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Which clippings match 'Clapperboard' keyword pg.1 of 1
09 AUGUST 2012

Last Chance: 1st year student short film about friendship

"The project has given me a close insight to working with new people and having a responsibility within a crew. I feel as though my knowledge has excelled in the moving image area. I discovered that so much hard work and effort goes into a short five minute production."

(Zoe Stroud, 2012)

Fig.1 This short film called "Last Chance" (2012) was created as part of the coursework for the 1st year Design Practice 2 module in the BA (Hons) Multimedia programme at Nottingham Trent University (UK).

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2012 • Bartholomew Bazaz • being put in a group • CanonCanon 7Dclapperboard • close group of friends • colour correctioncoursework • creative knowledge • design project • DSLR cinematography • film pre-production • film producer role • first year art and designfriendship • Georgia Hirth • group project • group workintimate image • Kalab Khaliq • learning experience • learning task • moving imageMultimedia 1st year • Nick Horton • Nick Rood • Nick Rook • Nottingham Trent UniversityNTU Multimediaon locationpartypersonal developmentpersonal research • Phillip Nodding • positive learning experience • production planning • Roma Patelshallow depth of fieldshooting scheduleshort filmstudent filmsstudent work • Tom Roberts • woods • working in a group • Zoe Stroud

CONTRIBUTOR

Simon Perkins
06 MAY 2012

Outtakes from a 16mm colour film

Outtake from a 16mm documentary called "Horseplay" that was created by Simon Perkins in 1990. The film was shot on location in Waimate in the South Island of Aotearoa New Zealand at Philip and Lee Trusttum's farm. The footage was photographed by Peter Bannan on a CP16 with sound being recorded by Robert Sarkies on a Nagra. The outtakes show Lee, Philip and Robert as well as Vivienne Stone and Peter Leech. Note that the poor image quality is due to the crude transfer process which involved pointing a VHS video camera at rushes being played on a Steenbeck film editing bench.

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16mm1990analogue errorsartefactingartefactsauthentic residueclapperboard • CP16 • deleted • deleted scene • design processdetritus • edit out • editing • editing process • farmfilm • film burn • film scratches • final cut • flares • flash frame • flash frames • flashframes • glitcheshorseHorseplay (1990)Lee TrusttummaterialityNagraomission • outtake • overexposed frames • paintingPeter BannanPeter EvansPeter LeechPhilip Trusttum • removed • Robert SarkiesSouth Island • Steenbeck • takes • telecineunintentionally • unused • Vivienne Stone • Waimate

CONTRIBUTOR

Simon Perkins
06 MARCH 2012

CINEMA ESSAY: SHALLOW FOCUS, DEEP FOCUS, TRACKING SHOT, ESTABLISHING SHOT

Majestic Micro Movies: Lloyd Fonvielle, James Lester, Kendra Elliot, Joe Griffin and Jae Song.

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a girl and a gunAndre Bazin • big depth of field • black and whitecameracinemacinematic conventionscinematic languagecinematic visual languagecinematographyclapperboardcoherent spacecompositioncontinuity editingdeep focusdepth of fielddepth of the screen spacedesign formalismDOF • establishing shot • figures in spacefilmfilm language • film take • film technique • filmlook • filmmaking • focus of attention • Manny Farber • master shot • medium is the messagemise-en-scenenarrative scenesproductionscenescreen spaceselective focusshallow depth of fieldshallow focus • shot countershot • shot reverse shottracking cameratracking shot • two shot • video essayvisual depictionvisual languagevisual literacyvisual style • wide lens

CONTRIBUTOR

Simon Perkins
08 APRIL 2011

DSLR Slate App for iPhone and iPad

"The DSLR Slate App (by Chris Bayol) is a digital slate specifically designed for use with HDDSLR productions and works with iPads and the iPhone/iTouch. The app operates as a traditional slate, providing you with all the standard information (see picture above), but it also goes a step further and provides information tailored to HDDSLR production, allowing you to log shutter speed, ISO, aperture, lens, and many other details (which can come in handy while shooting tests). All of this additional information is stored by the app, and then displayed for the camera in quick bursts so that each page of information is captured for only a few frames. This makes slating on set efficient, and ensures that you have all the information you need in post–production.

