Learn video editing pdf mac,xero software online training,tools for online presentations,rotate a video vlc media player - How to DIY

Whether you’re shooting a parody, a small-business video, or an interview for a blog, you will come home with probably five to ten times more material than will make it into the finished piece.
Toward the end of the editing process, you’ll add titles, transitions, and graphics, creating eye candy that’s a lot of fun to watch. I ended the interview by pulling out my guitar and playing the “Muppet Show” theme song — and Kermit sang along. But, when I put the entire interview together on the timeline, it wasn’t as much fun as I remembered. As you will discover when you go out with your cameras, sometimes the best responses are in the middle of the interview, not in the beginning. So, let’s say you’ve connected your card reader, USB cable for the iPhone, or iPad to the computer. Once the main clips are in place, add cutaway shots (B-roll) to illustrate what you’re trying to say — and make the video more interesting with different camera angles. After you import the footage, sit and watch the video to identify the sound bites you like. Tip: It’s hard to type in a word processor such as Microsoft Word while a video is playing in iMovie or Premiere Elements. Create a script for the narration that tells the story, using the sound bites as you would use quotes in an article, or simply script the arrangement of the sound bites. For example, in late 2011 in San Francisco, I went to do a piece on the red-hot photo-sharing app Instagram. The interview was with Instagram founder Kevin Systrom, who talked about his humble beginnings (before he sold the firm to Facebook for $1 billion), and demonstrated how to use the app. When I got back to my computer, I used the narration as an introduction, a way to let viewers know what they were about to see. To illustrate, I used B-roll of photos on the iPhone that were being “Instagrammed” with fun filters along with screen captures of Instragram’s No. In the video, I used three sound bites from Systrom from our sit-down interview along with bites from two extended segments. Excerpted from Video Nation: A DIY guide to planning, shooting, and sharing great video from USA Today’s Talking Tech host by Jefferson Graham. Photographer and author Stephanie Williams discusses four current engagement photography trends.
When Sony's invitation to spend a couple of days shooting with the new a6300 in Miami arrived via email, I didn't have to think twice before sending my RSVP.
More and more photographers now own DSLR cameras that are able to film High-Definition (HD) video clips.
This article is a very basic tutorial on how to take your DSLR video footage and do simple editing with Apple’s iMovie. A box will pop up that asks you to choose a name and saving location for your iMovie project. If you have multiple clips you want to add, you just drag and drop each of them into the timeline.
Even if you are just making a movie out of a single video clip, chances are good that you’ll want to trim a little off the beginning or end. Once you have the clip (or clips) looking the way you want it, you are ready to export to tape, dvd, or quicktime. A note about exporting: There are a number of different ways you can export your video when you are done with it.
Media Composer, and check out Media Composer on Wikipedia, Youtube, Google News, Google Books, and Twitter on Digplanet.
Avid Mojo DX: a newer version of the Mojo with architecture offering faster processing and full 1920x1080 HD resolution in addition to standard definition video. Avid Nitris DX: a replacement of the Adrenaline hardware, a successor to the original Avid Nitris (used with Avid DS and Avid Symphony), with architecture offering faster processing and full 1920x1080 HD resolution (without extra cards) in addition to standard definition video.
Starting with Media Composer v6, Avid has introduced a new Open IO API to allow 3rd party companies to interface their hardware into Media Composer. Matrox MXO2 Mini: Starting with Media Composer v5, Avid has added support for the Matrox MXO2 Mini interface, as a breakout box with no additional processing. Avid Media Composer compatible hardware is manufactured by AJA, Blackmagic Design, BlueFish, Matrox and MOTU.
Media Composer as standalone software (with optional hardware) has only been available since June, 2006 (version 2.5). From 1991 until 1998, Media Composer 1000, 4000 and 8000 systems were Macintosh-only, and based on the NuVista videoboard by Truevision. In the mid-nineties, versions 6 and 7 of Media Composer 1000, 8000 and 9000 were based on the Avid Broadcast Video Board (ABVB), supporting video resolutions up to AVR77. The 1998 introduction of the Avid Symphony marked the transition from ABVB to the Meridien hardware, allowing for uncompressed SD editing.
In 2003, Avid Mojo and Avid Adrenaline formed the new DNA (Digital Non-linear Accelerator) hardware line.
In 2006, Media Composer 2.5 was the first version to be offered 'software-only', giving the user the option of purchasing and using the software without the additional cost of the external accelerators. AMA - Avid Media Access, the ability to link to and edit with P2, XDCAM, R3D, QuickTime and AVCHD native material directly without capture or transcoding. SmartTools - drag and drop style editing on timeline, can be selectively adjusted to the types of actions that the user wants to use when clicking on timeline.
