DOCSLIB.ORG

Digital Filmmaking & Video Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Filmmaking & Video Production Digital Filmmaking & Video Production BACHELOR OF FINE ARTS — 180 CREDITS QUARTERS 1-3 QUARTERS 4-6 QUARTERS 7-9 QUARTERS 10-12 AP102 DFVP201 DFVP301 CD400 Fundamentals of Audio Digital Cinematography Short Media Production Career Development AP111 DFVP202 DFVP302 DFVP401 Digital Audio I Fundamentals of Screenwriting Sound Design Senior Project Post Production ART109 DFVP203 DFVP303 DFVP402 Image Manipulation Intermediate Editing Compression Portfolio Preparation ART114 DFVP204 DFVP311 DFVP411 Color Fundamentals Fundamentals of Producing and Directing Senior Project Preparation Media Delivery Systems and Distribution DFVP101 DFVP211 DFVP312 DFVP421 Survey of Digital Filmmaking & Video Production Studio Production Audio Post Production Senior Portfolio & Defense PROGRAM FOCUS DFVP111 DFVP212 DFVP313 IMD222 Fundamentals of Video Production DVD Authoring Advanced Editing Intermediate Scripting Languages DFVP113 DFVP213 DFVP314 INT419 Fundamentals of Editing Motion Graphics I Multi-Camera Production Internship DFVP121 DFVP221 DFVP321 Program Elective Intermediate Video Production Electronic Field Production Senior Project Production DFVP122 DFVP222 DFVP322 Conceptual Storytelling Scriptwriting Media Production Workshop DFVP123 DFVP223 DFVP323 Lighting Motion Graphics II Acting and Directing GD101 DFVP224 IMD273 Digital Illustration I Media Theory and Criticism Media Business Practices IMD131 Program Elective Program Elective Introduction to Scripting Languages ENGL1301 ARTS1303 Mathematics and Science Elective Foreign Language Requirement English Composition Art History I SOCI1306 Humanities History Elective MATH1310 ARTS1304 Social Problems College Mathematics Art History II Social Science Elective SPCH1315 GENERAL PSYC2301 Humanities English Elective Public Speaking General Psychology EDUCATION START DATE _______________________________________________ Please visit our Student Consumer Information page to find the average time to completion for STUDENT CONSUMER INFORMATION: continuously enrolled students for each credential level offered. This data is available at the https://www.artinstitutes.edu/san-antonio/student-consumer-information average credit load, full-time or at full load. Changing programs, beginning programs at the LENGTH OF QUARTER ______________________________________ mid-term start date, taking remedial courses, taking time off from coursework, registering for This is a sample schedule only. Schedule subject to change without notice fewer hours or unsuccessful attempts at course completion will increase the total length of the at the discretion of the school. program and overall cost of education from what is disclosed. Transfer credits awarded toward BREAKS BETWEEN QUARTERS ______________________________ your program will likely decrease the overall length and cost of education. © 2019. The Arts Institutes International LLC. All rights reserved. Course descriptions for elective and general education courses can be 10000 IH-10 WEST, STE. 200 073019 APPROX. HOURS IN CLASS PER WEEK _______________________ referenced in the catalog. SAN ANTONIO, TX 78230 210.338.7320 • 888.222.0040 APPROX. HOURS OUTSIDE OF CLASS—HOMEWORK __________ Course descriptions describe the learning opportunities that are provided through Digital Filmmaking & Video Production (BFA) the classroom and coursework. It is each student’s responsibility to participate in COURSE DESCRIPTIONS the activities that will lead to successfully meeting the learning outcomes. AP102 DFVP113 DFVP204 DFVP224 DFVP314 DFVP421 GENERAL EDUCATION REQUIREMENTS FUNDAMENTALS OF AUDIO FUNDAMENTALS OF EDITING FUNDAMENTALS OF PRODUCING MEDIA THEORY AND CRITICISM MULTI-CAMERA PRODUCTION SENIOR PORTFOLIO & DEFENSE (All courses are 4 CREDITS):* This course addresses the principles of recording This course introduces the student to the AND DIRECTING In this course, students explore the different Synchronizing multiple cameras and Built on the preliminary collection of work from sound and covers the study of sound characteristics, editing of visuals and sound. The course It is an art in itself to organize and direct theories and approaches to media and equipment, students work in teams to execute DFVP402 Portfolio Preparation, this course basic acoustics, ergonomics, and basic techniques covers using video recorders