This app is already quite useful, but I've spoken to the developer and there are already plenty of future tweaks in the works. Personally, I'd love to see the app give us the ability to put in production notes, to auto–increment takes as you go, and of course to find a way to jam sync the iPad to your audio recording device – right now I still use my DENECKE, which is a fantastic but expensive proposition."

(Vincent Laforet, 2 June 2010)

Fig.1 'Alex Walker (28/06/2010). 'iPad DSLR Slate App + Canon 7D Video'

Fig.2 Vincent Laforet (2010). 'DSLR Slate'

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aperture • audio synchronisation • Chris Bayol • clapboardclapperclapperboardconvergence • Denecke • digital cinematographydigital filmmakingdigital media • digital slate • DSLR • DSLR Slate • filmmaking • HDDSLR • iPadiPhoneiPod TouchISO • iTouch • markerproductionproductivity • shutter speed • slateslate boardSMPTEsound recording • sound synchronisation • syncsync slatesync soundsynchronisationtime slatetimecodetitle sequencevideo production

CONTRIBUTOR

Simon Perkins
08 APRIL 2011

Plural Eyes: sync software for dual-system and multi-camera audio

"PluralEyes is a product that can save you a lot of time, especially if you have good clear audio recorded with each camera. If there is too much redundancy in the audio tracks (concert) or a lot of echo in some of the tracks (Church) you may find that PluralEyes will only be able to match a part of the sequence, leaving clips on the timeline that need to be manually synced. When this happens you can try locking the clips that were successfully synced, then exporting the sequence once again in hopes that PluralEyes will find a match for the unlocked clips, but I personally haven't had too much luck with that process.

The biggest issue I have with any type of automated software is that if it's not 100% accurate, you learn not to fully trust it and rightfully so. When you have multiple tracks to sync and potentially hundreds of clips, it becomes a daunting task to have to go through the entire edit – once for each track you were trying to sync, just to make sure that all the clips are in their proper position. It may be just as quick (or as time consuming) to sync up your clips manually as it is to use automated software that might have to be re–run a few times before finally coming close – only to force you to manually go through your piece clip by clip and track–by–track to check its accuracy.

PluralEyes can save you tons of editing time, but it's really important to have good clear audio with each track you want to sync. On the first few projects that I used PluralEyes for CS5 with I was pretty disappointed with the results. I even delayed this review until I had more experience with the software. Now that I have learned not to expect 100% accuracy I have stopped 're–syncing' and 're–syncing' in hopes of achieving it. I let PluralEyes do most of the grunt work, then I go through and just manually sync up the small percentage of clips it missed. It's pretty easy to do since most of my footage is shot in chronological order so I know that clip C will need to go somewhere between clips B and D.

Part of my high expectations with this software was due to the many demo videos I have seen, not just from PluralEyes, but also from other reviewers. Their videos often show PluralEyes successfully syncing up just a few clips, so when I started to test the software with more involved edits it was aggravating to discover a percentage of clips that weren't synced. I wasted a lot of time trying to figure out why and trying to re–sync these projects, which in–turn wasted more time. Once I got over my high expectations I become much more productive. PluralEyes can truly save you hours of editing time, especially once you learn that itis sometimes quicker to manually sync the small percentage of clips that the software misses than it is to fiddle around with re–syncing using different settings."

(Ron Risman, March 2010, Cameratown.com)

Fig.1 Justin Davey http://www.mountstudios.co.uk/

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TAGS

Adobe Premiere Pro • audioautomationclapboardclapperclapperboardconvergenceCS4 • CS5 • digital filmmakingDSLR • dual-system audio • DualEyes • editingFinal Cut Pro • Justin Davey • marker • Media Composer • multi-camera • multi-take • multicamera • music video • PluralEyes • post productionproductivityrecording • Singular Software • slateslate boardsoftwaresound recordingsyncsync slatesynchronisationtime slatetimecode • Vegas Pro • videovideo editingvideo post-productionworkflowworkflow tool

CONTRIBUTOR

Simon Perkins
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