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Film Culture in Transition
FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. -
A Pr CC 1 Premiere Teach Multimedia Inc
SESSION A Pr CC 1 Premiere Teach Multimedia Inc. Copyright 2015 Teach Introduction and Digitizing Teachmultimedia.com LEARN DIGITAL VIDEO PRODUCTION Introduction to Adobe Premiere 1 Teach Multimedia Inc. Copyright 2015 Teach Basic Information, and DigitizingTeachmultimedia.com Video TeachMultimedia.com ADOBE PREMIERE 2 Introduction to Adobe Premiere objectives In This Session - OBJECTIVES In this session, you and your partner will explore the video production process, and the basics for operating the your Adobe Premiere digital editing system. What will you learn? - OUTCOMES When you are finished with this session, you will be able to do the following: • Identify the four main steps in Video Production Multimedia Inc. Copyright 2015 Teach • Understand the difference between Linear and Non-Linear editing. • Understand the concept of Continuity and how it can benefit your production. • Operate the Adobe Premier software. • Be able to import Video Clips into Adobe Premier Software. • What the difference between Close-up (CU), Medium Shot (MS), and Wide-Shot (WS) is. Equipment and Materials You will need the following equipment & materials as you complete this session. Teachmultimedia.com Adobe Premiere Session Digital Cirriculum Online Session 1: Continuity template #100 Session 1: Raw Footage template #101 Test Response Sheet PC Computer System Journal Pen or Pencil paper/notebook New Terms Introduction to Adobe Premiere 3 new terms Look for the following new terms as you complete this session video production tape-to-tape editing Raw Footage Fade-out linear editing Importing digital non-linear editing Mouse Output Adobe Premiere Menu Bar Preview Window Fade-in Storyboarding Editing Remember You and your partner need to work together as you complete the session in this session guide. -
Finding the Way: Films Found on a Scrap Heap1
FINDING THE WAY: FILMS FOUND ON A SCRAP HEAP1 Tom Gunning Abstract: Some filmmakers restrict their manipulations of found footage to the minimal act of presenting a film they have discovered with almost no changes. But others have subjected found footage to extensive editing, chemical manipulation, rephotography, or new soundtracks (or all of these processes combined). In this brief essay I cannot hope to cover all the permutations of this rich genre of experimental film, nor to mention all of its numerous practitioners (and I will deal with the visual image more than sound). However, I do want to give a sense of the range of approaches that exist using found footage to mention a few of its masters. Keywords: found objects, found-footage, archival filmmaking 1 First published in BLOEMHEUVEL, Marente; FOSSATI, Giovanna; GULDEMOND, Jaap (org.). Found Footage: cinema exposed. Amsterdam: Amsterdam University Press/ Eye Film Institute, 2012, p. 49- 55. Uma publicação do LAICA-USP - Volume 3, Número 5, Junho de 2014 FINDING THE WAY – Tom Gunning Modern art made from found material often takes the form of a Dadaist joke – a work of “anti-art” that questions our assumptions about the value and nature of art generally. Marcel Duchamp’s 1917 “sculpture,” Fountain, a ready-made urinal placed on a pedestal for exhibition and signed “R. Mutt,” remains the most famous and powerful example of this nihilist attitude. Attacking idealizing traditions that see art as the expression of eternal beauty or individual genius, Duchamp’s work shocked viewers and raised a series of questions that became crucial to twentieth century art: the difference between industrial mass production and the traditional work of art; the very nature of authorship in the arts (“R. -
A Concise Guide to Filmmaking (Print Version) (PDF, 2043Kb)
Print version with QR codes C O N T E N T S #1 P L A N The concept . 5 Storyboards . 6 Preparation . 7 Filming equipment . 9 #2 F I L M Setting up your smartphone . 17 Recording audio and narration . 19 Setting up shots: lighting . 21 Setting up shots: framing . 22 Filming . 23 Stock footage . 24 #3 E D I T Editing software . 27 Getting started in Camtasia 9.0 . 29 Screen recording . 31 Basic editing tools . 32 Effects, behaviours and green screen filming . 33 Interactivity . 36 #4 S H A R E Saving and exporting projects . 39 Uploading to social media . 40 1 I N T R O D U C T I O N To keep track of your filmmaking progress, use our filmmaking checklist on page 41. ★ Generate film ideas with the use of mind maps. ★ Develop and structure stories using our storyboard template. ★ Plan the details, including film type, equipment, locations, props and actors. ★ Choose filming equipment with the use of our guide. ★ Check out our top picks for smartphone stabilisation devices, add-on lenses, filmmaking apps, external microphones, and lighting equipment. ★ Learn how to set up your phone for smartphone filming. ★ Optimise your audio recording without the use of expensive equipment. ★ Watch our lighting tips video and learn how to create beautifully lit shots. ★ Frame your shots like a professional with the use of our framing tips video. ★ Film a test video to check everything is perfect, then shoot your film. ★ Keep a log of your footage to make sorting and editing your media easier. -
Probabilistic Models of Verbal and Body Gestures
