual characteristics? According to Gumprecht, the American college town is a youthful place that is home to highly educated residents who are likely to hold white-collar jobs. It is affluent compared to neighboring towns, but has high living costs, especially for housing. It is a transient place where residents are more likely to rent, live in apartments and have roommates. It is cosmopolitan, unconventional, and offers a high quality of life.
Despite thousands of professors living in college towns, academic research about them is limited. That Gumprecht’s book is the first written on the topic is due to academic far-sightedness and the natural human tendency to overlook what is all around us, he says.
"Research on local topics is perceived as parochial and counterproductive to building a national reputation necessary to earn tenure. But I also have found that professors who live in college towns are often oblivious to those characteristics that make them unusual," says Gumprecht, a former newspaper reporter with a curious streak.
The geography of the American college town includes the odd mix of fraternity rows, student housing, and faculty enclaves. Commercial districts are home to interesting mixes of business – coffee houses, bookstores, pizzerias, bike shops, music stores, copy shops, bars, and ethnic restaurants. College towns are more politically liberal and politically engaged than their neighbors where people with widely differing backgrounds coexist. College sports play prominent roles in their culture, especially on weekends, and many are hubs for high-tech research. And college towns are home to the inevitable "town vs. gown" clashes between student renters and homeowners.
"Thoroughly satisfying! Blake Gumprecht has given us a keenly observed, richly documented, many-sided account of a critically significant part of the American scene, one too long ignored by its scholarly residents. A truly brilliant achievement," said Wilbur Zelinsky, author of The Cultural Geography of the United States.
"The American College Town demonstrates Gumprecht’s knack for recognizing a great untold story. It also proves that it is actually possible to articulate that most elusive of geographical concepts, the sense of place, when the writer is a master of landscape observation, as Gumprecht unquestionably is. This book teaches readers how to see the meaning embedded in places we take for granted. Gumprecht’s exhaustive, multi-dimensional research enables him to read landscapes better than any historical geographer writing today," said Anne Kelly Knowles, author of Calvinists Incorporated: Welsh Immigrants on Ohio’s Industrial Frontier.
"College towns are exceptional places, worth knowing and worth knowing about. They are an essential component of American geography. They are part of what makes life different in these United States. They reflect the singular nature of American higher education and the indelible characteristics of American culture," Gumprecht says.
In researching the American college town, Gumprecht conducted more than 200 interviews, took 2,000 photographs and amassed enough material to fill three filing cabinets and a six-foot-long bookshelf. He visited numerous U.S. college towns, and several are explored in depth in the book. They include Norman, Oklahoma, Ithaca, New York; Manhattan, Kansas; Davis, California; Athens, Georgia; Auburn, Alabama; Ann Arbor, Michigan; and Newark, Delaware.
Gumprecht’s book has been praised by scholars nationwide.
So what are some of those unusual characteristics? According to Gumprecht, the American college town is a youthful place that is home to highly educated residents who are likely to hold white-collar jobs. It is affluent compared to neighboring towns, but has high living costs, especially for housing. It is a transient place where residents are more likely to rent, live in apartments and have roommates. It is cosmopolitan, unconventional, and offers a high quality of life.
Despite thousands of professors living in college towns, academic research about them is limited. That Gumprecht’s book is the first written on the topic is due to academic far-sightedness and the natural human tendency to overlook what is all around us, he says.
"Research on local topics is perceived as parochial and counterproductive to building a national reputation necessary to earn tenure. But I also have found that professors who live in college towns are often oblivious to those characteristics that make them unusual," says Gumprecht, a former newspaper reporter with a curious streak.
The geography of the American college town includes the odd mix of fraternity rows, student housing, and faculty enclaves. Commercial districts are home to interesting mixes of business – coffee houses, bookstores, pizzerias, bike shops, music stores, copy shops, bars, and ethnic restaurants. College towns are more politically liberal and politically engaged than their neighbors where people with widely differing backgrounds coexist. College sports play prominent roles in their culture, especially on weekends, and many are hubs for high-tech research. And college towns are home to the inevitable "town vs. gown" clashes between student renters and homeowners.
"Thoroughly satisfying! Blake Gumprecht has given us a keenly observed, richly documented, many-sided account of a critically significant part of the American scene, one too long ignored by its scholarly residents. A truly brilliant achievement," said Wilbur Zelinsky, author of The Cultural Geography of the United States.
"The American College Town demonstrates Gumprecht’s knack for recognizing a great untold story. It also proves that it is actually possible to articulate that most elusive of geographical concepts, the sense of place, when the writer is a master of landscape observation, as Gumprecht unquestionably is. This book teaches readers how to see the meaning embedded in places we take for granted. Gumprecht’s exhaustive, multi-dimensional research enables him to read landscapes better than any historical geographer writing today," said Anne Kelly Knowles, author of Calvinists Incorporated: Welsh Immigrants on Ohio’s Industrial Frontier.
Monday, November 17, 2008
Links for Anchor Intros
http://hosted.ap.org/dynamic/stories/C/CONGRESS_RETURNS?SITE=TXDAM&TEMPLATE=HOME.html&SECTION=HOME
http://www.nydailynews.com/money/2008/11/17/2008-11-17_citigroup_to_cut_50000_jobs.html
http://www.suntimes.com/news/transportation/1283082,CST-NWS-parking17.article
http://www.star-telegram.com/804/story/1043566.html
http://www.nydailynews.com/money/2008/11/17/2008-11-17_citigroup_to_cut_50000_jobs.html
http://www.suntimes.com/news/transportation/1283082,CST-NWS-parking17.article
http://www.star-telegram.com/804/story/1043566.html
Thursday, October 16, 2008
The More You Know in Final Cut Pro
FCP/FCE Basics
Identifying parts of the screen:
Audio Meters: Make sure your volume does NOT go in the RED area! Stay around the -12!
Tools Palette: The tool options are located here.
Timeline: Displays everything contained in your movie. Items on V2 will display on top of items on V1, etc. To get the Timeline back, double-click on “Sequence 1” in the Browser.
Viewer: Double click on a clip to view it here. The Viewer is used to edit clips.
Canvas: Shows what is in the timeline at the playhead. To get the Canvas back, double-click on “Sequence 1” in the Browser.
Browser: Holds all video clips, audio clips, still images, etc. that could be used in the video. The EFFECTS tab is also located here!
Keyboard shortcuts: These are the shortcuts you will use the MOST! Learn them!!
Save =S
Undo =Z
Fit Video to Timeline =Z
Change Timeline Clip Height =T
Hide FCE =H
Render Selection =R
Render ALL =R
Pointer Tool = A
Razor Blade Tool = B
Play Around Current Point = \
Pen = P
Mark In Point = I
Go to In Point =I
Mark Out Point = O
Go to Out Point =O
Snapping On/Off = N
Capture Video from the camera:
To capture video, first connect the camera to the computer via firewire cable. The cable plugs in to the front or side of the camera. Use the first firewire port on the side of the computer.
Click on “File” then “Capture.” Set the video a couple seconds before you want to begin. Hit play on the camera. Click on “Now” in the Capture window.
Hit the “esc” key to stop the capture.
Log each clip: Use your "in" and "out" markers. Clip "Log Clip." Give clip a title. After you've logged all of your clips, select them all in your viewer. Then go to "File," and select "Batch Capture."
Icons to change view
Change the Browser view:
It’s easier to see everything in “List” view!
Either…
Use the icons on the top right of the Browser.
Or…
Click in the Browser.
Select “View as List” from the menu.