and players, and digital filmmaking and video production. their impact on society and culture so as a production, typically of a live performance allows each student to determine and design ARTS1303 Art History I for field recording. The role of sound in media the techniques of dubbing, assembling, and This course focuses on the production processes to inform and enrich their own work. or function. Emphasis is placed on operating the final organization and presentation of the ARTS1304 Art History II production is explained and exemplified. inserting visuals from source to record. and performances from the perspectives of Prerequisite: None multiple pieces of equipment simultaneously graduation portfolio. Each student is expected ENGL1301 English Composition Prerequisite: None Prerequisite(s): DFVP111 Fundamentals of Video a producer and director, and develops the Credits: 3 and working as a production team. to verbally present the portfolio and address MATH1310 College Mathematics Credits: 3 Production, AP102 Fundamentals of Audio student’s talent for this unique form of art. Prerequisite: DFVP301 Short Media Production audience questions as a format of defense. PSYC2301 General Psychology Credits: 3 Prerequisite(s): DFVP101 Survey of Digital DFVP301 Credits: 3 Prerequisite(s): DFVP401 Senior Project Post SOCI1306 Social Problems AP111 Filmmaking & Video Production, DFVP121 SHORT MEDIA PRODUCTION Production, DFVP402 Portfolio Preparation SPCH1315 Public Speaking DIGITAL AUDIO I DFVP121 Intermediate Video Production This course discusses short form as a genre of DFVP321 Credits: 3 This course introduces students to the theories, INTERMEDIATE VIDEO PRODUCTION Credits: 3 media production and its features in subject SENIOR PROJECT PRODUCTION Foreign Language Requirement (choose one): practices, and tools used in digital audio This course introduces the student to the matter and style. Students learn to produce This course continues the three-quarter long GD101 production and techniques of non- linear digital digital video camera as a technical and DFVP211 short-form news, information, and dramatic comprehensive project begun in Senior Project DIGITAL ILLUSTRATION I FREN1401 Introduction to French audio editing, focusing on the fundamental creative tool for communication. Students STUDIO PRODUCTION content for multiple delivery platforms. Preparation. Students will employ cumulative skills This course advances the students’ understanding SPAN1401 Introduction to Spanish theories and concepts behind various types of will recognize the principles of visual This course focuses on broadcast studio Prerequisite(s): DFVP201 Digital Cinematography, to produce a significant, sophisticated, digital of the computer as an artist tool. Building on digital audio tools. Through lectures and in-class design for motion pictures, develop their operation, live production, studio management, DFVP202 Fundamentals of Scriptwriting, film in a chosen genre. Projects will be carried previous courses in drawing, concept development, Mathematics and Science Elective (choose one): projects, students develop knowledge and skills ability to evaluate the visual potential of lighting, crew, and sound. Students will DFVP204 Fundamentals of Producing and out individually or in groups based on the needs and introductory computer-aided design, students needed to operate non-linear audio workstations. locations, interpret the technical requirements also explore the theoretical basis of the Directing, DFVP221 Electronic Field Production of the class as determined by the instructor. will be asked to generate a number of expressive BIOL1308 Biology Prerequisite: AP102 Fundamentals of Audio of motion picture photography, and electronics behind the equipment needed Credits: 3 Prerequisite: DFVP311 Senior Project Preparation solutions that address specific illustrative problems, ENVR1401 Environmental Science Credits: 3 operate professional video cameras. for studio production. Students will produce Credits: 3 both technical and creative. As part of this course, MATH4332 Mathematics for Decision Making Prerequisite(s): DFVP 111 Fundamentals of Video their own studio multi-camera program. DFVP302 students will be given the opportunity to develop PHYS1301 Physics ART109 Production, AP102 Fundamentals of Audio Prerequisite: DFVP121 Intermediate SOUND DESIGN DFVP322 their digital illustration skills by exploring numerous IMAGE MANIPULATION