FotoWorks XL is the amazing photo editing software that enables you to fix and enhance digital photos.
FotoWorks XL offers easy to use features not found in rivals costing many times more, and now, for a limited time, you can download it for free!
You look for the best video editing software that helps you import video, image, and sound to your Mac from whatever camera or source you have, easily join and trim what you shot, and maybe add some transitions and captions. Ephnic Movie Maker for Mac is a very easy-to-use yet powerful video editing software on Mac OS X. 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. Marya Berfeld has been working in software verification on modeling tools with IBM Rational since 2000. Darren Coffin has been working in software verification on modeling tools with IBM Rational since 1999. IntroductionNote:The tools discussed in this article are not included in a default installation of the Rational Software Architect. The first time you sign in to developerWorks, a profile is created for you, so you need to choose a display name.
Keep up with the best and latest technical info to help you tackle your development challenges.
Then Final Cut pro came onto the scene, dominated for a year or three, then spectacularly self destructed earlier this year. But if you are starting out, Avid is an expensive tool, and personally I would not trust or invest in any Apple post production tools now.
In the first edition of The Guerilla Film Makers Handbook back in ’94, I interviewed a Lightworks editor – back then Avid and Lightworks were neck and neck in the non linear market. It seems that the guys who released it free plan to make money selling plugins which in this world is a smart tactic.
I would be interested to hear how you get on as I REALLY like the idea of having a NLE suite on every computer in my office. Along side of these traces of God-likeness, co-exist distorted perceptions resulting from Adama€™s fall. Be a Moses not just one of the regular guys in the crowd who judge after their natural sight. This is our online source for great projects and instructional material about Goda€™s visual language.
1 Timothy 4:12 (LB) encourages, a€?Dona€™t let anyone think little of you because you are young. Matthew 18 tells us to admonish a floundering Christian whom wea€™ve seen engaging in ungodly conversation or behavior. 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.
It really doesn’t matter how good your camera is, or how good a video maker you are, you will always find that the raw footage will need work. Fortunately, you don’t need to spend a bomb on pro video editing software, so if you just want to edit your clips, add music or other soundtracks or apply cool special effects like transitions, there are plenty of free tools around. This is a very easy program to use, and all you need to do is drag and drop your video clips onto the interface.
There is support for most common formats, and the clips are automatically put in the right order.


Adding a soundtrack, captions and credits is equally easy and you have the option of saving the finished job as a video file or putting it on Facebook, YouTube or other social media. More control is available should you need it, for example, it’s easy to trim clips and tweak some other other options. Windows Movie Maker is very much aimed at beginners, so while more ambitious users might find it restrictive, it does exactly what it says on the tin. We particularly liked the drawing and selection tools and the range of colour and lighting tweaks.
This compact program packs a lot of punch considering its modest download size of 327kb, smaller than a decent photo from a smartphone.
Small is beautiful though, as Streamclip enables you to edit, rotate and copy footage and export soundtracks. There were some issues playing back MP4 files, though, and this is very much designed as a program for trimming and file conversion, rather than anything more ambitious.
While this program looks a bit long in the tooth and is only designed to work fully with AVI files, there is a lot to like. As well as all the filters you would expect, such colour and contrast adjustments, brightness and sharpening, you can rotate the footage at any angle. You do have to dig through quite a lot of menus to uncover this program’s full potential but if you are after a reasonably powerful AVI processing tool, VirtualDub this certainly does the job. This is the most powerful of all the free editing tools here, with a highly customisable timeline, powerful support for multi-cams, effects you can apply in real time and industrial-strength trimming tools.
Apparently, the people behind Mission Impossible and Batman used Lightworks, so that is a good endorsement. This is pretty self explanatory, and is designed for video conversion, but you can also use it as no-frills video-editing program. Simply drag and drop video clips onto the interface and it’s easy to put them in order, edit as needed, rotate and flip or convert.