To add clips or sound to your project:
Click on File, Import à Files…
Then brows until you find the files you want to import.
Use thekey to select more than one file.
The selected files will appear in the Browser.
Organizing Clips:
In FCE folders are located in the Browser and are used to help organize your clips.
To get a new folder click on File: New…Folder or use the keyboard shortcut,B. (Folders used to be called Bins.)
If you have many clips, use folders to help organize them!
To Edit a Clip:
Double-click on the icon in the Browser. The clip will appear in the Viewer.
Here you can mark In (I) and Out (O) points and apply/edit effects and transitions.
To Add a Clip to the Video:
Drag the clip to the Canvas Edit Overlay (on the Canvas) or directly to the timeline.
Insert / * = Inserts the video on the selected track at the location of the playhead.
Overwrite / , = Replaces the video on the selected track starting at the location of the playhead.
Canvas Edit Overlay
Video in timeline
Video appears on the selected track.
In addition to using In and Out Points to mark the start and end of a video clip, you can use the Razor Blade (keyboard shortcut B) tool to cut clips in the timeline. This is helpful when you want to apply an effect or speed change to one section of the clip.
Levels of Undo – You can undo around 10-20 or so times unless you save! You cannot undo past a save.
Tools Palette:
(A) Selection Tool – select clips
(G) Select Tools – select all clips to the left or right
(C) Crop – Crop the edges of the clip
(D) Distort – Distort the shape of the image/clip
(P) Pen Tools – used to add/ delete pen marks from overlays in timeline
(Z, H) Zoom, Hand Tools – used to zoom or grab and move clips
(R) Ripple, Roll Tools – change the entire length of the sequence
Ripple – changes everything
Roll – edits only the adjacent clips
(B) Razor Blade Tools – cut clip in the timeline
(S) Slip, Slide Tools – edit the length of clips in the timeline
(T) Select Track Tools – select everything to the right/left
Add/Edit Transitions:
Select a Video Transition from the Browser.
Drag it on top of the edit point in the timeline OR place the playhead on the edit point and drag the transition to “Insert” or “Overwrite” in the Canvas.
Both clips must have handles! Handles are the extra footage recorded but not used to show in the video. To make sure you record enough footage to have proper handles the cameraperson needs to hit the record button, and then count down… three, two, one, {point}… before the actors begin acting! Also, at the end, the cameraperson must wait a full 2 seconds after the acting is finished before stopping the camera!
Handle
You can fine-tune the transition in the Viewer by first double-clicking on it in the Timeline!
Adding Effects:
Effects are called “Video Filters” and can be found in the Effects tab in the Browser.
To add a filter to a clip, drag the name of the filter on top of the clip in the Timeline or the Viewer.
To edit the filter, first double-click on the clip in the Timeline to load it in the Viewer. Then click the “filters” tab and change the settings! If your playhead is on the clip in the Timeline, you can see the changes in the Canvas as you make them!
You can add multiple filters to the same clip!
Adding Text:
Titles are called “Video Generators”! They are located in the Effects tab in the Browser.
Crawl: Text crawls across the bottom of the stream. All text will be the same font, size and color.
Lower 3rd: One or two lines of text on the bottom left corner. You can add a line (bar) above the text or a solid bar behind the text. You can also adjust the opacity. Each line can be a different font, size or color!
Outline Text: Text with a cool outline! All text will be the same font, size and color.
Scrolling Text: Text scrolls up/down on the screen. All text will be the same font, size and color.
Text: Plain text. All text will be the same font, size and color.
Typewriter: Text “types” on the screen like a typewriter. All text will be the same font, size and color.
Title 3D: Super cool text! You can make every word or letter a different font, size or color!
Title Crawl: Like Title 3D but the text crawls across the screen.
Make sure TITLE SAFE is turned on!!!
Drag the title from the Viewer directly to the Timeline OR to “Superimpose” in the Canvas. Superimpose will put a title of matching length on the track above of the clip with the playhead on the selected track.
Editing Text:
Double-click on the text type in the Browser. In the Viewer, click on the “Controls” tab. Here you can change the text, font, color, size, alignment, etc.
After you put the text in the video, you MUST double-click on it before you can edit!
Editing Title 3D and Title Crawl:
Double-click on the text type in the Browser. The first time you open it, it will open directly in the editing window. Here you can change the text, font, color, size, alignment, etc.
You must highlight the text you want to edit! If it’s not highlighted, it won’t change!
To add an outline or shadow, make sure you check a box on the left first! Each box checked will add another outline or shadow!
For shadows our outlines, make sure a box is checked!
To edit the title after it’s in the video, double-click on the title to open it in the Viewer. Click on the “Controls” tab, then on the “Title 3D” icon.
Click here to open the options and edit the text!
Speed Change:
First, select the clip. Then click on “Modify” orClick then select “Speed…”
You can change it by percentage or to an exact length. You can also reverse the clip.
If it does not let you change the speed, drag the clip to the end of the timeline and try again.
Change the Zoom Level on the Timeline:
Slider
Click and drag the end of the scroll bar.You can either click and drag the end of the scroll bar or use the slider on the left side of the scroll bar.
Use the keyboard shortcut,Z, to make the entire video fit in the timeline!
Change Opacity:
Drag the overlay up or down. To make the clip more/less see-through, make sure the overlays are visible by clicking the icon on the bottom left corner of the timeline. Then drag the overlay on the video clip up or down!
Keyframing (Animation):
1st: Turn on the wireframe in the Canvas and make sure the clip you want to animate is in the Timeline with the playhead on it!
2nd: Put the playhead and video clip in the location where you want the motion to begin.
3rd: Click on the Keyframe icon (small diamond) in the Canvas. The wireframe will turn green! If it doesn’t turn green, then you don’t have the correct clip selected in the Timeline.
4th: Move the playhead FIRST and then the clip/image SECOND!
Each time you put the playhead in a new location and then move the video clip, it sets a new keyframe point. You do NOT need to click the keyframe icon again.
As you move the clip/image a purple line will appear. You can click and drag the line around to change the clip/image path. Each green dot represents a new set keyframe.
The clip/image should be in place and no longer moving at least 1 full second before it ends!
Picture in Picture:
You can resize a video clip and move it around the screen!
Make sure the wireframe is turned ON.
Use the mouse to grab the corners of the video to resize it.
You can also grab the middle of the clip and move it around the screen!
The clip on V2 will show in the Canvas on top of the clip in V1!
Crop and Distort Tools:
Crop: You can crop the edge off of your video clip. This is very handy when using the green screen and a table corner or something else is on the edge of the frame.
Make sure the wireframe is turned ON.
Select the Crop tool (C).
Use the mouse to crop the edges of the frame.
Distort: You can also distort the shape of the video clip.
Make sure the wireframe is turned ON.
Select the Distort tool (D).
Use the mouse to grab the corners of the video and reshape it!
Clear Motion:
If you want to delete the keyframing, crop or distort from a clip/image/title, double-click on the clip in the Timeline to put it in the Viewer. Then select the “Motion” tab. Click on the little red X on the right side to clear the motion, crop, distort, opacity, drop shadow or motion blur.
Inserting Music:
Open the song you want to use in iTunes. If you created a song in GarageBand, you must export it to iTunes before you can use it!
Then drag the song from iTunes to the desktop.
Next, import the song from the desktop into your project.
If the song will not import, then go back to iTunes and Convert to AIFF. Drag this new song file to the desktop and import it into the project.
Adjust Volume Levels:
The volume on each clip will be different. You must adjust the levels on everything so it is around the -12 in the audio meter! Otherwise it can sound distorted or too loud on playback!
