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I know there are other methods for doing HD, particularly on Windows, by using Avisynth scripts and VirtualDubMod.
Before starting on the HD tutorials, it might not hurt to show you some examples of HD fan videos made using this process or something similar. If your video software opens the MJPEG AVI files that Avidemux makes, then youa€™re halfway there. In my most recent tests, I had no problems editing in the MJPEG AVI files (some which were converted within MPEG Streamclip).
Set up your project properties as either HDV 720-25p (for PAL footage) or HDV 720-30p (for NTSC footage). Edit your video as usual, then export out as either HD WMV, or uncompressed AVI with the custom frame size of 1280x720. I was able to successfully edit MJPEG AVI files that were converted in MPEG Streamclip with Corel VideoStudio X2.
I had set up my project as 25 frames per second (PAL and SEACAM) so I was given the a€?25pa€? option.
I then opened this file in MPEG Streamclip and converted it to an H.264 MP4 file (keeping the frame size at 1280x720 and with a data rate of 4000). Sample downloads: I made a sample fan video that is so abysmal that I darena€™t have it hosted on my regular fan video site (RAfanvids) so it is an a€?exclusivea€? to this site. Corel VideoStudio HD video featuring Guy of Gisborne (H.264 MP4) Right-click to download file. The XviD AVI file looks a little lighter and might look a€?washed outa€? compared to the MP4 file. When I import the clips, I select a€?Optimize video:a€? and choose a€?Full Size.a€? This keeps the HD clips at HD!
Yeah, I know that iMovie warns you that this might a€?degrade video playbacka€? and it might if you have less RAM or an older Mac. You want to convert your files (aka a€?Optimizea€?) because playback will be smoother and more stable (compared to trying to get iMovie 09 to edit compressed H.264 files) and if you want to speed up or slow down any clip, youa€™re going to end up converting it any way.
Edit your video as usual, and then when ita€™s time to export it, choose to save it as a Quicktime file, and follow the exporting tutorial as outlined in the iMovie 6 HD page (the process is identical, as both applications use Quicktime to export the video). Caveat about iMovie 09: There is some quality loss (in the form of a more a€?blockya€? effect sometimes showing up in backgrounds and shadows) but your HD video will still have a lot of the HD detail, so in my opinion ita€™s still completely worth it to edit HD in iMovie 09. Tutorial keywords: HD editing for vidding, fan videos, Sony Vegas Movie Studio, Sony Vegas Pro, Corel VideoStudio, iMovie, Final Cut Pro, Final Cut Express, vids vidder, HD fanvids tutorial.
HD for Final Cut Express, Final Cut Pro.A  Since writing that tutorial, Ia€™ve upgraded to Final Cut Pro 7, and am now experimenting with editing HD in the codec ProRes LT, and so far am liking it.
Photo Card Maker is a practical and multifunctional freeware, helping you create your own cards with its numerous exquisite and quality custom templates and outstanding features.
Here will present to you how to make a wedding invitation card with free Photo Card Maker step by step. Photo Card Maker builds in various templates, and they are classified into eight categories, including Cartoon, Christmas, General, Holiday, Seasonal, Sport, Travel and Others. Click "Template", choose "Select Template", from the pop-up image selection dialog select the template you like, and then press "OK" button. Tips: The templates always stay fresh with our continual updates, so you can free download new templates from time to time on our website. Click "Photo" button, from the pop-up file selection dialog select the photo you want to edit, and then press "Open" button.
If you check "On Top Most", the photo will be always above the template, and if not, the photo will be covered by the template. Double-click on the button "Text", the font editing toolbar will show on the top left corner of the software.
If the texts of the templates are not suitable for the topic of the photo card, you can rewrite or delete them.
If you want to modify the inserted text, select it, and then you can change the text's font, font color and font size on the text editing toolbar.
In addition, to drag the corner points of the frame of the selected text can adjust the size of the text.
The Predator CNC Editor is the most popular 32-bit CNC code editor available on the market. Dozens of CNC intelligent editing commands make changes to your CNC program quickly and easily. The Predator CNC Editor includes a side by side file compare which identifies each G and M code difference and fixes them with a single click of the mouse.
Send, receive, and dripfeed to one machine at a time, via switch box or direct connection to any compatible CNC machine.