Credits: 3 Video Production This course further explores the methods and MEDIA PRODUCTION WORKSHOP tools and techniques to obtain desired results. Humanities English Elective (choose one): In this introduction to raster-based digital image Credits: 3 techniques for digital sound composition Working in production teams, students in this Prerequisite: None manipulation, students become acquainted with DFVP122 and design. Students utilize multi-track audio workshop class will deal with real clients, typically Credits: 3 ENGL1302 Introduction to Literature the concepts, hardware, and software related CONCEPTUAL STORYTELLING DFVP212 software to digitally manipulate and layer representatives of nonprofit organizations. ENGL2307 Creative Writing to digital image acquisition,
Load more

Recommended publications
  • Digital Cinematography Camera F35 F23
    Digital Cinematography Camera F35 F23 www.sony.com/professional SONY54696_F-Series 1 9/26/08 12:08:42 PM ADVANCING THE ART OF DIGITAL IMAGING CineAlta – a name that proudly symbolizes the bond between cinematography and high-resolution digital imaging, distinguishes Sony’s family of 24P acquisition products and systems. The emergence of Sony’s CineAlta™ products marked the beginning of a new era in movie, commercial and television production applications. Since their introduction, CineAlta products – beginning with the groundbreaking HDW-F900, Sony’s first 24P-capable HDCAM™ camcorder, and the HDC-F950 full-bandwidth 4:4:4 (RGB) portable camera – have been globally accepted as a viable creative alternative to 24-frame film origination. Working closely with the creative community over time, Sony has created CineAlta acquisition systems designed specifically to meet the Cinematographer’s needs. This collaboration has lead to array of highly sophisticated digital acquisition systems that offer comprehensive feature sets and workflows specifically designed to maximize on-set efficiencies, flexibility and creative freedom. Consequently, the name CineAlta has come to define the industry standards for quality and flexibility in 24-frame digital cinematography. 2 2 SONY54696_F-Series 2 9/26/08 12:08:45 PM Expand Your Creative Possibilities With a Choice of Film-style Digital Cinematography Cameras Sony has proudly introduced two new powerful film-style Both the F35 and F23 provide an uncompromising design digital cinematography cameras to the CineAlta acquisition that allows direct docking with Sony’s SRW-1 portable lineup. The F35 and F23 cameras combine the proven HDCAM-SR™ recorder. It’s also possible to use the F23 or the technology used in previous CineAlta acquisition models F35 in combination, for even more creative freedom.
    [Show full text]
  • Optical Network Technologies for Future Digital Cinema
    Hindawi Publishing Corporation Advances in Optical Technologies Volume 2016, Article ID 8164308, 8 pages http://dx.doi.org/10.1155/2016/8164308 Review Article Optical Network Technologies for Future Digital Cinema Sajid Nazir1 and Mohammad Kaleem2 1 School of Engineering, London South Bank University, 103 Borough Road, London SE1 0AA, UK 2Department of Electrical Engineering, COMSATS, Institute of Information Technology, Islamabad, Pakistan Correspondence should be addressed to Sajid Nazir; [email protected] Received 9 May 2016; Revised 30 October 2016; Accepted 15 November 2016 Academic Editor: Giancarlo C. Righini Copyright © 2016 S. Nazir and M. Kaleem. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Digital technology has transformed the information flow and support infrastructure for numerous application domains, such as cellular communications. Cinematography, traditionally, a film based medium, has embraced digital technology leading to innovative transformations in its work flow. Digital cinema supports transmission of high resolution content enabled by the latest advancements in optical communications and video compression. In this paper we provide a survey of the optical network technologies for supporting this bandwidth intensive traffic class. We also highlight the significance and benefits of the state ofthe art in optical technologies that support the digital cinema work flow. 1. Introduction its real-time nature. The data generated by a single frame in ultrahigh definition (UHD) format is enormous and cannot The transformation to digital cinema is taking place through be supported over today’s Internet infrastructure.