Click the Show Overlay icon on the bottom left corner of the timeline.
Use the Selection Tool (A) and Pen (P) to adjust the levels. You can also add Audio Filters to fade between audio clips if the audio clips have handles!
Zooming in the Canvas or Viewer:
While viewing your video in the Canvas or Viewer, you can change the zoom level for what you see.
Click on the icon on the top of the window that has a percentage in it, and then select “Fit to Window”, “Fit All” or any of the percentages to change the zoom level. This is very handy when you’ve changed the size of a clip/image to be larger than the window or when adding keyframes!
Posting your Video!
To post your video you must turn it into a self-contained movie!
Make sure nothing is selected in the Timeline!
Select “File,” “Export,” “QuickTime Movie…”
Save the file to your desktop!
You will be creating a Self-Contained FCE movie. You can open it with QuickTime if you control-click on the icon on the desktop and select “Open with…” then “QuickTime.”
If you want to save the movie to take home as a real QuickTime movie…
Select “File,” “Export,” “Using QuickTime Conversion…”
You’ll have to select a compression mode that will work for you. I use “Streaming – Medium” for the file I put online.
A seven minute video will take approximately two hours to convert! So you’ll need to come in after school to start the conversion and come in the next morning to save it to your CD or flash drive!
Identifying parts of the screen:
Audio Meters: Make sure your volume does NOT go in the RED area! Stay around the -12!
Tools Palette: The tool options are located here.
Timeline: Displays everything contained in your movie. Items on V2 will display on top of items on V1, etc. To get the Timeline back, double-click on “Sequence 1” in the Browser.
Viewer: Double click on a clip to view it here. The Viewer is used to edit clips.
Canvas: Shows what is in the timeline at the playhead. To get the Canvas back, double-click on “Sequence 1” in the Browser.
Browser: Holds all video clips, audio clips, still images, etc. that could be used in the video. The EFFECTS tab is also located here!
Keyboard shortcuts: These are the shortcuts you will use the MOST! Learn them!!
Save =
Undo =
Fit Video to Timeline =
Change Timeline Clip Height =
Hide FCE =
Render Selection =
Render ALL =
Pointer Tool = A
Razor Blade Tool = B
Play Around Current Point = \
Pen = P
Mark In Point = I
Go to In Point =
Mark Out Point = O
Go to Out Point =
Snapping On/Off = N
Capture Video from the camera:
To capture video, first connect the camera to the computer via firewire cable. The cable plugs in to the front or side of the camera. Use the first firewire port on the side of the computer.
Click on “File” then “Capture.” Set the video a couple seconds before you want to begin. Hit play on the camera. Click on “Now” in the Capture window.
Hit the “esc” key to stop the capture.
Log each clip: Use your "in" and "out" markers. Clip "Log Clip." Give clip a title. After you've logged all of your clips, select them all in your viewer. Then go to "File," and select "Batch Capture."
Icons to change view
Change the Browser view:
It’s easier to see everything in “List” view!
Either…
Use the icons on the top right of the Browser.
Or…
Select “View as List” from the menu.
Click on File, Import à Files…
Then brows until you find the files you want to import.
Use the
The selected files will appear in the Browser.
In FCE folders are located in the Browser and are used to help organize your clips.
To get a new folder click on File: New…Folder or use the keyboard shortcut,
If you have many clips, use folders to help organize them!
Double-click on the icon in the Browser. The clip will appear in the Viewer.
Here you can mark In (I) and Out (O) points and apply/edit effects and transitions.
To Add a Clip to the Video:
Drag the clip to the Canvas Edit Overlay (on the Canvas) or directly to the timeline.
Insert / * = Inserts the video on the selected track at the location of the playhead.
Overwrite / , = Replaces the video on the selected track starting at the location of the playhead.
Canvas Edit Overlay
Video in timeline
Video appears on the selected track.
In addition to using In and Out Points to mark the start and end of a video clip, you can use the Razor Blade (keyboard shortcut B) tool to cut clips in the timeline. This is helpful when you want to apply an effect or speed change to one section of the clip.
Levels of Undo – You can undo around 10-20 or so times unless you save! You cannot undo past a save.
Tools Palette:
(A) Selection Tool – select clips
(G) Select Tools – select all clips to the left or right
(C) Crop – Crop the edges of the clip
(D) Distort – Distort the shape of the image/clip
(P) Pen Tools – used to add/ delete pen marks from overlays in timeline
(Z, H) Zoom, Hand Tools – used to zoom or grab and move clips
(R) Ripple, Roll Tools – change the entire length of the sequence
Ripple – changes everything
Roll – edits only the adjacent clips
(B) Razor Blade Tools – cut clip in the timeline
(S) Slip, Slide Tools – edit the length of clips in the timeline
(T) Select Track Tools – select everything to the right/left
Add/Edit Transitions:
Select a Video Transition from the Browser.
Drag it on top of the edit point in the timeline OR place the playhead on the edit point and drag the transition to “Insert” or “Overwrite” in the Canvas.
Both clips must have handles! Handles are the extra footage recorded but not used to show in the video. To make sure you record enough footage to have proper handles the cameraperson needs to hit the record button, and then count down… three, two, one, {point}… before the actors begin acting! Also, at the end, the cameraperson must wait a full 2 seconds after the acting is finished before stopping the camera!
Handle
You can fine-tune the transition in the Viewer by first double-clicking on it in the Timeline!
Adding Effects:
Effects are called “Video Filters” and can be found in the Effects tab in the Browser.
To add a filter to a clip, drag the name of the filter on top of the clip in the Timeline or the Viewer.
To edit the filter, first double-click on the clip in the Timeline to load it in the Viewer. Then click the “filters” tab and change the settings! If your playhead is on the clip in the Timeline, you can see the changes in the Canvas as you make them!
You can add multiple filters to the same clip!
Adding Text:
Titles are called “Video Generators”! They are located in the Effects tab in the Browser.
Crawl: Text crawls across the bottom of the stream. All text will be the same font, size and color.
Lower 3rd: One or two lines of text on the bottom left corner. You can add a line (bar) above the text or a solid bar behind the text. You can also adjust the opacity. Each line can be a different font, size or color!
Outline Text: Text with a cool outline! All text will be the same font, size and color.
Scrolling Text: Text scrolls up/down on the screen. All text will be the same font, size and color.
Text: Plain text. All text will be the same font, size and color.
Typewriter: Text “types” on the screen like a typewriter. All text will be the same font, size and color.
Title 3D: Super cool text! You can make every word or letter a different font, size or color!
Title Crawl: Like Title 3D but the text crawls across the screen.
Make sure TITLE SAFE is turned on!!!
Drag the title from the Viewer directly to the Timeline OR to “Superimpose” in the Canvas. Superimpose will put a title of matching length on the track above of the clip with the playhead on the selected track.
Editing Text:
Double-click on the text type in the Browser. In the Viewer, click on the “Controls” tab. Here you can change the text, font, color, size, alignment, etc.
After you put the text in the video, you MUST double-click on it before you can edit!
Editing Title 3D and Title Crawl:
Double-click on the text type in the Browser. The first time you open it, it will open directly in the editing window. Here you can change the text, font, color, size, alignment, etc.
You must highlight the text you want to edit! If it’s not highlighted, it won’t change!
To add an outline or shadow, make sure you check a box on the left first! Each box checked will add another outline or shadow!
For shadows our outlines, make sure a box is checked!
To edit the title after it’s in the video, double-click on the title to open it in the Viewer. Click on the “Controls” tab, then on the “Title 3D” icon.