NOTE: An upgrade to our full Predator DNC product provides support for DNC networking of multiple CNC machines at the same time. Graphically verify CNC code by quickly backplotting a wire frame model of any CNC program in a true 3D environment.
NOTE: Predator CNC Editor Enterprise licenses do not include licences for Microsoft SQL Server or Oracle. Useful tips for vidders (fan video makers) for converting your video for YouTube, or for preparing clips for editing. Please note: All these tutorials show you how to convert your clips to a file format that is good for editing. If you wish to, trim down your clip to just the scene you want by picking in and out points.
Under a€?Sound,a€? you can pick MPEG-4 AAC and select 128 kbps or above, or can select a€?No Sounda€? (like I have in this screenshot) and eliminate sound from your clip.
Like with the tutorial above, open your file (this time an H.264 MOV file) in MPEG Streamclip.
In most cases you will have no sound, so Select a€?No Sound.a€? Otherwise, go with a€?Uncompresseda€? for sound.
Quality can be a 100% but Apple Intermediate Codec only has one quality setting, so it doesna€™t seem to change anything when you fiddle with the quality setting.
Then click on a€?Make Moviea€? and wait for MPEG Streamclip to convert your whole video over!
You will follow the same process as outlined above, only instead of Apple Intermediate Codec, youa€™ll select some flavor of a€?ProResa€? from the Compression drop-down menu. If you have Final Cut Pro 6, youa€™ll probably only get to choose from ProRes 422 and ProRes 422 (HQ). Choose the same settings for Frame Size and Sound as are used in the Apple Intermediate Codec tutorial. Please note again that when you convert your clips over to DV or MJPEG, that the files will be larger in size, and this is GOOD for editing.
If you are downsizing a large HD clip to Standard Definition DV, then CHECK the a€?Better Downscalinga€? box. In most cases, pick a€?Progressivea€? as a€?Scan Modea€? (at least this is what I always do) and pick your Aspect Ratio.
If you are converting some other kinds of clips, odds are (that if you are converting clips from a film or recent TV show) that the aspect ratio is still 16:9, but you need to confirm this.
Then return to MPEG Streamclipa€™s main window, and click on the a€?Make AVIa€? or a€?Make Moviea€? button (bottom right corner) to have MPEG Streamclip convert the clip over to DV MOV or AVI. If you are converting some other type of clips, consult the aspect ratio tutorial for more help determining what aspect ratio to choose. Click on a€?Better Downscaling,a€? since you are converting HD clips down to a smaller size.
If you are converting some kind of non-HD clip and you know that they are fullscreen (4:3) then pick the numbers 640x480.
Click on the a€?Make Moviea€? or a€?Make AVIa€? button and wait for MPEG Streamclip to convert your clips over! So, leta€™s say that you have a lot of little clips and you want to convert them all over to some other format. Click on the a€?Add Filesa€? button, then navigate through your computera€™s files for the clips that you want to convert over.
Find the folder where the clips are, and then select one from the top of the list, HOLD DOWN THE SHIFT KEY and then select the clip at the bottom of the list.
Check on the a€?Join all the filesa€? if you want all your clips to be joined into one long clip. Then youa€™ll be asked to a€?Select a Destination Folder.a€? This is where you want all your converted clips to be placed after MPEG Streamclip has finished making them. Then youa€™ll be asked all the familiar questions that you should know by now if youa€™ve followed the other MPEG Streamclip tutorials: Compression, frame size, and so forth. If this is all you want to convert over, click on the a€?Goa€? button and wait for MPEG Streamclip to do its thing.
When you click on the a€?Converta€? button, wait while MPEG Streamclip converts, converts, converts!
Tutorial keywords: MPEG Streamclip, MJPEG AVI, HD, converting video tutorial, fanvideos, fanvids, vidding tutorial, vids, vidders. Once you pick your compression, MPEG Streamclip will automatically select a frame size which corresponds (either DV-NTSC or DV-PAL). There was a retrospective of my single screen video dance work as part of the Rotation 03 Festival at the Kiasma Theatre, Helsinki, in association with Helsinki Museum of Contemporary Arts and Finnish National Gallery for Modern Art. This event recognized the achievement to date of a body of work and the evolution of a specific aesthetic and approach to making dance for the screen that has been internationally recognized. My initial impulse to make video dance came when, on graduating from the Laban Centre, London in 1988 with a degree in Dance Theatre, I felt the urge to bring dance to as wide an audience as possible. Fifteen years later, I remain as inspired and excited by video dance as an artistic medium. I am in no way disheartened by this outcome, for what has also happened over the past 15 years is that video dance has come into its own as an art form and there are now many opportunities beyond television for this kind of work to be funded and seen.