15 Probabilistic ~1odels of Verbal and Body Gestures C. Bregler, S.M. Omohundro, M. Covell, M. Slaney, S. Ahmad, D.A. Forsyth, J.A. Feldman Abstract This chapter describes several probabilistic techniques for representing, recognizing, and generating spatiotemporal configuration sequences. We first describe how such techniques can be used to visually track and recognize lip movements to augment a speech recognition system. We then demonstrate additional techniques that can be used to animate video footage of talking faces and synchronize it to different sentences of an audio track. Finally we outline alternative low-level representations that are needed to apply these techniques to articulated body gestures. 15.1 Introduction Gestures can be described as characteristic configurations over time. While uttering a sentence, we express very fine grained verbal gestures as complex lip configurations over time, and while performing bodily actions, we generate articulated configuration sequences of jointed arm and leg segments. Such configurations lie in constrained subspaces and different gesture~ are embodied as different characteristic trajectories in these constrained subspaces. We present a general technique called Manifold Learning, that is able to estimate such constrained subspaces from example data. This tech nique is applied to the domain of tracking, recognition, and interpola 289 290 Bregier et ai. tion. Characteristic trajectories through such spaces are estimated using Hidden Markov Models. We show the utility of these techniques on the domain of visual acoustic recognition of continuous spelled letters. We also show how visual acoustic lip and facial feature models can be used for the inverse task: facial animation. For this domain we developed a modified tracking technique and a different lip interpolation technique, as well as a more general decomposition of visual speech units based on Visemes. -
Selected Press
i donT know Brad Troemel in conversation with Haley mellin a lot of money, that’s a good way to go. The only way you can get them to come into the real world is to print them up. HM: At times I feel like we live in a constant dot-jump. BT: We figured if we were making sculptures for the sole purpose Supposedly, humans nowadays have 60,000 thoughts a day, most of them different in nature from the previous one. of making installation images, why not just cut out the middleman BT: In an attention economy, there is more value in being and get rid of the objects? This gave us the freedom to work even ubiquitous than in being scarce, especially when there is no THE more quickly. That’s when we started compositing Google Image- added cost in publicizing more works and no depletion of searched products, scenes, and textures together. This meant that the works’ aura, given that digital content exists permanently images made on a laptop using Photoshop would be called sculp- only as a copy. The waiting period between releases that once tures, installations, or paintings, just like the things we made phys- structured the market and assigned a price to each work does ically. Some of the images reveal themselves to be obviously Jogging not suit online content. There is now simply not enough time digitally edited, while others are passable as real. for a single assessor to explore an aesthlete’s full catalog, or for the market to price it all. -
1 COMM 438/638 (004) Aesthetics/Techniques of Editing TUESDAY
Course # COMM-438/638 (004) Production Practicum: Aesthetics/Techniques Editing - Fall 2009 / Brigid Maher, American University, 4400 Massachusetts, Washington DC COMM 438/638 (004) Aesthetics/Techniques of Editing TUESDAY AFTERNOON: 2:10 to 4:50 in the Media Production Center, Room 100 Instructor: Brigid Maher Office Hours: Tuesdays 10:30 to 12:30, Wednesdays 10:30am to 12:30pm, Thursday 2 to 4pm E-mail: [email protected] Office: MGC 318 Phone: 202-885-2664 COURSE DESCRIPTION: This course surveys the editing aesthetics and techniques used in narrative, documentary, and experimental film and video. This includes: Soviet montage, classical Hollywood style, discontinuity, associational, spatial montage, and contemporary narrative. Through a series of exercises, students develop editing strategies for both narrative and non-narrative work. Students receive in-class and written critiques examining the development of each editing exercise. Students edit the final project using their choice of editing strategies covered in class. Projects develop with increasing complexity and enable students to apply their ideas about editing to the material in order to develop their own style and aesthetic. Prerequisite: COMM-434/634 Film & Video Production I or permission of school The student will master the following knowledge: • Understand historical and contemporary contexts of editing theory and practice • Advanced skills on Final Cut Pro • Intermediate post-production protocols in digital editing • Intermediate level organizational skills necessary -
Michael Bell-Smith and Lauren Cornell Same Space Over the Last Ten Years
LC: This exhibition was a partial survey lation so that it would exaggerate a of work you’ve created since 2005. Can feeling of “thingness”? you describe the selection? Was the MBS: I wanted to show work that could intent to show a breadth of work or to touch upon that idea in different ways— Gray Areas narrow in on several themes or formal pieces with different relationships to strategies? duration, to other media (sculpture, paint- MBS: I’ve rarely gotten the opportunity ing, etc.), to scale, to display technologies to show different bodies of work in the (CRT monitors vs. video projection vs. An Interview between Michael Bell-Smith and Lauren Cornell same space over the last ten years. I flat screens). I wanted some videos to feel wanted to have a variety of pieces talking more like objects, others like pictures, to each other, creating new associations and still others like more traditional and meanings. In that respect, I saw the video screenings. show working as a typical survey might: a For instance, three videos—Glitter way to present a more multifaceted idea Grade, Return to Forever, and On The of what I do. Another aspect of the show Grid—were projected on the wall at a was thinking about the duality of video scale comparable to paintings or large as both digital files and as things. On photographs. These three works are quite one hand, video is portable and ephem- minimal; very little “happens” in them. eral, while on the other, your experience They work more with the language of pic- 33 as a viewer is entirely dependent on its tures than the ideas of montage we might physical manifestation. -