Click here to open the options and edit the text!
Speed Change:
First, select the clip. Then click on “Modify” or
You can change it by percentage or to an exact length. You can also reverse the clip.
If it does not let you change the speed, drag the clip to the end of the timeline and try again.
Change the Zoom Level on the Timeline:
Slider
Click and drag the end of the scroll bar.You can either click and drag the end of the scroll bar or use the slider on the left side of the scroll bar.
Use the keyboard shortcut,
Drag the overlay up or down. To make the clip more/less see-through, make sure the overlays are visible by clicking the icon on the bottom left corner of the timeline. Then drag the overlay on the video clip up or down!
Keyframing (Animation):
1st: Turn on the wireframe in the Canvas and make sure the clip you want to animate is in the Timeline with the playhead on it!
2nd: Put the playhead and video clip in the location where you want the motion to begin.
3rd: Click on the Keyframe icon (small diamond) in the Canvas. The wireframe will turn green! If it doesn’t turn green, then you don’t have the correct clip selected in the Timeline.
4th: Move the playhead FIRST and then the clip/image SECOND!
Each time you put the playhead in a new location and then move the video clip, it sets a new keyframe point. You do NOT need to click the keyframe icon again.
As you move the clip/image a purple line will appear. You can click and drag the line around to change the clip/image path. Each green dot represents a new set keyframe.
The clip/image should be in place and no longer moving at least 1 full second before it ends!
Picture in Picture:
You can resize a video clip and move it around the screen!
Make sure the wireframe is turned ON.
Use the mouse to grab the corners of the video to resize it.
You can also grab the middle of the clip and move it around the screen!
The clip on V2 will show in the Canvas on top of the clip in V1!
Crop and Distort Tools:
Crop: You can crop the edge off of your video clip. This is very handy when using the green screen and a table corner or something else is on the edge of the frame.
Make sure the wireframe is turned ON.
Select the Crop tool (C).
Use the mouse to crop the edges of the frame.
Distort: You can also distort the shape of the video clip.
Make sure the wireframe is turned ON.
Select the Distort tool (D).
Use the mouse to grab the corners of the video and reshape it!
Clear Motion:
If you want to delete the keyframing, crop or distort from a clip/image/title, double-click on the clip in the Timeline to put it in the Viewer. Then select the “Motion” tab. Click on the little red X on the right side to clear the motion, crop, distort, opacity, drop shadow or motion blur.
Inserting Music:
Open the song you want to use in iTunes. If you created a song in GarageBand, you must export it to iTunes before you can use it!
Then drag the song from iTunes to the desktop.
Next, import the song from the desktop into your project.
If the song will not import, then go back to iTunes and Convert to AIFF. Drag this new song file to the desktop and import it into the project.
Adjust Volume Levels:
The volume on each clip will be different. You must adjust the levels on everything so it is around the -12 in the audio meter! Otherwise it can sound distorted or too loud on playback!
Click the Show Overlay icon on the bottom left corner of the timeline.
Use the Selection Tool (A) and Pen (P) to adjust the levels. You can also add Audio Filters to fade between audio clips if the audio clips have handles!
Zooming in the Canvas or Viewer:
While viewing your video in the Canvas or Viewer, you can change the zoom level for what you see.
Click on the icon on the top of the window that has a percentage in it, and then select “Fit to Window”, “Fit All” or any of the percentages to change the zoom level. This is very handy when you’ve changed the size of a clip/image to be larger than the window or when adding keyframes!
Posting your Video!
To post your video you must turn it into a self-contained movie!
Make sure nothing is selected in the Timeline!
Select “File,” “Export,” “QuickTime Movie…”
Save the file to your desktop!
You will be creating a Self-Contained FCE movie. You can open it with QuickTime if you control-click on the icon on the desktop and select “Open with…” then “QuickTime.”
If you want to save the movie to take home as a real QuickTime movie…
Select “File,” “Export,” “Using QuickTime Conversion…”
You’ll have to select a compression mode that will work for you. I use “Streaming – Medium” for the file I put online.
A seven minute video will take approximately two hours to convert! So you’ll need to come in after school to start the conversion and come in the next morning to save it to your CD or flash drive!
Friday, October 3, 2008
PRESS RELEASE
September 18, 2008
NEW YORK (Sept. 18, 2008) Everyone who visits a Walt Disney World Resort or Disneyland Resort theme park on their birthday in 2009 can get in free, as Disney Parks embraces a newly identified family-travel trend called "celebration vacations."
A June 2008 survey of approximately 4,600 adults conducted by Ypartnership reveals that vacationers are increasingly motivated by events of high "personal significance" - milestone anniversaries,and birthdays, weddings and honeymoons, graduations and reunions and more.
Seventy percent of respondents revealed they have taken a vacation primarily to celebrate a special occasion.
In 2009, Walt Disney World and Disneyland Resorts will lead this growing trend with new entertainment and services that allow guests to turn their personal milestones into magical Disney experiences.
And to kick it all off: a first-ever opportunity for guests to receive a free ticket to one of the Disney theme parks on their birthday in 2009.
"Birthdays are the one occasion that we all share every year," said Jay Rasulo, chairman of Walt Disney Parks and Resorts, at an announcement event today in New York. "We thought a free birthday ticket would be the icing on the cake as we extend this new 'celebration vacation' trend to Disney Parks."
"The motivations revealed in this fascinating piece of work suggest that vacations are increasingly viewed as an appropriate way to either recognize or reward the participants for some event of great significance in their lives," said Peter C. Yesawich, whose marketing services firm conducted the survey. "As such, we call them 'celebration vacations'."
Research showed that when families take that "celebration vacation" they are looking for destinations that provide activities for children and - better yet - activities that adults and children can enjoy together, Yesawich said.
"Given these findings, it's not surprising that Disney Parks topped the list of destinations where families would most like to celebrate these special occasions," he said.
Respondents rated these as the top destinations for a celebration: Disney theme parks (40% combined), Hawaii (18%), Florida {other than Walt Disney World Resort} (13%), Europe (13%) and the Caribbean (12%). Interestingly, respondents without children in their household mentioned Walt Disney World Resort as the preferred destination for a "celebration vacation" with a comparable frequency to those with children (33% versus 27% respectively). The same was true among respondents over 55 years of age versus those between 21 and 34 years of age (34% versus 29% respectively).
"We see our parks as the ideal setting for a personal celebration," Rasulo said. "Guests can immerse themselves in their favorite stories and their favorite characters, creating a visit they'll never forget.
"And when our cast members get involved, it feels as if the entire park is celebrating along with you."
At Walt Disney World Resort, guests can add on to the fun, choosing from more than 200 experiences ranging from breathtaking (magical fireworks cruises, sunrise safaris, diving the depths with undersea creatures) to mirth-making (Bibbidi Bobbidi Boutique, character dining, kids' pirate adventures). At Disneyland Resort, celebrants can book more than 50 magical experiences including "My Disneyland Birthday Party" and guided tours that reveal Walt Disney's inspiration for Disney Parks.
With all there is to do in Disney parks, guests can tailor their celebration with favorite attractions, favorite characters and special experiences. Maybe they have a "princess" day with themed meals, shows, attractions and perfectly princess merchandise at Disneyland. Or they turn Walt Disney World "wild" with trail riding, bass fishing and parasailing.
Thanks to new Web tools, guests can discover magical experiences, unique events, dining enhancements and more. The planning tool is accessible by way of www.disneyparks.com.