One of the benefits of having made most of my work independently is that I have been to a great extent free to explore very particular ideas, lines of enquiry and methods of working, in collaboration with many different choreographers and dancers. From a formal point of view, I found Lucinda Childsa€™ exploration of the effect of repetition on our perception of movement intriguing. On reading about Yvonne Rainera€™s work, particularly once she had moved from dance to film-making, I related very strongly to her suggestion that we should find alternative structures than simple narrative closure, in which everything in a story ties up and makes sense by the end.
After Laban, I went to art-college in Dundee to undertake a post-graduate course in Electronic Imaging. I saw work by video artists like Bill Viola and Gary Hill, which seemed to me to also to take human movement as its subject and through it conveyed the very essence of human existence. By the time I graduated from art-college, I had made my own connections between various artistic practises and had formed a clear idea of the kind of ideas that inspired me. The camera, and its relationship to the human body, is central to my approach to making video dance. Whatever the idea for the work, my choices about how to use the camera are strongly influenced by my belief that at the heart of video dance is the expression of human emotion. Through the use of close ups and different angles, the camera can take the viewer to places they could not usually reach. In my experience, it is often the movement of the body parts outside the frame that creates interesting and active viewing.
How the camera moves in relation to the performers is another important aspect of filming dance.
However, what I have also discovered is that the carefully choreographed camera can lose out on an important element of dance: the feeling of spontaneity, the energy of the moment, which can make watching someone dance live such an exhilarating experience. When I started out making video dance, I would storyboard everything I planned to film, designing exact shots which explored framing and camera movement in relation to the choreographed dance movement. In order to redress this, and in an attempt to retain the integrity of the dancersa€™ performance, I started to explore a more fluid approach to making video dance. The idea of improvisation is that those working, in this case the dancers and camera operator, decide how they should move (or how they should film) in the moment.
When developing a new video dance work, as the director, I set a series of improvisations with a€?rulesa€™ suggested by knowledge of the possible spatial and motional relationships between camera and dancers.
Shooting on video helps this process immensely, as the performers, camera operator and director can look back at the material and together evaluate the effect of certain decisions and types of movement and how things could tried differently. In the context of making video dance, improvisation can be a misunderstood a€“ and scary a€“ word.


Whilst it may be accepted that improvisation could be a valid tool for generating ideas and developing material, when it comes to filming material that will be used in the finished video dance, it is usually thought to be wiser to set and rehearse everything before committing to tape.
In a€?Pacea€™ (1996), dancer and choreographer Marisa Zanotti and I set out to explore ways of conveying energy and speed on screen. The energy and rawness of a€?Pacea€™ comes very close to what Marisa and I had envisaged and on this basis of this experience, I have continued to use improvisation in many of the video dance works that I have directed. For example, in one sequence around two minutes into a€?Pacea€™, the camera moves with the dancer, following a triangular floor pattern through the studio.
Beyond the new technology and the creative opportunities it offered, a€?Pacea€™ was also the first time that I worked with visual artist and editor Simon Fildes.
Each of the twenty or so video dance works that I have directed have been very different in terms of their starting point, who I have been collaborating with and the context in which they were made. At some level, all explore a€?perceptiona€™ and the idea that our understanding and interpretation of an action, relationship or moment in time depends on our point of view and the information we are given.
Around three or four years ago, I became particularly interested in developing this idea of how different levels and types of perception, both visual and aural, effect the way in which we understand a situation. In the process of my research, I came across an English company, Touchdown Dance, who work with dancers with visual impairment in the Contact Improvisation form.
