Wednesday, November 12, 2014

Mad Mapper Examples

Due 11/19

A. Revise current project.
B. Create a short blog post with links responding to video projection art highlighting two specific works from two different artists.
C. Bring a short statement of experiment and materials necessary to complete experiment. Must include surface and content to be projected.
D. Bring a box of materials to project upon for in class workshop.
E. Bring source footage to experiment with for the in class workshop.

Projection Masters

Welcome to the official BILL VIOLA website
Home / Tony Oursler
Gary Hill : exhibitions
Gary Hill Studio on Vimeo
MoMA | The Collection | Bruce Nauman (American, born 1941)
Bruce Nauman - Google Search

Projection Clips

Form and Substance: Projection Mapping in Contemporary Art. Spring 2013 on Vimeo
Permanent mapping installation at The Hive night club on Vimeo
MMOV╬× on Vimeo
HP | Hear There Everywhere on Vimeo
Lovelight Installation on Vimeo
Dave Greber, Video Artist
Psycho - Homage to Hitchcock on Vimeo
Pinboard on Vimeo
An Inquiring Age-SHORT on Vimeo
The Pomplamoose Website!

Wednesday, November 5, 2014

Audio Notes

The reality of the sound
Must appear to be coming from the picture (sound in a gym v. sound in a living room)
Live v. Dead (gym very live (bouncy)) living room dead (think of materials in a living room)
Sound that does not bounce is referred to as direct sound – often try to deaden a room

Is related to distance
Voice of person in distance should be different than one shown in close-up
Boom further away for a long shot than for a tight shot – easier with boom – more difficult with lavs
Mics hidden in scenery – any potential problems? What if camera follows the person?
Sometimes difficult to do – done later in ADR – record scratch track anyway

The relative volume of sounds.
Important sounds should be louder than unimportant sounds
Human ear can listen selectively, but mic cannot
Cardioids mics can act a little more like the selective ear than can an omni directional
Generally record everything flat and adjust relative volumes in post

Refers to the sameness from shot to shot
Script supervisor generally keeps track of visual elements should also keep track of the aural  elements
If water is dripping in during close-ups of a man should also hear if cu’s of a woman who is in the same shot
Should note how far the mic is from the person being recorded
The angle should also be noted
Use the same mic for the same person throughout the production


Zoom H4N
REC - Record Menu 
Rec Format 48/24

Input Menu
Mono Mix = On

System Menu
Date/Time -- make sure this is correct *** make sure to select OK when finished -- that will take you back -- if you select menu it will cancel what you have entered 

SD Card Menu
Format -- make sure you have transferred and backed up your files as this will erase all of you files

Folder Menu
Select the folder number that corresponds to the reel number you will be shooting:
for example -- if you are shooting reel 1, select folder_01 from the folder menu. if you are shooting reel 2, select folder_02 from the folder menu…. etc. etc. etc. 

**Make sure your settings are at  24-bit 48 kHz WAV files.
Recording at 24-bit 48 kHz gives you about an hour of recording per gigabyte.

Be aware of the angle and placement of the mic.
Double/Triple check that the mic is not in the shot. Do not forget to watch for mic shadows!

Adjust your Gain

You want to use the least amount of gain when recording as an increase in gain will add noise to your recording.

Use the + - record button to adjust the levels so the average falls between -12 to -6 dB

-12  to -18 for Normal Dialogue try not to ride below -24. 

-6 Peak for Yelling -- try not to peak over -6

Do not confuse the + - headphone volume (on the left side of the zoom) with the + - record setting (right side of the zoom).

Garbage in = Garbage out! You can not adjust levels that are extremely low or extremely high! 

Watch for extreme highs -- you do not want to hit 0 -- your sound will CLIP

Always Monitor your Audio
Actively listening to your audio on headphones is as fundamentally important as looking through the view finder of a camera. You can't properly frame a shot without using your eyes, and you can't assess your audio without using your ears. One of the biggest problems with shooting video on a DSLR is that most cameras don't have a headphone output. The good news is that you're shooting double system audio with a portable digital recorder. Your recorder has a headphone output, so you should use it as much as possible. Listen to your audio when you're setting up and when you're shooting. If there are any problems, you'll hear them and have a better idea of what needs adjustment.

You must make the set aware if the sound is not ideal. RE-Take the shot. Speak up if the sound quality is not optimal! 

Your slate/clapper must be detailed to aide in the sync of audio in post. 
Clapper slates are used at the beginning (and sometimes at the end) of a take as a visual and audible reference point to identify the footage being shot. The slate board will usually have areas where you can write information about a take (scene number, take number, etc.) with dry erase markers . The person who operates the clapper slate (often the 2nd Assistant Camera person) will also audibly announce the take information before they clap the slate. 
However, before the 2nd AC announces the take info and claps the slate, you must first make sure that both the camera and the portable digital recorder are rolling. The reason that the clapper slate has bars that get whacked together to make a loud clapping sound is to mark a point visually on the camera's footage and audibly on the audio recording where the two can be synced. In the video-editing software you can find the exact frame where the bars on the clapper slate make contact with one another. If you line this frame up with the spike in the separately recorded audio files where the clap sound occurs, then your audio and video footage will be synced.
***When slating do not use the letters I, O or S as they can be confused with #'s****
1A, 1B, 1C,….. 1Z if you run out of letters continue with:
1AA, 1AB, 1AC,….
***MOS -- this is written on slate for clips with no audio -- stands for Motor only shot -- if you forget to write -- and the end of the clip slate with the clapper upside down to note to editor there is no sound ***

Standard Protocol:
  1. The sound operator begins recording, says "speed."

  2. The slate loader shows the clapperboard in front of the camera, says "this is scene 1, take 1."

  3. The camera operator begins rolling, says "speed."

  4. The slate loader readies the clapper, says "marker," and slaps the clapper.

  5. The slate loader moves out of the frame.

Do not forget to record at least 30sec of Presence.
Make Sure You Are Recording
It sounds rudimentary, but often times the most basic operations will throw you off the most. It's a good idea to always make sure you're recording before you start a take. Many of today's portable digital recorders will have flashing red lights to indicate that they're in RECORD/PAUSE mode, and a solid red light indicating that they're recording. In a fast-paced set, you can glance at your recorder and mistake the flashing red light for a solid one. It's always best to dedicate five seconds to really looking at your recorder to make sure you're recording. And after the take begins, it's important to keep glancing at the device to make sure it continues to record. The batteries could die, or a control could accidentally get bumped and stop it from recording. If you see this happen you'll be able to alert the other crew members and have a more productive shoot.

How Microphones Work
How to use Microphones
How to operate a boom mic