    [Show full text]
  • IF HD IS COMING TOMORROW, WHY DO YOU NEED HDCAM TODAY? HDCAM 1080/60I: JUST LOOK at the FACTS
    IF HD IS COMING TOMORROW, WHY DO YOU NEED HDCAM TODAY? HDCAM 1080/60i: JUST LOOK AT THE FACTS. It’s a fact that Sony’s HDCAM® 1080/60i system has This enhanced SDTV programming will increase your established itself as the world’s first proven, practical, revenue today. You’ll have an HD master for additional standardized, and field-tested approach to high defini- revenue tomorrow. You’ll even have built-in legacy play- tion program origination for digital broadcasting. back of your entire BETACAM archive -- including analog It’s a fact that Sony HDCAM camcorders and decks have BETACAM®, BETACAM SP®, BETACAM SX®, DIGITAL BETACAM® been out in the field for nearly five years. Thousands and MPEG IMX™ 1/2" format recordings. have been deployed worldwide. They’ve handled hun- And you’ll have all the tools you need: a complete all- dreds of sophisticated, multi-camera productions -- and Sony system, or select Sony HDCAM components that created uncompromising masters to form the basis of a integrate seamlessly with other systems. valuable digital HD archive for the future. It’s a fact that Sony HDCAM equipment is built on the M OVING AHEAD, OR MISSING HDW-750 industry-leading 1/2" platform, with robust performance and plenty of headroom -- plus the crucially important AN OPPORTUNITY? ability to protect a 15-year legacy of 1/2" BETACAM® Budgets are tight for everyone -- broadcasters, produc- format recordings. ers, corporations, rental houses. Sony understands. So And it’s a fact that now, Sony’s HDCAM 1080/60i your 2nd-generation HDCAM 1080/60i system is specifi- approach is already in its 2nd generation.
    [Show full text]
  • Technologies Journal of Research Into New Media
    Convergence: The International Journal of Research into New Media Technologies http://con.sagepub.com/ HD Aesthetics Terry Flaxton Convergence 2011 17: 113 DOI: 10.1177/1354856510394884 The online version of this article can be found at: http://con.sagepub.com/content/17/2/113 Published by: http://www.sagepublications.com Additional services and information for Convergence: The International Journal of Research into New Media Technologies can be found at: Email Alerts: http://con.sagepub.com/cgi/alerts Subscriptions: http://con.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://con.sagepub.com/content/17/2/113.refs.html >> Version of Record - May 19, 2011 What is This? Downloaded from con.sagepub.com by Tony Costa on October 24, 2013 Debate Convergence: The International Journal of Research into HD Aesthetics New Media Technologies 17(2) 113–123 ª The Author(s) 2011 Reprints and permission: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1354856510394884 Terry Flaxton con.sagepub.com Bristol University, UK Abstract Professional expertise derived from developing and handling higher resolution technologies now challenges academic convention by seeking to reinscribe digital image making as a material process. In this article and an accompanying online resource, I propose to examine the technology behind High Definition (HD), identifying key areas of understanding to enable an enquiry into those aesthetics that might derive from the technical imperatives within the medium. (This article is accompanied by a series of online interviews entitled A Verbatim History of the Aesthetics, Technology and Techniques of Digital Cinematography.