In a€?Sense-8a€™, the challenge we set ourselves was to take the viewer in deeper and deeper into the performersa€™ experience. Perception is also a strong theme in a€?The Trutha€™, which takes as its starting point the widespread use of CCTV or surveillance images by the media and how these are exploited to develop speculative narratives around certain high profile events. Together we - Kate, Karin, Simon & Katrina - came up with the concept for a€?The Trutha€™. So we approached the choreographers a€“ Fin Walker (UK) and Paulo Ribeiro (Portugal) - to create the movement for us.
So, although I did come into the studio as the choreographers were creating the movement and look at the movement though the lens, I did not start to make decisions about how the movement would be framed until the choreography was completed. The third element of material that runs through a€?The Trutha€™ is the surveillance-style images, set on the concourse of a station. Just as the concept of the film is that the truth can look different depending on your point of view, so the camera and editing offer many different points of view on the same moments. Whilst sharing certain stylistic approaches and techniques with the video dance work, the documentaries a€?Adugnaa€™ and a€?Symphonya€™ differ significantly from the video dance work in terms of intention.
The challenge in making these films was to capture the essence of the incredible work being done by Royston, his colleagues and the people they work with.
Another way in which the documentaries differ from the other works is that the choreography existed in its own right and was not created specially for the camera. My ambition is to find and communicate ideas that can only be expressed through this hybrid medium and using a style and syntax that is unique to video dance. Particularly a longer work like a€?The Trutha€™ demands us to allow ourselves to experience the emotional flow of the work, to look carefully and actively and to suspend our judgement.
What I am more interested in is to take the viewer on an intense emotional journey, one that cannot necessarily be rationalised or explained away in words. I saw work by video artists like Bill Viola and Gary Hill, which seemed to me to also to take human movement as its subject and through it conveyed the very essence of human existence.A  A touring programme of German video art from the 1980a€™s particularly impressed me.
How the camera moves in relation to the performers is another important aspect ofA  filming dance.
To buy the DVD Five Video Dances at A?25 including postage and packing you can use the PayPal secure server by clicking here. Even the most basic digital cameras will often produce very detailed photos with great colours. Below we’ve rounded up 11 of the best free photo editing software that you can use to make meaningful edits to your images. Just shy of 20 years old, GIMP (aka the GNU Image Manipulation Program), gets regular updates and is widely known as a great and fairly powerful free photo editor. With this program you can make corrections to colours, enhance contrast, brightness and much more. Use the paint tools for lots of different effects, while there’s also support for layers and ways to extend the program. Luckily, there’s support for layers which means you can apply edits to only certain parts of an image. A simple but effective editing program, PhoXo is a useful editor which has some great fun applications as well as more serious uses. Probably one of the more dated looking options on the market, don’t dismiss Photo Pos Pro immediately.
There’s also a degree of support for layers and masks, configurable effects (and lots of them), and a tool which allows you to automate editing tasks. Keep an eye out for some of the fun features too, like the “Magical” effects which allow you to add fireworks, stardust, bubbles and the like to your photographs.
If all you want is something quick and easy to add a special effect to a photo, PhotoScape could be the tool for you. Here you’ll find hundreds of clipart images, the ability to add custom speech bubbles, great special effects and even the chance to create animated GIFs. You can even get a little bit creative with the options, with the ability to customise some of the artistic styles on offer. If you’re looking for something to retouch your photos, then PhotoFiltre gives surprisingly impressive results. If you want something to make basic, but useful, edits, then PixBuilder Studio has a fair amount to offer. Edit your photos directly from the web from any computer (installed with Chrome) or on your Android phone using Google+.
There’s also frames to choose from and you can create a miniature scene using the tilt-shift simulator.
Best of all, edits are non-destructive so you can go back to your original image at any time. For more free downloads of everything from recovery software to antivirus and video editing programs, visit our sister site TechRadar’s Free Downloads page! Ia€™m NOT saying that my way is better or less complicated, but it might be less intimidating to some users.
If not, you can convert the files to MJPEG AVI (again!) in MPEG Streamclip, or to JPEG 2000 in MPEG Streamclip. If you find that you cana€™t get that to work, try opening the big MJPEG AVI files (that Avidemux made) in MPEG Streamclip, and converting to JPEG 2000 MOV files. If you set up your Corel VideoStudio software as NTSC (you are given the choice between PAL and NTSC when you first install VideoStudio) then your export settings will be different (30p instead of 25p).