RTAS - (RealTime AudioSuite), support for realtime track-based audio plug-ins on the timeline.
PhraseFind - analyzes clips and indexes all dialog phonetically allowing text search of spoken words. The software used to be protected by means of "blesser" floppy, tied to the Nubus's TrueVista board (means that if the board is replace, new "blesser" floppy come with the board), and later with USB dongles.
With Media Composer 8, Avid introduced monthly and annual subscription licensing systems similar to Adobe Creative Cloud, allowing users to install and activate Avid without purchasing a perpetual license.
MetaFuze (Windows only), a standalone application to convert files (R3D, DPX, TIFF) from film scanning, CGI systems or RED camera into MXF media files. According to Eric Peters, one of the company's founders, most prototypes of "the Avid" were built on Apollo workstations. The system has been used by other top editors such as Walter Murch on The English Patient (the first digitally edited film to receive a Best Editing Oscar).
Catering to the mid and high end of the non-linear editing market, Avid is still used in a lot of major film productions, though it faced increasing competition from Apple's Final Cut Studio[5][6] until Final Cut Studio was discontinued by Apple in early 2010s. This item will be sent through the Global Shipping Programme and includes international tracking. Items delivered internationally may be subject to customs processing depending on the item's declared value. Seller has stated it will dispatch the item within 1 working day upon receipt of cleared payment - opens in a new window or tab. Most purchases from business sellers are protected by the Consumer Contract Regulations 2013 which give you the right to cancel the purchase within 14 days after the day you receive the item. Will usually dispatch within 1 working day of receiving cleared payment - opens in a new window or tab.
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. Technology columnist Jefferson Graham has just created Video Nation: A DIY guide to planning, shooting, and sharing great video from USA Today’s Talking Tech host.
You turn raw footage into mini-masterpieces by trimming out the excess and leaving in the good stuff.
Finally, I arrived at a three-minute cut, with the excess available to anyone who wanted to watch as an extended bonus cut. I create the folder in one place on an external drive connected to my computer, and import the video files into that folder.
In addition, you’ve created a folder for the production, and you’re bringing in the footage to the first external drive.
I usually grab still photos, B-roll, and online videos to appear on screen with my voiceover. It was the day after Apple unveiled its new iPhone 4S, with its new and improved camera, so Instagram was poised to gain even more followers. My script: “Instagram, which turns your iPhone photos from ho-hum to ultra-cool, is the most popular photo app for the iPhone, with over 10 million downloads. First, we got video of me shooting pictures of Systrom on an iPhone as he used the Instagram app. From our experience with video production, one person doing all these steps on a desktop is quite difficult. This has increased the interest in filming and editing video footage, but there are many still photographers who have never tried to do this before. While we use footage from a Canon 5d Mk II for our example, the process is the same for any HD camera footage.
This interface also has an expansion slot for the DNxcel card which adds HD-SDI input and output as well as a DVI and HD component outputs. Before that, Media Composer was only available as a combination of hardware and software, or as turnkey systems (including CPU and monitors). The first-release Avids (US) supported 640x480 30i video, at resolutions and compression identified by the prefix "AVR". This introduction was also the first version of Media Composer XL available for the Windows operating system. The launch of Avid Media Composer Adrenaline brought along a software version renumbering, as it was labeled Avid Media Composer Adrenaline 1.0. It also meant the end of Film Composer and Media Composer Offline, since the Avid Media Composer Adrenaline featured most of the film options and online resolutions and features.
Software-only Avid setups could use third-party breakout boxes, usually interfaced via Firewire, to acquire video from SDI and analog sources.
Starting with version 7, Symphony became paid option for Media Composer; with version 8, it was included with monthly and annual subscription licenses.
As of version 3.5 the dongle is optional, and existing users may choose to use software activation or keep using their dongles, while new licenses are sold exclusively with software activation. Media Composer licenses must be confirmed either by Avid's internet servers every 30 days or by an on-site floating license server.
The Film Composer was the first non-linear digital editing system to capture and edit natively at 24fps. Six persons were recognized in that effort; Bill Warner, Eric Peters, Joe Rice, Patrick O'Connor, Tom Ohanian, and Michael Phillips.
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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. Then, you pretty it up with B-roll to help tell the story visually and add transitions to keep the content flowing. In this folder, which we’ll review later, you can insert other assets for your video, such as a special title cre­ated in Photoshop, additional B-roll images pulled from the web, or a song you want to use on the soundtrack. Because I’m a journalist, and I always write an article to go with the video, I transcribe the footage as I’m playing it, stopping and starting the video over and over again to get the transcription right.