    [Show full text]
  • Introduction to Cinematography
    FILM REFERENCE LIBRARY RESEARCH GUIDE: Intro to Cinematography, 1 Introduction to Cinematography This guide is designed to assist our patrons new to cinematography by providing key resources to use as a starting point in their research. Use this information to refine your search, and contact library staff with any follow-up questions or for further research assistance. Subject Headings A subject heading can help you refine your search, making it easier to find exactly what you are looking for. To find books on cinematography that are available in the Film Examples of subject headings related to Reference Library, use the following subject headings: cinematography: CINEMATOGRAPHY CINEMATOGRAPHY – HISTORY CINEMATOGRAPHY – LIGHTING CINEMATOGRAPHY – SPECIAL EFFECTS ANIMATION (CINEMATOGRAPHY) AUTEUR THEORY – MOTION PICTURES MOTION PICTURES – AESTHETICS Created February, 2020 FILM REFERENCE LIBRARY RESEARCH GUIDE: Intro to Cinematography, 2 Recommended Books Books provide a comprehensive overview of a larger topic, making them an excellent resource to start your research with. Chromatic cinema : a history of screen color by Richard Misek. Publisher: Wiley-Blackwell, 2010 Cinematography : theory and practice : imagemaking for cinematographers and directors by Blain Brown. Publisher: Routledge, 2016 Digital compositing for film and video : production workflows and techniques by Steve Wright. Publisher: Routledge, Taylor & Francis Group, 2018 Every frame a Rembrandt : art and practice of cinematography by Andrew Laszlo. Publisher: Focal Press, 2000 Hollywood Lighting from the Silent Era to Film Noir by Patrick Keating. Publisher: Columbia University Press, 2010 The aesthetics and psychology of the cinema by Jean Mitry. Publisher: Indiana State University Press, 1997 The art of the cinematographer : a survey and interviews with five masters by Leonard Martin.
    [Show full text]
  • Digital Cinematography Dedication
    Digital Cinematography Dedication To my wife Anne With all my love Digital Cinematography Paul Wheeler BSC FBKS Focal Press An imprint of Elsevier Science Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 First published 2001 Reprinted 2002 Copyright © 2001, Paul Wheeler. All rights reserved. The right of Paul Wheeler to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A catalogue record for this book is available from the Library of Congress ISBN 0 240 51614 1 Printed and bound in Great Britain Contents Preface xi About the author xiii Acknowledgements xv Introduction xvii PART ONE Digital Cinematography 1 1 Why digital
    [Show full text]
  • Viper Filmstream Camera System
    product data sheet Viper FilmStream Camera System Uncompromised Digital Cinematography Grass Valley™ products from Thomson offer the industry’s most comprehensive set of multi-format, high-quality solutions for acquisition, production, and post production. Our focus is on creating the most varied and flexible range of tools possible for digital cinema acquisition and production professionals. We have a tradition of creating groundbreaking film-imaging technologies for directors, cinematographers, and post-production professionals. Today, whether you’re shooting in digital or film, our True Digital Cinematography broad line of products lets you work in the medium that perfectly suits The Viper FilmStream camera system gives you your requirements. the freedom to create a look that matches your To that end, our Viper FilmStream™ Camera System has no equal. artistic vision—and the confidence that it will While other manufacturers may claim to offer digital cinematography capture that vision faithfully and perfectly. Best cameras, the Viper FilmStream camera is the only one designed of all, the camera delivers these capabilities from the ground up to capture every detail you need for brilliant, without changing the way you work. uncompromised, uncompressed output. There is no need, for example, to delve into With three 9.2 million pixel Frame Transfer CCDs capturing video processing menus to create a particular 1920x1080 resolution, the Viper FilmStream camera system delivers look, using settings which may limit your an RGB 4:4:4 10-bit log output—uncompromised by electronic choices in post production. Simply set the camera signal processing—to a field recorder. There is no color sub- aperture and focus as you would using a film sampling, color-space conversion, irreversible video manipulation, or camera and let the wide latitude of the Viper compression.