Whichever way you choose, iMovie will take its time importing the clips and CONVERTING each one to a large MOV file with the Apple Intermediate Codec. For example, the texts on our chosen template now are unsuitable for a wedding invitation card. For example, you can add photos to the editing platform first, and then select an appropriate custom template for the photos. It includes hundreds of features to improve the day to day productivity of CNC machine tools, yet it is extremely easy to use. In addition, editing multiple CNC programs at the same time is supported, with the ability to cut, copy, and paste between them. To follow this tutorial, download the free video encoding app MPEG Streamclip (for both Mac and PC). This tutorial may be useful for some Windows users, particularly those using Sony Vegas and Corel VideoStudio. Expect to use up approximately 1 GB of disk space for every 5 minutes of footage (more or less). If you need audio (and your clip has audioa€”some might not), then choose a€?Uncompresseda€? for Sound. Well, if you are using software that doesna€™t support HD (like Sony Vegas Movie Studio, non-Platinum version) or you have a slower computer that might not deal with HD that well, then this might become necessary.
Smaller clips (like DivX, XviD, H.264, WMV, MPEG) are compressed and do not play well in your video editor, and can eventually cause crashing or other quality issues. It works best if all the clips you want to batch convert are in the same folder (but they can be in various places if that works better for you). Or, if you just want to convert select clips, hold down the Apple (Command) key (Mac) or the Control key (PC) to cherry-pick just the clips you want. If youa€™ve been following the above tutorials, you will know if you want to convert to MOV, AVI, or whatever. In this case, Ia€™m going to convert to Quicktime (MOV files) but you can convert to AVI, MP4, iPod, just whatever you need. Select whatever options work best (consult the above instructions on this page if necessary). Otherwise, click on a€?Add Filesa€? and locate more clips you want to convert over, repeating the process until youa€™ve added as many files as you need to the list. You can leave your computer to convert overnight, or just be busy with other things as it finishes converting all your files.
It shows the quality differences between a€?regulara€? resolution, a clip made from HD (but converted a€?downa€? to DV MOV or DV AVIa€”as instructed on this page) and a real HD clip. Although I was keen to be a choreographer, I was reluctant to make work that, I felt then, would only be seen by other dance enthusiasts at one of the small, dedicated dance theatres in the big cities. These offered a refreshing alternative to the broadcasts of full length ballets a€?livea€™ from the stage at Covent Garden Opera House that then made up the majority of dance on UK television.
What is unexpected is that, of the twenty or so video dance works that I have directed in the intervening decade and a half - and although I have directed many hours of broadcast documentary arts programmes - only one of the video dance works I have made has been commission by and seen on television.
The money to make the majority of my video dance has come from both public and private commissions and the resulting works have been screened all over the world - at festivals and in cinemas, theatres and galleries. This article sets out to describe some aspects of this journey and I hope that it will provide an interesting and illuminating context for the five works a€“ three video dances and two dance documentaries a€“ that are being screened as part of the a€?Rotation 03a€™ festival in Helsinki. Whilst at Laban, I came across the work of the post-modern dance makers, for example, Lucinda Childs, Steve Paxton and Yvonne Rainer. I saw a connection between Childs work and the use of repetition in the music of minimalist such as Steve Reich and Brian Eno, as well as in the dance music that I lost myself in on the dance floor at clubs at the weekend.
To paraphrase Rainer, real life often does not have the comfort of closure and so maybe art should not be so tidy either? I wanted to make dance for the screen and I realised that, in order to do so, I would need to learn about video production.
These experiences where brought to bear on a series of different collaborations and creative environments.
With the camera, I try to create an energy that involves the viewer in the movement, allowing them to become an active participant in the action, rather than simply a passive observer. When I look at movement through the lens, I try to do so as though I am involved in an interaction with the person or people in front of me.