With FotoWorks XL, you can easily adjust Brightness and Contrast, Color balance, remove Red Eyes and make a lot of other cool Effects like morphing. You used to have to spend a thousand dollars just to get a video camera that recorded footage to a VHS tape. With iMovie, you can import video clips from external devices or from anywhere else, arrange them on a timeline, shuffle them around, and preview the results; when you're happy you can create a final video file suitable for burning to DVD or uploading to share with others. Lightworks Free has all the power of Lightworks, allowing you to export only to MPEG-4 (Web, YouTube and Vimeo) at a maximum resolution of 720p.
The software allows users to log and transfer video onto a hard drive (internal or external), where it can be edited, processed, and output to a wide variety of formats.
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. Now, when the template skeletons are generated, you should fine-tune them to enable generating the content of the transformation output according to your project's requirements.Here, we will demonstrate how you can use the editing tools provided in the Rational Software Architect tool set. Your display name must be unique in the developerWorks community and should not be your email address for privacy reasons. I learned very early on that editing is perhaps the most powerful tool in the film making process – that is of course after the freedom of imagination in the script process, the tyranny of budget and fallibility of human beings in production. Yes I know Apple have promised all manner of fixes and stuff, but they have proven beyond doubt that they cannot be trusted (by ditching pro grading suite ‘Color’ for instance).
It’s fast, instant save (no CRTL+S), super fast trimming, one keystroke slip and slide. 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. Here we’ve rounded up some of the best free video editing software for photographers with links to download each program.
The easiest way to add polish and professionalism to your footage is to use video-editing software.
Kate makes it simple to trim and join video files, combine videos with transitions and put together movies with a dedicated soundtrack. As with Windows Movie Maker, this is not designed for more ambitious jobs – it’s not possible to expand the program window to take advantage of higher screen resolutions, for instance – but otherwise, it gives you video editing without tears. It’s easy enough to join and cut clips without the need to re-encode them, and there is an impressive list of filers – from the basics, like crop and add logo, through to brightness, contrast and colour controls. While not as immediately obvious to use as the more beginner-orientated programs, Avidemux will deliver great results when you get to grips with it. The task is made harder by the rather scanty documentation, but stick with this program and you will also get good results. The Export tools gives you a lot of control over the finished movie too, and Streamclip can also open multiple files. The interface is very clear and logical and there is an impressive range of filters available once you have trimmed your footage.
No matter how much trimming you do, video quality is never lost, as Free Video Dub doesn’t actually re-encode your footage. You also get more conventional video-trimming options as you choose the left and right points through the source movie.


Just drag media files (video, audio, image) and drop on timeline, arranging the files in the order you want, add transition & ken-burns effects and preview the resulting video in real time. Final Cut Pro's bold philosophy of video editing will definitely take some getting used to, but in return, editors will be rewarded with blazing performance and a future where tapes are as outdated as wax cylinders.
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. This tool also provides several predefined transformations that will convert the UML model into any of the supported programming languages. To assist you with template editing, the tool indicates detected strings within the template that can be replaced with transformation artifacts. And most recently Avid have come back with Media Composer 6 running in a super fast 64bit environment with a ton of cool new stuff. AND it’s open source, so that should be VERY intersting to see what evolves naturally. Along with thousands of professional quality sounds in the database, and the ability to create mind-blowing FX, you can use the keyboard program to make your own instrumentals from piano and strings to saх with dozens of instrument choices.
Exo 20:4 Thou shalt not make unto thee a graven image, nor any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. 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. VSDC Free Video Editor makes it easy to save your finished masterpiece, or optimise it for mobile devices or DVD burning. It's a very easy-to-use video editing software to help you edit videos and make home movies. Well ‘The Kings Speech’ was cut using it, so if it’s good enough for the Oscar winner this year, I suggest it’s good enough for any of us. You just park your play head and insert (for that matter, you don’t even have to park).
Switch easily with one click from one instrument to the other and turn your computer into a recording studio. 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.
And if you want to hear the view of an Editor, check on the interview with Jill Billcock here (Strictly Ballroom, Romeo + Juliet, Moulin Rouge!, Elizabeth, Muriel’s Wedding). Harmony, balance, cohesiveness, dissonance, resolve, movement, intensity, repose and every other conceivable principle of composition are inherent in creation. 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. By using JET transformations, you can quickly and easily generate a template-based model-to-text transformation. When you hover the mouse over the underscored text, a help string with a suggested action is displayed.