    [Show full text]
  • Steganography Based Image Compression Rajandeep Kaur 1, Pooja 2
    International Journal of Advanced Engineering, Management and Science (IJAEMS) [Vol-2, Issue-6, June- 2016] Infogain Publication ( Infogainpublication.com ) ISSN : 2454-1311 Steganography based image compression Rajandeep Kaur 1, Pooja 2 1Department of Computer Science, CTIEMT, IKG PTU, Jalandhar, Punjab, India 2Department of Computer Science, CTIEMT, Jalandhar, Punjab, India Abstract — The intention of image compression is to discard making utilize of its adjacent pixels. Depending upon the worthless data from image so as to shrink the quantity of data compactness technique used, the picture can be regenerated bits favored for image depiction, to lessen the storage space, with and with no visual failure. In lossless compactness broadcast bandwidth and time. Likewise, data hiding method, the regenerated picture after compactness is convenes scenarios by implanting the unfamiliar data into a numerically impossible to tell apart from the actual. While, in picture in invisibility manner. The review offers, a method of lossy compactness/compression method, the regenerated image compression approaches by using DWT transform picture comprised of poverty in deference to the actual, as employing steganography scheme together in combination of these methods source picture excellence deprivation in every SPIHT to compress an image. compactness/compression or decompression step. Keywords — DCT (Discrete Cosine Transform), DWT Consequently, every lossy methods used for picture (Discrete Wavelet Transform), CR (Compression Ratio), compactness/compression having great PSNR (Peak Signal-to-Noise Ratio). compactness/compression rate in comparison to lossless techniques i.e. fine class of compressed/compacted picture I. INTRODUCTION with a fewer quantity of compactness, whereas lossy- The main inspiration at the back image of compression is to compactness/compression methods [2] direct to data failure reduce the surplus and irrelevance data from the picture, to with elevated compactness/compression ratio.
    [Show full text]
  • Panavision Genesis User's Manual
    genesis user’s manual (version 1.3) Panavision Genesis Manual v1.3 – 2 Graphic Conventions Blue decimals indicate sections in format of: chapter.section 20.3 The S (selectable) ranges of speed = chapter 20 section 3 Green highlights indicate “how to” sections 14.7 To change fixed speed format Underlined words indicate actions Pull the latch outwards Magenta numbers refer to other sections or chapters see sections 4.2 and 16.2 see chapter 12 Red italics indicate cautions and warnings Do not use compressed air to clean Lens mount V39 Panavision Genesis Manual v1.3 – 3 Inspired by the past Focused on the future V39 Panavision Genesis Manual v1.3 – 4 V39 Panavision Genesis Manual v1.3 – 5 genesis user’s manual by benjamin b V39 Panavision Genesis Manual v1.3 – 6 Copyright Information Copyright © 2007 Panavision Inc. All rights reserved. This document is not permitted to be distributed by anyone other than the employees of Panavision or its distributors. No part of this publication may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any language in any form by any means without the prior written consent of Panavision. Prior written approval from Panavision must be obtained for any and all derivative works or aggregate works incorporating any of the information in this document, except as provided for under normal copyright law. Disclaimer Information in this document is provided solely for the user’s information and, while thought to be accurate, is provided strictly “as is” and without warranty of any kind, including liability or warranties relating to fitness for a particular purpose, merchantability, or infringement of any patent, copyright or other intellectual property right.