The lens can enter the dancera€™s kinesphere a€“ the personal space that moves with them as they dance a€“ framing the detail of the movement and allowing an intimacy that would be unattainable in a live performance context. The framing I chose often focuses on a detail of movement, frustrating the audiences view of the a€?wholea€™, whilst at the same time creating dynamic and tension within the shot and forcing the viewersa€™ imagination to come into play. The choreographed camera, moving through space in relationship to the dancers, alters our perception of the dance, rendering it three-dimensional and creating a fluid and lively viewing experience. This dilemma, and the search to find a solution, has also significantly informed my approach to making video dance. However, over time, I began to feel that what was gained in carefully contrived shots was being lost by a certain lack of fluidity and immediacy in the dancersa€™ performance. Over a number of works, and in collaboration with different dancers and choreographers, I began to use structured improvisation as a creative tool. They base this decision on their experience of what they see and feel in the moment, informed to a greater or lesser extent by certain ideas, rules, restrictions or a€?scoresa€™.
Through rehearsal and repetition, a vocabulary of framing and movement is built up, forming a palette of video dance material that is then a€?choreographeda€™ in the edit suite. In the process, the dancer and camera really do become dancing partners and a sense of a€?livenessa€™ is captured on tape. However, in my experience, there is a qualitative difference between the performance of video dance material that has been set exactly and that material which retains elements of improvisation. We were determined to make a video dance work a€“ in this case for broadcast on BBC television a€“ that would have the audience sitting on the edge of their seat.


Over a couple of weeks in the studio, Marisa and I developed a series of structured improvisations which were rehearsed and refined until we knew that, come the shooting days, they would generate the type of images we wanted for our video dance. It is through the juxtaposition of different shots and sounds that the work assumes its emotional impact, as characters are revealed through fragments of action and the viewer is drawn through a series of events and states. Firstly, there is editing for the continuity of the live choreography, where the timing and structure of a work originally made for the stage is more or less maintained.
However, it was not until a€?Pacea€™, which was the first time I had the opportunity to use a non-linear digital editing system, that I was really able to push this approach to a new extreme.
In the edit, we initially a€?recreateda€™ this journey by montage-ing shots from different takes of that particular improvisation. Each time this sequence is repeated, a number of shots are dropped, until in the end it is made up of only three shots. I very quickly realised that Simona€™s input went way beyond being able to operate the editing software.
However, there are certain themes that have remained constant throughout almost all of the works. They also all incorporate the fact that the interplay between vision and sound has a great impact on our perception of what is happening on the screen. I also started to think of making a video dance work which would communicate whether you could see it, hear it or see and hear it.
Here, my two main areas of interesta€“ improvisation as a creative tool and visual and aural perception a€“ seemed to converge. We hear the dancers describe, to each other and the viewer, what they are seeing, as they move and as they observe. It explores the idea that the same situation can give rise to completely different interpretations, depending on point of view, perspective and other related information. Usually, I will work with a closely with choreographer to evolve a new idea for a video dance. Related to the idea of different interpretations of the same information that is at the core of a€?The Trutha€™, we then decided that it would add interest and intrigue to work with two choreographers, whose vocabularies and styles differ greatly, thereby giving two different versions of events in the choreography. We asked them to respond to the concept of a€?trutha€™, but we left them in the dark as regards almost every other aspect of the production a€“ location, costume, sound, filming style and soundtrack. Usually I spend a lot of time in the studio with the dancers and choreographer, developing the camera framing and movement as the dancersa€™ movement evolves. Here we see the four characters, appearing to relate a€“ or not to relate a€“ to each other in very different ways. They challenge us to look again at the same moment a€“ or movement a€“ from a different perspective and to experience how this changes the impact of that moment and the perceived relationship between the characters. They were made as awareness and fund-raising films for Dance United, a UK-based dance development company, headed up by the visionary teacher and choreographer Royston Maldoom. We stove to create two films that contain the factual information that needs to be imparted and whilst at the same time communicate the power and potential of dance as a means of expression and as a tool for social change. However, the approach we took to filming the choreography was to re-structure it entirely for the screen. What we are making is not a dance, nor is it a video of a dance, or even for that matter, simply a video. Because it is screen-based work a€“ and therefore by default associated with television a€“ there is the danger that the expectation is that everything should be obvious straight away and on one viewing and for there to be a sense of narrative closure. These offered a refreshing alternative to the broadcasts of full length ballets a€?livea€™ from the stage at Covent Garden Opera House that then made up the majority of dance on UK television.A  Now experienced film and television directors and choreographers were being brought together to experiment with movement, cameras and editing and the results were broadcast to audiences that, although perhaps small by prime-time television standards, were inconceivable in a live theatre context. Here, highly textural abstract images, unidentifiable, yet obviously derived from images of human action, were edited using repetition, the sound and image interacting and building up rhythms which I found both compelling and very moving. Here, my two main areas of interesta€“ improvisation as a creative tool and visual and aural perception a€“ seemed to converge.A  Together with Touchdowna€™s director Katy Dymoke, I developed an idea which would eventually become a€?Sense-8a€™, a video dance commissioned by the Arts Council of England as part of their Capture scheme. We’ve rounded up 11 of the best free photo editing software for you to try out, with links to download each app directly. However, you might still find that there are issues with white balance, red-eye, lighting or perhaps the odd cropping problem which need to be corrected.