Leviticus 5:1 plainly states that a€?If a person sins because he does not speak up when he hears a public charge to testify regarding something he has seen or learned about, he will be held responsible.a€? Ouch!
With the JET toolkit, you can generate text files from a model by using templates that contain text and JET commands (tags). JET transformations automate the repetitive process of text generation.This article guides you through the steps of authoring a new JET transformation to create a Java project that represents a book library. Exo 20:12 Honor thy father and thy mother, that thy days may be long in the land which Jehovah thy God giveth thee. Back to topCreate and configure the JET transformation projectTo use the JET technology to create transformations, the target domain expert must provide an Exemplar project to the transformation author.
The best practice is to create an Exemplar project that represents as many details as possible of the format for the required output.
Exo 20:17 Thou shalt not covet thy neighbor's house, thou shalt not covet thy neighbor's wife, nor his man-servant, nor his maid-servant, nor his ox, nor his ass, nor anything that is thy neighbor's.
Exo 20:21 And the people stood afar off, and Moses drew near unto the thick darkness where God was.
Exo 20:22 And Jehovah said unto Moses, Thus thou shalt say unto the children of Israel, Ye yourselves have seen that I have talked with you from heaven. Overview tab with general information about the JET projectYou will work in the Schema tab (Figure 3) to develop the transformation output actions.Figure 3. The editor of the JET with the Exemplar authoring projectAs the first step, the Exemplar project has to be analyzed.
Exo 20:26 Neither shalt thou go up by steps unto mine altar, that thy nakedness be not uncovered thereon.
Enter the required data in the generated MyTest.xml file, and then save and close that file.
Mat 5:11 Blessed are ye when men shall reproach you, and persecute you, and say all manner of evil against you falsely, for my sake.
Mat 5:13 Ye are the salt of the earth: but if the salt have lost its savor, wherewith shall it be salted? Defining a test transformation configurationLarger view of Figure 23.When the transformation runs, the new project called BookLibrary is created.
Mat 5:18 For verily I say unto you, Till heaven and earth pass away, one jot or one tittle shall in no wise pass away from the law, till all things be accomplished. Mat 5:20 For I say unto you, that except your righteousness shall exceed the righteousness of the scribes and Pharisees, ye shall in no wise enter into the kingdom of heaven. Mat 5:26 Verily I say unto thee, thou shalt by no means come out thence, till thou have paid the last farthing.
In the "Replace with Model References" dialog window, select the name attribute of the projectInfo type, and then click OK (Figure 9).Figure 9.
Mat 5:36 Neither shalt thou swear by thy head, for thou canst not make one hair white or black. Replaced value of the "name" action parameterSpecify transformation actions for generating artifactsNow you are going to specify the transformation actions for generating project artifacts.To generate a Java file for each library item, an output action needs to be created and linked with the exemplar Java file. To do this, you add a new type called "item" to the "projectInfo" type, and specify Java class generation: In the "Transformation input schema and output actions" pane, right-click the projectInfo type. Mat 5:40 And if any man would go to law with thee, and take away thy coat, let him have thy cloak also.
Mat 5:42 Give to him that asketh thee, and from him that would borrow of thee turn not thou away. In the editor view in the "Transformation input schema and output actions" pane, right-click the root type and select Update Project (Figure11).Figure 11. Select Update Project from the menuThe folders for each type will be generated, containing JET templates that specify the generation of each required file (Figure 12).Figure 12. Here, we will describe a few of the possible options as examples, as well as the recommended workflow.
In the "Transformation input schema and output actions" pane, select the myBookTiltle.java file (Figure14).
The Replace with Model References windowIn this dialog window, you can select an existing attribute or create a new one. Here, we will demonstrate the creation of a new attribute that will describe the generation of the package name.
Click New.When you click the New button, the "Create New Derived Attribute" dialog window will appear (Figure 16). Leave the default value for this exercise, but, in a real-world transformation you can replace it with an XPath expression.Figure 16.



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