Disney Parks also is presenting park experiences with memory-making in mind, including street parties in Magic Kingdom at Walt Disney World Resort and Disneyland Park, a Tomorrowland video dance party (Walt Disney World Resort), a celebration barbecue and festive birthday party (Disneyland Resort) and colorful park décor.
Disney parks are the ultimate setting for any celebration, turning a special occasion into a magical Disney experience. And with the opportunity of free admission to a Walt Disney World or Disneyland Resort theme park on your birthday in 2009, it's even more special. All it takes is a valid ID including proof of birth date. Guests can get more details and start the process by registering their birthdays at www.disneyparks.com.
Free theme park admission details: To receive free admission to one of the Walt Disney World or Disneyland theme parks on your birthday in 2009, guests must bring valid ID including proof of birth date. Guests who already hold a valid multi-day ticket they will use on their birthday may choose from other birthday treats instead, however, no cash refunds or credits will be given. To register your birthday and find out more details, visit www.disneyparks.com.
Corporate Communications
(818) 560-5300
Jonathan Friedland
Corporate Communications
(818) 560-8306
Lowell Singer
Corporate Communications
(818) 560-6601
IN 2009, COME TO A DISNEY PARK ON YOUR BIRTHDAY AND GET IN FREE!
A Disney 'First' Launches 'Celebration Vacation' Travel Trend
NEW YORK (Sept. 18, 2008) Everyone who visits a Walt Disney World Resort or Disneyland Resort theme park on their birthday in 2009 can get in free, as Disney Parks embraces a newly identified family-travel trend called "celebration vacations."
A June 2008 survey of approximately 4,600 adults conducted by Ypartnership reveals that vacationers are increasingly motivated by events of high "personal significance" - milestone anniversaries,and birthdays, weddings and honeymoons, graduations and reunions and more.
Seventy percent of respondents revealed they have taken a vacation primarily to celebrate a special occasion.
In 2009, Walt Disney World and Disneyland Resorts will lead this growing trend with new entertainment and services that allow guests to turn their personal milestones into magical Disney experiences.
And to kick it all off: a first-ever opportunity for guests to receive a free ticket to one of the Disney theme parks on their birthday in 2009.
"Birthdays are the one occasion that we all share every year," said Jay Rasulo, chairman of Walt Disney Parks and Resorts, at an announcement event today in New York. "We thought a free birthday ticket would be the icing on the cake as we extend this new 'celebration vacation' trend to Disney Parks."
"The motivations revealed in this fascinating piece of work suggest that vacations are increasingly viewed as an appropriate way to either recognize or reward the participants for some event of great significance in their lives," said Peter C. Yesawich, whose marketing services firm conducted the survey. "As such, we call them 'celebration vacations'."
Research showed that when families take that "celebration vacation" they are looking for destinations that provide activities for children and - better yet - activities that adults and children can enjoy together, Yesawich said.
"Given these findings, it's not surprising that Disney Parks topped the list of destinations where families would most like to celebrate these special occasions," he said.
Respondents rated these as the top destinations for a celebration: Disney theme parks (40% combined), Hawaii (18%), Florida {other than Walt Disney World Resort} (13%), Europe (13%) and the Caribbean (12%). Interestingly, respondents without children in their household mentioned Walt Disney World Resort as the preferred destination for a "celebration vacation" with a comparable frequency to those with children (33% versus 27% respectively). The same was true among respondents over 55 years of age versus those between 21 and 34 years of age (34% versus 29% respectively).
"We see our parks as the ideal setting for a personal celebration," Rasulo said. "Guests can immerse themselves in their favorite stories and their favorite characters, creating a visit they'll never forget.
"And when our cast members get involved, it feels as if the entire park is celebrating along with you."
At Walt Disney World Resort, guests can add on to the fun, choosing from more than 200 experiences ranging from breathtaking (magical fireworks cruises, sunrise safaris, diving the depths with undersea creatures) to mirth-making (Bibbidi Bobbidi Boutique, character dining, kids' pirate adventures). At Disneyland Resort, celebrants can book more than 50 magical experiences including "My Disneyland Birthday Party" and guided tours that reveal Walt Disney's inspiration for Disney Parks.
With all there is to do in Disney parks, guests can tailor their celebration with favorite attractions, favorite characters and special experiences. Maybe they have a "princess" day with themed meals, shows, attractions and perfectly princess merchandise at Disneyland. Or they turn Walt Disney World "wild" with trail riding, bass fishing and parasailing.
Thanks to new Web tools, guests can discover magical experiences, unique events, dining enhancements and more. The planning tool is accessible by way of www.disneyparks.com.
Disney Parks also is presenting park experiences with memory-making in mind, including street parties in Magic Kingdom at Walt Disney World Resort and Disneyland Park, a Tomorrowland video dance party (Walt Disney World Resort), a celebration barbecue and festive birthday party (Disneyland Resort) and colorful park décor.
Disney parks are the ultimate setting for any celebration, turning a special occasion into a magical Disney experience. And with the opportunity of free admission to a Walt Disney World or Disneyland Resort theme park on your birthday in 2009, it's even more special. All it takes is a valid ID including proof of birth date. Guests can get more details and start the process by registering their birthdays at www.disneyparks.com.
Free theme park admission details: To receive free admission to one of the Walt Disney World or Disneyland theme parks on your birthday in 2009, guests must bring valid ID including proof of birth date. Guests who already hold a valid multi-day ticket they will use on their birthday may choose from other birthday treats instead, however, no cash refunds or credits will be given. To register your birthday and find out more details, visit www.disneyparks.com.
# # #
Contacts Zenia MuchaCorporate Communications
(818) 560-5300
Jonathan Friedland
Corporate Communications
(818) 560-8306
Lowell Singer
Corporate Communications
(818) 560-6601
Wednesday, October 1, 2008
Subway Face Paint Robbers
The Facts
The car was stopped after a brief chase. Police said Ms. Smith, the driver, surrendered. Ms. Gibson, they said, took off running but was shortly apprehended.
"I was so baffled by how quickly she left the store," a witness said.
Police said they were investigating to find out if the circumstances of the latest robberies match those in any other Subway thefts.
Zaqueshala Gibson, 25, and Sally Rena Smith, 39, were identified by the police.
Police said that Tuesday night, a woman matching Ms. Gibson's description went into a Subway in the 2800 block of South Hulen Road to use the restroom. After she left the restroom, she approached the counter, pulled a handgun from her waistband, and demanded that a clerk open the register. After unsuccessful attempts by the clerk to open the register, the woman ran out of the store and got into a white Cadillac, which had another woman in the driver's seat.
"I was just so nervous and couldn't get my cash register open," Brian Beanwell said. "I mean, it's still my first day on the job. What are the odds that I would get robbed on the very first day?"
Police in Fort Worth believe they may have caught the so-called “face-paint” robbers after two attempted robberies at different Subway sandwich shops.
Two officers who heard about the attempted robbery on their police radio went to a nearby Subway in the 5000 block of Trail Lake Drive, thinking the robbers might strike there, as well. As they pulled into the parking lot in their unmarked car, they saw a woman running out the front door of the Subway. She got into a white Cadillac as it sped off into the night.
The car was stopped after a brief chase. Police said Ms. Smith, the driver, surrendered. Ms. Gibson, they said, took off running but was shortly apprehended.
"I was so baffled by how quickly she left the store," a witness said.
Police said they were investigating to find out if the circumstances of the latest robberies match those in any other Subway thefts.
Zaqueshala Gibson, 25, and Sally Rena Smith, 39, were identified by the police.