You can also sharpen or blur images, fix perspective problems, remove red-eye, add special lighting photos and experiment with effects such as making a photo look like an oil painting.
You can customise images with cartoons and the likes, while the ability to add a custom watermark to a group of images can be useful for edits in a hurry.
If you spend some time experimenting with what it has to offer you’ll find plenty of options including paint tools, colour corrections and selection tools.
For instance, you can rotate and resize and image as well as tweaking colours, brightness and contrast, add text captions and watermarks, sharpen your photos, remove red-eye and even apply a range of special effects. You’ll find quite an extensive set of painting and drawing tools, support for layers, smart special effects, the ability to adjust colour and lighting, Photoshop plugin support and more.
And when you want to get a bit more creative, you can add special effects to give it an HDR look, make it look vintage or add lighting effects. But Ia€™d never discourage someone from going the AMV.org route, because I have no doubt that the quality is gorgeous.
Or, follow one of the other exporting tutorials on the Foolish Passion video forums, but export at the HD frame size of 1280x720, with a data rate of 4000 or above. The Predator CNC Editor is the ideal choice for a small job shop or the largest manufacturer.
Microsoft® Word compatible menus, toolbar, and shortcut keys make Predator CNC Editor easy to learn. Should a tool break, an easy to use DNC Restart command automatically re-creates the CNC program from any point. Within the graphics window eight predefined views, zoom in, zoom out, pan and fit commands provide complete control of the process. Then move the slider bar to your out point, press the a€?Oa€? key to set where you want the clip to end.
This is normal and expected and for a more seamless, stable editing experience, you WANT to edit in files of this size.
The differences between the a€?regulara€? clip (from XviD source) and HD should be obvious. There are now many individual artists and collaborative teams who have made several video dance works and who, over time, have developed their own unique approaches to making dance for the screen. Mainly through the books of Sally Banes, and a very few video documentation of performances, I learnt about their revolutionary approaches to making dance in New York in the a€?sixties and a€?seventies. On visits to the south of Spain, I saw Moorish art that used repetition to create beauty and invoke contemplation. What I had not anticipated was that I would come across a whole different area of art a€“ video art a€“ which, in my view, shared much in common with the post-modern dance practises which had so inspired me. Whilst the initial starting point for each of the video dance works I have directed may have be different, the work shares common concerns and approaches. In the need to ensure that a pre-planned camera movement could happen or a certain light and framing came into play, fixed points in space needed to be reached by the dancers. The various sections of the finished work are based on a series of improvisations which explore different relationships between camera and dancer, and the effect of various lenses, framing choices and ways of moving camera in relation to a variety of explorations of movement ideas by the dancer.
The significance of a moment, or movement, is explored as time is slowed down, stretched, speeded up, repeated or stopped by the editing.
Secondly, there is the a€?montagea€™ approach, in which shots are taken from different spatial and temporal contexts and are re-ordered, breaking down completely the sequence of the live action and creating a spatial logic and rhythm unique to the video dance work. By using the possibilities offered by this new media, I began to really explore the effect on the perception of time and movement of repeated and altered patterns of montage. When you watch the sequence in the finished video dance, in your minda€™s eye the truncated sequence still covers the same ground as it did when it was made up of the full 12 shots and the performer seems to compete the phrase in a dramatically shorted space of time. He understood the ideas that Marisa and I had been exploring and was able to take them onto new levels through his understanding of editing. This is something that is often done when a dancer with visual impairment or who cannot see at all, is part of a group of Contact Improvisers. In the case of a€?The Trutha€™, however, it was two dancers, Kate Gowar and Karin Fisher-Potisk, the Artistic Directors of the dancer-run company Ricochet Dance Productions, who approached myself and Simon to make a new video dance work.