Instructional Terminology Film and TV Production 50.0602.00
Instructional Terminology Film and TV Production 50.0602.00 .AIFF - audio interchange file format. An uncompressed audio typically about one tenth the size of uncompressed WAVE format developed by Apple Computer Inc. in the late 1980s. or AIFF files, but maintain nearly the same CD-quality sound .AVI - audio video interleave file format. Developed by .MP4 - a media container for multimedia files. The file Microsoft in 1992. It’s a proprietary video format used by the container can store audio and subtitles in addition to video. Windows operating system. .BMP - a graphics image file format more commonly known .WAV – a Microsoft and IBM audio file format standard for as bitmap. Commonly used for web-based graphics. storing an audio bit stream on PCs .Flv - type of file format used in exporting data from a .wmv - Windows media video. A common video format used computer. when saving video files in the Windows operating system. .GIF - graphic interchange format a set of standards and file 1080i - a high-definition video format that has 1080 lines of format for storage of digital color images and short animations vertical resolution. This interlaced format displays 540 alternating lines at a time to display the complete frame. .JPEG - joint photographic expert group. The name for a popular compressed photographic file format. Best for photos 1080p - a high-definition video format that has 1080 lines of because it has a colorspace of millions of colors. vertical resolution. This progressive format displays all 1080 lines at once to display each frame. .JPG – see .JPEG 180 Degree Rule - a basic guideline when filming dialogue or .MOV - common multimedia container file format developed by action. -
PROGRAMMA TRIENNALE 2016 – 2019 TECNICHE DI MONTAGGIO Il Corso Di Tecniche Di Montaggio Affronterà Lo Studio Dell'arte Del M
PROGRAMMA TRIENNALE 2016 – 2019 TECNICHE DI MONTAGGIO Il corso di tecniche di montaggio affronterà lo studio dell'arte del montaggio che è sostanzialmente il linguaggio per raccontare con le immagini in movimento: in breve, come sosteneva già Ejzenstejn, è il cinema. Il corso affronterà tutti gli aspetti connessi al linguaggio visivo e alla comunicazione audiovisiva nel senso più ampio, dal documentario alla sit-com, dal video musicale alla fiction cinematografica, analizzandone i problemi, evidenziandone convenzioni, illustrandone impeccabilmente tipologie, strumenti e tecniche. Teoria e pratica del montaggio cinematografico e audiovisivo sono i punti nodali di questo corso che propone un percorso trasversale all'interno dei vari linguaggi cinematografici e non: dalla sceneggiatura alla regia, dalla scenografia alla fotografia. Il montaggio costituisce un aspetto della produzione e della rappresentazione cinematografica tanto centrale quanto tradizionalmente trascurato. Le funzioni e gli sviluppi delle forme del montaggio, dal cinema delle origini al recente avvento del digitale, vengono presentati tenendo conto non solo delle teorizzazioni e degli interventi dei grandi maestri ma anche delle tecniche. Il montaggio non è un mezzo "naturale", né il frutto di una rivelazione improvvisa, ma il risultato di un'evoluzione dialettica. Il programma del corso continua ad avere il cinema come referente esemplare, ma l'indagine si muove con grande libertà nei più diversi campi della produzione artistica, con illuminanti incursioni nell'antropologia e nell'estetica filosofica. Ne risulta un quadro interpretativo capace di gettar luce non solo sui fondamenti teorici e sull'evoluzione storica del montaggio ma anche sulle prospettive, ancor oggi in larga parte inesplorate, di una cultura dell'audiovisivo. -
V=Docl3koqnhi
MITOCW | watch?v=Docl3KOqnHI The following content is provided under a Creative Commons license. Your support will help MIT OpenCourseWare continue to offer high quality educational resources for free. To make a donation or to view additional materials from hundreds of MIT courses, visit MIT OpenCourseWare at ocw.mit.edu. PROFESSOR: All right, so for the rest of class, I'm going to talk about post-production. Do you guys want to take a five minute break before I jump into that? OK. I will do that when you guys come back. All right, so last lecture-- should I stand up for this since I stood for all the other ones? OK. Feel free to interrupt me at anytime. So I'm going to start off with my favorite quote of all time, at least for this class, which is, "In writing, you must kill all your darlings." And that is what today's lecture is about. Post-production 101 or Killing All of Your Darlings. So when we think of production, we think of the journey that we have taken in the last week of this class. We start with ideation, we script, we storyboard, shoot, edit, and then we get to this product magically. And we have these three concrete steps of pre-production, production, which is what you're about to do, and post-production. Let me know when I can go to the next slide. The reality is that it's not like that at all. And maybe you've seen that. Hopefully, you've seen that in the course in the last week-- that you don't do production in this nice linear, sequential format, but you ideate and you script. -
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