Police said that Tuesday night, a woman matching Ms. Gibson's description went into a Subway in the 2800 block of South Hulen Road to use the restroom. After she left the restroom, she approached the counter, pulled a handgun from her waistband, and demanded that a clerk open the register. After unsuccessful attempts by the clerk to open the register, the woman ran out of the store and got into a white Cadillac, which had another woman in the driver's seat.
"I was just so nervous and couldn't get my cash register open," Brian Beanwell said. "I mean, it's still my first day on the job. What are the odds that I would get robbed on the very first day?"
Police in Fort Worth believe they may have caught the so-called “face-paint” robbers after two attempted robberies at different Subway sandwich shops.
Two officers who heard about the attempted robbery on their police radio went to a nearby Subway in the 5000 block of Trail Lake Drive, thinking the robbers might strike there, as well. As they pulled into the parking lot in their unmarked car, they saw a woman running out the front door of the Subway. She got into a white Cadillac as it sped off into the night.
Friday, September 19, 2008
Yay Writing!!
The Facts
Roald Martinsen, co-director, said the drama department put a lot of work into Sweeney Todd, as they do with every production. He declined further comment on the canceled show, saying the department is now focused on The Sound of Music.
Daniel Presley, principal of Carroll Senior High School, made the official decision because he thought the department should have a performance that is not so dark. After all, Southlake staged the productions of The Phantom of the Opera and The Women of Lockerby, both of which deal with tragedy.
Because the barber in the play murders his clients, school officials thought it best to have students perform The Sound of Music instead.
Drama students at Southlake Carroll High School will no longer be performing the musical Sweeny Todd, though they practiced songs and memorized lines for it all summer long.
Petra Dean, mother of a sophomore theater student, filed a grievance with the district asking officials to reverse the principal’s decision. She also attached a petition with more than 300 signatures. She disagrees with switching plays less than two weeks before the Sweeney Todd auditions were scheduled.
Ellen Eddleman, a senior, said she learned of the switch a few days after the death of a former Southlake Carroll student earlier this month, which she believes is the real reason for pulling Sweeny Todd.
At first, Footloose was set to replace Sweeny Todd, but when several students later pointed out that Footloose involves teenage drinking and death, it also got the boot.
Quotes
“They were great productions, but in any school department you want to be eclectic,” Dr. Presley said.
“I feel cheated out of what could be a once-in-a-lifetime opportunity,” Ellen said. “The other shows are good, but they don’t have anything that will teach us something new.”
“I understand his logic, but he hasn’t taken into consideration the impact it’s had on the kids involved,” Ms. Dean said.
“We’re moving forward and we’re going to do this the way we always do everything, and that is by giving 120 percent,” Mr. Martinsen said.
Roald Martinsen, co-director, said the drama department put a lot of work into Sweeney Todd, as they do with every production. He declined further comment on the canceled show, saying the department is now focused on The Sound of Music.
Daniel Presley, principal of Carroll Senior High School, made the official decision because he thought the department should have a performance that is not so dark. After all, Southlake staged the productions of The Phantom of the Opera and The Women of Lockerby, both of which deal with tragedy.
Because the barber in the play murders his clients, school officials thought it best to have students perform The Sound of Music instead.
Drama students at Southlake Carroll High School will no longer be performing the musical Sweeny Todd, though they practiced songs and memorized lines for it all summer long.
Petra Dean, mother of a sophomore theater student, filed a grievance with the district asking officials to reverse the principal’s decision. She also attached a petition with more than 300 signatures. She disagrees with switching plays less than two weeks before the Sweeney Todd auditions were scheduled.
Ellen Eddleman, a senior, said she learned of the switch a few days after the death of a former Southlake Carroll student earlier this month, which she believes is the real reason for pulling Sweeny Todd.
At first, Footloose was set to replace Sweeny Todd, but when several students later pointed out that Footloose involves teenage drinking and death, it also got the boot.
Quotes
“They were great productions, but in any school department you want to be eclectic,” Dr. Presley said.
“I feel cheated out of what could be a once-in-a-lifetime opportunity,” Ellen said. “The other shows are good, but they don’t have anything that will teach us something new.”
“I understand his logic, but he hasn’t taken into consideration the impact it’s had on the kids involved,” Ms. Dean said.
“We’re moving forward and we’re going to do this the way we always do everything, and that is by giving 120 percent,” Mr. Martinsen said.
Tuesday, September 16, 2008
We Love Final Cut Pro!
Offline: rough cut; lower resolution; not broadcast quality
Online: editing final product for air (what news is)
EDL: editing decision list (your timeline); every editing decision you made (by timecode)
Time code: assigns eight-digit number to each and every frame (video runs at 30 frames per second)
Linear systems: work like a typewriter; like dubbing one tape to another
Nonlinear systems: like Microsoft Word; digitize footage into computer and can select and rearrange footage without winding through shots
-what Final Cut Pro is
Control track: pulse count that keeps videotape running at 30 fps; running time of what's playing; not constant
Breaking time code: rewind tape during shot
-If it happens, shoot for three to five seconds longer than you need
Digitizing: has to be done; turns everything into electrons…into zeros and ones (makes it digital)
Safe text: will show on screen; inside green lines
Window dub: dub of source or raw footage with time code numbers burned over or stamped over lower third of picture
SHORTCUTS
J=rewind
K=pause
L=fast forward
Spacebar=stop/start
I=in
O=out
N=toggles snap tool on/off
B=blade
a (arrow)=turns off tools
P (pen)=set audio pen marks
Apple + s=save
apple + z=undo
Apple + 8=log & capture
Control + c=batch capture
Home=go to start
end=go to end
Control + m=print to video
Online: editing final product for air (what news is)
EDL: editing decision list (your timeline); every editing decision you made (by timecode)
Time code: assigns eight-digit number to each and every frame (video runs at 30 frames per second)
Linear systems: work like a typewriter; like dubbing one tape to another
Nonlinear systems: like Microsoft Word; digitize footage into computer and can select and rearrange footage without winding through shots
-what Final Cut Pro is
Control track: pulse count that keeps videotape running at 30 fps; running time of what's playing; not constant
Breaking time code: rewind tape during shot
-If it happens, shoot for three to five seconds longer than you need
Digitizing: has to be done; turns everything into electrons…into zeros and ones (makes it digital)
Safe text: will show on screen; inside green lines
Window dub: dub of source or raw footage with time code numbers burned over or stamped over lower third of picture
SHORTCUTS
J=rewind
K=pause
L=fast forward
Spacebar=stop/start
I=in
O=out
N=toggles snap tool on/off
B=blade
a (arrow)=turns off tools
P (pen)=set audio pen marks
Apple + s=save
apple + z=undo
Apple + 8=log & capture
Control + c=batch capture
Home=go to start
end=go to end
Control + m=print to video
Saturday, September 13, 2008
video camera information
Terminology
It's unavoidable — if you're serious, you've got to know some jargon. Fortunately, it's not too complicated. This page contains a few essential terms to get you started.
Shot: All video is made up of shots. A shot is basically from when you press record to when you stop recording. Like the individual photos which make up an album, the shots get put together to make a video.
Framing & Composition: The frame is the picture you see in the viewfinder (or on a monitor). Composition refers to the layout of everything within a picture frame — what the subject is, where it is in the frame, which way it's facing/looking, the background, the foreground, lighting, etc.
When you "frame" a shot, you adjust the camera position and zoom lens until your shot has the desired composition.
There is a general set of rules in the video industry that describes how to frame different types of camera shots.
VWS (Very Wide Shot): Shows the subject's environment.