It was very exciting for us all that these two talented choreographers embraced the challenged of this very a€?hands offa€™ collaboration with such imagination, understanding and commitment. However, this time it felt important that the choreography should follow its own line of development and be created according to the choreographersa€™ and the dancersa€™ understanding of the characters relationships and interactions. As video dance progresses, our perception of the relationships between these four characters and their relationship to each other is continually altered by the accumulation of information that we glean through the different scenes and interactions a€“ both a€?choreographeda€™ and a€?reala€™ a€“ that we see the characters involved in. Again, the intention was to capture the essence of the choreographed work and the impact of the dancersa€™ performance.
In all the video dance that I have directed, my collaborators and I have tried to make work that, on one level, demands analysis and thought, and on the other, can be enjoyed on an impressionistic or experiential level.
As a young dance-maker, I saw many of these short a€?video dancea€™ works and was inspired and excited by the potential I could see in this new, hybrid medium. There’s also drawing and paint tools along with image transformations, effects and more.
Copy the backplot or 3D animation to the clipboard and quickly add graphics to your setup sheets. For an explanation for why this is necessary (and why editing in the smaller-sized XviD AVI, DivX AVI, WMV, MPEG, MP4 or other compressed file types is a bad idea), read this tutorial. Smaller, more compressed video files (like DivX AVI, XviD AVI, WMV) will give your software problems (either now or later on down the road). The differences between the a€?reala€? HD clip and the a€?HD converted down to DV MOVa€? may not be quite as obvious, depending on how sharp your eye is and your monitor resolution. The differences between theA  a€?reala€? HD clip and the a€?HD converted down to DV MOVa€? may not be quite as obvious, depending on how sharp your eye is and your monitor resolution.
Moreover, whilst when I started out, I was amongst the first of the so-called a€?hybrida€™ video dance artists, having trained in both dance and the moving image, now in the UK and elsewhere, many undergraduate dance courses offer video dance as an area of both practical and academic study. I was intrigued by the post-modernsa€™ perception of movement as interesting in itself and not necessarily representing anything other than itself and by their presentation of so-called a€?pedestrian movementa€™ as dance.
The result often seemed to be that the dancersa€™ movement, and therefore performance, was impeded. For those coming from a narrative film background, where the convention is to work from a pre-written script, improvisation can seem an alien concept, although similar practises have been used by many well-known film-makers. In other cases, such as a€?Pacea€™ and a€?Sense-8a€™, all the material that was used in the final edit was generated through structured improvisation. The narratives that emerge tend to be subtle and intriguing, suggested rather than explained, impressionistic rather than literal. The effect is that the speed of the solo dancera€™s movement seems to increase dramatically as the space closes in. At other times, we catch a€?birda€™s eyea€™ glimpses of the scene from a surveillance-style camera position. It highlights the fact that we all a€?seea€™ things differently and how our descriptions of what we are seeing and hearing a€“ what we pick up on - reveal a great deal about our perception of our environment.
I hoped this would give the dancersa€™ performance an integrity of its own and help to produce a tension between their action and how the viewer then experiences this through the way the camera and the editing interprets and alters the action. This maturing and widening out of video dance means that it has reached the stage where the discussion of the nature of the art form and the support of its continued development can, and must, include very different ways of working, styles of delivery and artistic intentions. I was also struck by their break away from the conventional theatre setting for dance performances. Dance makers are probably more familiar with the idea of working with improvisation, both as a means of generating material which will then be choreographed and as performance material in its own right. The drama of the chase is then relieved by the gradual introduction of new material, with a very different texture, shape and inherent rhythm. As the video dance progresses, the camera is drawn closer into the action, until as the viewer you feel as though you too are part of the Contact Improvisation jam.
In the edit for a€?Sense-8a€™, we brought all these elements together, adding layers of sound to the montaged visual material to create one fluid, multi-perspective experience of the dance.



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