    [Show full text]
  • Department of Film, Television and Digital Media
    DEPARTMENT OF FILM, TELEVISION, AND DIGITAL MEDIA FTVDM COURSE LIST Name: ___________________________________ UID: _______________________ Email: ___________________________________ Date: _______________________ Please note: No substitutions will be allowed. Courses taken outside of UCLA and TFT cannot be applied. Required Upper Division Courses (minimum 28 and maximum 32 units): Select ONE course from Film and Media History: Course # and Title FTV 106A: History of the American Motion Picture FTV 106B: History of the European Motion Picture FTV 106C: History of African, Asian, and Latin American Film FTV 110A: American Television History Select ONE course from Film and Media Aesthetics: Course # and Title FTV M50: Introduction to Visual Culture FTV 113: Film Authors FTV 114: Film Genres FTV 116: Film Criticism FTV 122J: Disney Feature: Then and Now (formerly 188J) FTV 122N: History of Animation (formerly 188N) Select ONE course from Film, Media, and Society: Course # and Title FTV 108: History of Documentary Film FTV M111: Women and Film FTV 112: Film and Social Change FTV M117: Chicanos in Film/Video Select TWO courses from Film and Media Practice: Course # and Title FTV 122B: Introduction to art and Technique of Filmmaking (formerly 188B) FTV 122D: Film Editing (formerly 188D) FTV 122E: Digital Cinematography (formerly 188E) FTV 122K: Visual Effects (formerly 188K) FTV 122M: Film and Television Directing (formerly 188M) FTV 132: Screenwriting Fundamentals or 133: In-Depth Introduction to Fundamentals of Screenwriting (formerly 130A
    [Show full text]
  • Digital Workflows
    NOTES ON DIGITAL WORKFLOWS – Version 2.1 Terry Flaxton, 19th November, 2011/Revised December 2013 These notes have several functions the bulk of information presented was a consultation document for Creative England but in the form you have before you it has been reformatted to accompany a set of online evaluative exercises, preceding and then following a workshop. These notes are not meant to be extensive. I’m setting them out for you to read after you’ve filled in the evaluation and before you take the workshop. The principle I’m working to is an old television principle: Tell them what you’re going to tell them, tell them it, then tell them again. So in this case it’s to tell you this information in this pdf, tell you again during the workshop, then have you re-read the information after the workshop. Plus – if you’re serious, everything I’m about to say you should challenge with further research yourself (then let me know if I’ve got it wrong). At a presentation in 2011 a Producer/Director put me on the spot with the question: ‘I’ve asked many a cameraperson what High Definition is, and no one’s been able to tell me to my satisfaction – so what is it?’ At this point I immediately remembered the title of the presentation I used to give on the subject titled ‘High Definition – No Mercy’. I called it that because the question, though simple, has a myriad and complex answer and if you really want to know the truth – you must engage with all of its complexity.
    [Show full text]
  • Prohd Digital Cinematography Brochure
    Digital Cinematography with GY-HD100U Camcorder You’re about to see HD Digital Cinematography in a brand new light. JVC’s ProHD GY-HD100U Progressive HD. The look and feel of film. JVC’s GY-HD100U HD camcorder uses progressive scan at 24 frames per second (24p) for one simple reason: From image The future of affordable, high-definition capture to display, 24p produces results that more closely resemble digital cinematography. Here today. the look of film than interlaced scanning. That’s why high-end digital cinema cameras have always used progressive scan. Creating high-definition productions with the look and feel of film requires a camera that captures images with exceptional quality, The three CCDs in the GY-HD100U capture square pixels with full gives the cinematographer extensive control over the most subtle HD 1280 x 720 resolution. The camera needs no interpolation or nuances of the shot, and offers the freedom to choose the best upscaling to achieve real HD quality because every frame contains lens for each situation. Until now, you had to sacrifice at least one a complete, high-definition progressive image, just as film cameras of these requirements unless cost was no object. JVC’s ProHD do.The GY-HD100U records images on HDV tape or hard disk and GY-HD100U camcorder changes all that, with true 24p sends them to the editing system exactly progressive scanning, the ability to use lenses ranging from as they were captured, in 1280 x 720 general-purpose to 35-mm primes, and the comprehensive resolution. The result is a rich, control and balance that serious HD cinematographers demand.
    [Show full text]