WS (Wide Shot): Shows the whole subject.
CU (Close Up): Shows a feature of the subject.
Transition: Shots are linked (edited) in a sequence to tell a larger story. The way in which any two shots are joined together is called the transition.
Usually this is a simple cut, in which one shot changes instantly to the next. More complex transitions include mixing, wipes and digital effects. A moving shot (e.g. pan) can also be thought of as a transition from one shot to a new one.
The transition is very important in camera work, and you need to think constantly about how every shot will fit in with the ones before and after it. The key is not so much how the transition is achieved technically, but how the composition of each shot fits together.
Here are few more important terms. They will be explained in greater detail later:
Pan
Side-to-side camera movement.
Tilt
Up-and-down camera movement.
Zoom
In-and-out camera movement (i.e. closer and more distant).
Iris (Exposure)
The opening which lets light into the camera. A wider iris means more light and a brighter picture.
White balance
Adjusting the colors until they look natural and consistent.
Shutter
Analogous to the shutter in a still camera.
Audio
Sound which is recorded to go with the pictures.
Video Camera Focus
The ability to manually focus your camera is a critical skill at any level of video production. This page shows you the basics — at the end of the page you can choose to continue and learn more advanced focus techniques.
Note: Manual focus is so important that most professional cameras don't even have an auto-focus feature.
Some Focus Jargon
Soft: Out of focus
Sharp: In focus
Depth of Field: The range of distances from the lens at which an acceptably sharp focus can be obtained
Pull focus: Adjust the focus to a different point during a shot
How to Use the Manual Focus
First of all, locate the focus control. Professional cameras usually have a manual focus ring near the front of the lens housing. Consumer-level cameras usually have a small dial (Note: you may need to select "manual focus" from the menu).
1. Make sure the camera is set to manual focus.
2. Zoom in as tight as you can on the subject you wish to focus on.
3. Adjust the focus ring until the picture is sharp. Turn the ring clockwise for closer focus, anti-clockwise for more distant focus.
4. Zoom out to the required framing — the picture should stay nice and sharp.
5. If the picture loses focus when zoomed out, check the back focus, and make sure the macro focus is not engaged.
If you need to adjust your focus on the fly (for example, you're in the middle of shooting the Prime Minister's speech when you realize her face is soft), it helps to know which way to turn the focus ring. If you go the wrong way and defocus more, even if you correct yourself quickly you've drawn attention to your camera work. Try comparing the background and foreground focus. If the background is sharper than the subject, then you need to pull focus to a closer point (and vice versa).
Note: You will usually find the sharpest focus occurs at about the middle iris position.
Difficult Focus Conditions
You'll notice that focusing is more difficult in certain conditions. Basically, the more light coming through the lens, the easier it is to focus (this is related to depth of field). Obviously it will be more difficult to focus in very low light. If you're really struggling with low-light focus, and you can't add more lighting, try these things:
· Make sure your shutter is turned off.
· If your camera has a filter wheel, make sure you're using the correct low-light filter. Remove any add-on filters.
· If your camera has a digital gain function, try adding a little gain (note: this compromises picture quality).
· Stay zoomed as wide as possible. If your lens has a 2X extender, make sure it's on 1X.
Video Camera White Balance
White balance basically means color balance. It is a function which gives the camera a reference to "true white" — it tells the camera what the color white looks like, so the camera will record it correctly. Since white light is the sum of all other colors, the camera will then display all colors correctly.
Incorrect white balance shows up as pictures with orange or blue tints. Most consumer-level camcorders have an "auto-white balance" feature, and this is how most amateurs operate. The camera performs its own white balance without any input from the operator. In fact, very few home-video users are aware of its existence. Unfortunately, the auto-white balance is not particularly reliable and it is usually preferable to perform this function manually.
Terminology
To confuse the issue, the term "automatic white balance" has two different interpretations. On consumer-level cameras, it means completely automatic. On professional-level cameras, it can mean the white balance operation as described below (which is actually quite manual). This is because in professional situations, a "manual white balance" can mean altering colors using specialized vision processing equipment.
"Auto-white" means the completely automatic function (no user input at all)."Manual-white" means the operation described below. "Color correction" means any other method of adjusting colors.
How to Perform a Manual White Balance
You should perform this procedure at the beginning of every shoot, and every time the lighting conditions change. It is especially important to re-white balance when moving between indoors and outdoors, and between rooms lit by different kinds of lights. During early morning and late evening, the daylight color changes quickly and significantly (although your eyes don't notice, your camera will). Do regular white balances during these periods.
You will need:
· A camera with a manual white-balance function. There should be a "white balance" button or switch on your camera.
1. If your camera has a filter wheel (or if you use add-on filters), make sure you are using the correct filter for the lighting conditions.
2. Point your camera to a pure white subject, so that most of what you're seeing in the viewfinder is white. Opinions vary on just how much white needs to be in the frame - but we've found that about 50-80% of the frame should be fine (Sony recommends 80% of frame width). The subject should be fairly matte, that is, non-reflective.
3. Set your exposure and focus.
4. Activate the white balance by pressing the button or throwing the switch. The camera may take a few seconds to complete the operation, after which you should get a message (or icon) in the viewfinder.Hopefully this will be telling you that the white balance has succeeded - in this case, the camera will retain its current color balance until another white balance is performed.If the viewfinder message is that the white balance has failed, then you need to find out why. A good camera will give you a clue such as "color temperature too high" (in which case change filters). Also try opening or closing the iris a little.
Video Camera Shutter
The term shutter comes from still photography, where it describes a mechanical "door" between the camera lens and the film. When a photo is taken, the door opens for an instant and the film is exposed to the incoming light. The speed at which the shutter opens and closes can be varied — the faster the speed, the shorter the period of time the shutter is open, and the less light falls on the film.
Shutter speed is measured in fractions of a second. A speed of 1/60 second means that the shutter is open for one sixtieth of a second. A speed of 1/500 is faster, and 1/10000 is very fast indeed.
Video camera shutters work quite differently from still camera shutters, but the result is basically the same. (The technical difference is that, rather than using a mechanical device, the shutter speed is adjusted by electronically varying the amount of time the CCD is allowed to build a charge. If this means nothing to you, don't worry. It really doesn't matter how the shutter works, it's the effect it has that counts.)
The shutter "opens" and "closes" once for each frame of video; that is, 25 times per second for PAL and 30 times per second for NTSC. Thus, if a camera has its shutter set to 1/60, each frame will be exposed for 1/60 second. If the speed is increased to 1/120, each frame will be exposed for 1/120 of a second.
The main effect of higher shutter speeds is that individual frames appear sharper, due to the minimization of motion blur. Motion blur occurs when the subject moves within the frame while the shutter is open. The less time the shutter is open (i.e. the faster the shutter speed), the less movement will take place.
One side-effect of higher shutter speeds is that movement appears jerkier. This is because motion blur tends to smooth consecutive frames together.
Higher shutter speeds are common in sports coverage. Watch any fast-action sport to see the "flickering" shutter effect. Notice how the slow-motion replays look, especially when they freeze the last frame.
Note: As a result of the reduced exposure time with high shutter speeds, the image may appear darker unless the iris is opened to compensate.
It's unavoidable — if you're serious, you've got to know some jargon. Fortunately, it's not too complicated. This page contains a few essential terms to get you started.
Shot: All video is made up of shots. A shot is basically from when you press record to when you stop recording. Like the individual photos which make up an album, the shots get put together to make a video.