So I open a simple text editor, such as TextEdit on Mac or Notepad on Windows, to get around this. Then, he and I sat together and walked through the process of jazzing up the photo with Instagram filters. This is why we have put all these steps on the cloud to allow video makers to collaborate from the script writing step to editing and post production.
For non HD-footage, the process is virtually the same as well, you just need to make a different choice when setting up your project and for some exporting choices. No matter which view you are using, you can click-hold-drag-drop to move the clips around and change their order.
The method to export a video for a DVD is different than the method to export a video that you intend to upload to a video sharing site on the internet. Video connections include SDI, HD-SDI, Composite, S-Video and Component (SD or HD) inputs and outputs, it also has a HDMI output.
Avid's own DX hardware is still natively interfaced into the application which currently allows some extra features that Open IO is limited in (LTC timecode support for example). The DNxcel card uses Avida€™s DNxHD compression which is available in 8-bit color formats up to 220mb as well as a 10-bit color format at 220mb.
Single-field resolutions were AVR 1 through 9s; interlaced (finishing) resolutions were initially AVR 21-23, with the later improvements of AVR 24 through 27, and the later AVR 70 through 77. Many users were concerned that Avid would abandon the Mac platform, which they eventually did not do. From this point onward, Avid systems have supported media storage using SCSI, PCI-e, SATA, IEEE 1394a & b, Ethernet and fiberoptic interfaces.
The software ships with installers for both Mac and Windows and can physically be installed on several computers, allowing the user to move the software license between systems or platforms depending on the licensing method. Steven Cohen was the first editor to use Film Composer for a major motion picture on Lost in Yonkers.
For continued development, Avid received an Oscar statuette representing the 1998 Scientific and Technical Award for the concept, design, and engineering of the Avid Film Composer system for motion picture editing. If you reside in an EU member state besides UK, import VAT on this purchase is not recoverable. 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. On the web, you might expand that to three minutes, but online-viewers’ attention spans just won’t last much longer. Maybe you initially liked questions 2 and 5, but in the editing, you find they work better in reverse order. The process took one or two minutes, but I only wanted to show 10 or 15 seconds on the video. If you are using HD footage, you will need to choose one of the two HD formats or your video will not display properly when you go to export it at the end of the editing process.
If it only films in a lower resolution, you will need to pick a different video format from the drop down menu in order for your project to display correctly in the end. Click-hold on a video clip, drag it down to the timeline, and then release the mouse button. You can click and drag the playhead across the timeline manually or you can just the video control buttons above the timeline to play and pause right where you want to cut. Since that time, the application features have increased to allow for film editing, uncompressed standard definition (SD) video and high definition (HD) editing and finishing. Wrong platform!" It turned out they were evangelists for the then new Mac II (with *six* slots!). 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. I don’t store video or photo files on my computer’s internal drive because I like to have all my storage in a separate place.
Once the script is in place, I use the video editing software’s timeline to edit the clips and place them in order. They allow your computer to display a thumbnail image from the video as an icon when you are looking at a folder of video files.
You will also see the timeline tighten back up automatically to get rid of the extra space. Since the early 1990s, Media Composer has been the dominant non-linear editing system in the film and television industry, first on Mac and then also on Windows.
Compression options were expressed in ratios for the first time in the evolution of the product. When we got back to our office (actually a converted machine shop) after the show, there was a pile of Fedex packages on our doorstep. 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. Even though you go into each shoot with a clear story angle and carefully though-out questions, people may respond differently from the way you imagined. Plus, I don’t want to muck up the internal drive with hundreds of gigabytes of video footage. Then I record my narration with a Blue Microphone Snowball mic, which sells for $100 and plugs into the USB port. The Avid Newscutter, aimed at newsrooms, Avid Symphony, aimed at finishing, are all Avid products that were derived from Media Composer and share similar interfacing, as were Avid Xpress Pro (discontinued in 2008) and its predecessor Avid Xpress DV, which were aimed at the lower end of the market.
Starting with Media Composer v5.5 an optional AVC-Intra codec module can be installed in the Nitris DX for native playback of this format.
These systems exclusively used external fast SCSI drives (interfaced through a SCSI accelerator board) for media storage. They were from Apple, and they contained two of their prototype Mac II machines (so early they didn't even have cases, just open chassis). In editing, you’ll find the best responses and the best shots, and piece them together artfully.
The .THM file is not technically needed for the video files and it is up to you if you want to keep it or not. With Media Composer v6.0 is it now possible to have two DNxHD or AVC-Intra modules installed for dual stream stereoscopic capture and full resolution stereoscopic playback.
Each computer was loaded with full memory (probably 4 megs at the time), and a full complement of Apple software (pre-Claris). The Avid engineering team, however, managed to get 1,200 kBytes per second, which allowed them to do offline video on the Macs.



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