Framing & Composition: The frame is the picture you see in the viewfinder (or on a monitor). Composition refers to the layout of everything within a picture frame — what the subject is, where it is in the frame, which way it's facing/looking, the background, the foreground, lighting, etc.
When you "frame" a shot, you adjust the camera position and zoom lens until your shot has the desired composition.
There is a general set of rules in the video industry that describes how to frame different types of camera shots.
VWS (Very Wide Shot): Shows the subject's environment.
WS (Wide Shot): Shows the whole subject.
CU (Close Up): Shows a feature of the subject.
Transition: Shots are linked (edited) in a sequence to tell a larger story. The way in which any two shots are joined together is called the transition.
Usually this is a simple cut, in which one shot changes instantly to the next. More complex transitions include mixing, wipes and digital effects. A moving shot (e.g. pan) can also be thought of as a transition from one shot to a new one.
The transition is very important in camera work, and you need to think constantly about how every shot will fit in with the ones before and after it. The key is not so much how the transition is achieved technically, but how the composition of each shot fits together.
Here are few more important terms. They will be explained in greater detail later:
Pan
Side-to-side camera movement.
Tilt
Up-and-down camera movement.
Zoom
In-and-out camera movement (i.e. closer and more distant).
Iris (Exposure)
The opening which lets light into the camera. A wider iris means more light and a brighter picture.
White balance
Adjusting the colors until they look natural and consistent.
Shutter
Analogous to the shutter in a still camera.
Audio
Sound which is recorded to go with the pictures.
Video Camera Focus
The ability to manually focus your camera is a critical skill at any level of video production. This page shows you the basics — at the end of the page you can choose to continue and learn more advanced focus techniques.
Note: Manual focus is so important that most professional cameras don't even have an auto-focus feature.
Some Focus Jargon
Soft: Out of focus
Sharp: In focus
Depth of Field: The range of distances from the lens at which an acceptably sharp focus can be obtained
Pull focus: Adjust the focus to a different point during a shot
How to Use the Manual Focus
First of all, locate the focus control. Professional cameras usually have a manual focus ring near the front of the lens housing. Consumer-level cameras usually have a small dial (Note: you may need to select "manual focus" from the menu).
1. Make sure the camera is set to manual focus.
2. Zoom in as tight as you can on the subject you wish to focus on.
3. Adjust the focus ring until the picture is sharp. Turn the ring clockwise for closer focus, anti-clockwise for more distant focus.
4. Zoom out to the required framing — the picture should stay nice and sharp.
5. If the picture loses focus when zoomed out, check the back focus, and make sure the macro focus is not engaged.
If you need to adjust your focus on the fly (for example, you're in the middle of shooting the Prime Minister's speech when you realize her face is soft), it helps to know which way to turn the focus ring. If you go the wrong way and defocus more, even if you correct yourself quickly you've drawn attention to your camera work. Try comparing the background and foreground focus. If the background is sharper than the subject, then you need to pull focus to a closer point (and vice versa).
Note: You will usually find the sharpest focus occurs at about the middle iris position.
Difficult Focus Conditions
You'll notice that focusing is more difficult in certain conditions. Basically, the more light coming through the lens, the easier it is to focus (this is related to depth of field). Obviously it will be more difficult to focus in very low light. If you're really struggling with low-light focus, and you can't add more lighting, try these things:
· Make sure your shutter is turned off.
· If your camera has a filter wheel, make sure you're using the correct low-light filter. Remove any add-on filters.
· If your camera has a digital gain function, try adding a little gain (note: this compromises picture quality).
· Stay zoomed as wide as possible. If your lens has a 2X extender, make sure it's on 1X.
Video Camera White Balance
White balance basically means color balance. It is a function which gives the camera a reference to "true white" — it tells the camera what the color white looks like, so the camera will record it correctly. Since white light is the sum of all other colors, the camera will then display all colors correctly.
Incorrect white balance shows up as pictures with orange or blue tints. Most consumer-level camcorders have an "auto-white balance" feature, and this is how most amateurs operate. The camera performs its own white balance without any input from the operator. In fact, very few home-video users are aware of its existence. Unfortunately, the auto-white balance is not particularly reliable and it is usually preferable to perform this function manually.
Terminology
To confuse the issue, the term "automatic white balance" has two different interpretations. On consumer-level cameras, it means completely automatic. On professional-level cameras, it can mean the white balance operation as described below (which is actually quite manual). This is because in professional situations, a "manual white balance" can mean altering colors using specialized vision processing equipment.
"Auto-white" means the completely automatic function (no user input at all)."Manual-white" means the operation described below. "Color correction" means any other method of adjusting colors.
How to Perform a Manual White Balance
You should perform this procedure at the beginning of every shoot, and every time the lighting conditions change. It is especially important to re-white balance when moving between indoors and outdoors, and between rooms lit by different kinds of lights. During early morning and late evening, the daylight color changes quickly and significantly (although your eyes don't notice, your camera will). Do regular white balances during these periods.
You will need:
· A camera with a manual white-balance function. There should be a "white balance" button or switch on your camera.
1. If your camera has a filter wheel (or if you use add-on filters), make sure you are using the correct filter for the lighting conditions.
2. Point your camera to a pure white subject, so that most of what you're seeing in the viewfinder is white. Opinions vary on just how much white needs to be in the frame - but we've found that about 50-80% of the frame should be fine (Sony recommends 80% of frame width). The subject should be fairly matte, that is, non-reflective.
3. Set your exposure and focus.
4. Activate the white balance by pressing the button or throwing the switch. The camera may take a few seconds to complete the operation, after which you should get a message (or icon) in the viewfinder.Hopefully this will be telling you that the white balance has succeeded - in this case, the camera will retain its current color balance until another white balance is performed.If the viewfinder message is that the white balance has failed, then you need to find out why. A good camera will give you a clue such as "color temperature too high" (in which case change filters). Also try opening or closing the iris a little.
Video Camera Shutter
The term shutter comes from still photography, where it describes a mechanical "door" between the camera lens and the film. When a photo is taken, the door opens for an instant and the film is exposed to the incoming light. The speed at which the shutter opens and closes can be varied — the faster the speed, the shorter the period of time the shutter is open, and the less light falls on the film.
Shutter speed is measured in fractions of a second. A speed of 1/60 second means that the shutter is open for one sixtieth of a second. A speed of 1/500 is faster, and 1/10000 is very fast indeed.
Video camera shutters work quite differently from still camera shutters, but the result is basically the same. (The technical difference is that, rather than using a mechanical device, the shutter speed is adjusted by electronically varying the amount of time the CCD is allowed to build a charge. If this means nothing to you, don't worry. It really doesn't matter how the shutter works, it's the effect it has that counts.)
The shutter "opens" and "closes" once for each frame of video; that is, 25 times per second for PAL and 30 times per second for NTSC. Thus, if a camera has its shutter set to 1/60, each frame will be exposed for 1/60 second. If the speed is increased to 1/120, each frame will be exposed for 1/120 of a second.
The main effect of higher shutter speeds is that individual frames appear sharper, due to the minimization of motion blur. Motion blur occurs when the subject moves within the frame while the shutter is open. The less time the shutter is open (i.e. the faster the shutter speed), the less movement will take place.
One side-effect of higher shutter speeds is that movement appears jerkier. This is because motion blur tends to smooth consecutive frames together.
Higher shutter speeds are common in sports coverage. Watch any fast-action sport to see the "flickering" shutter effect. Notice how the slow-motion replays look, especially when they freeze the last frame.
Note: As a result of the reduced exposure time with high shutter speeds, the image may appear darker unless the iris is opened to compensate.
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