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Adobe Audition: Three Videos to Hit the Ground Running

These three videos will help you get started with Adobe Audition, an intuitive and powerful non-linear, audio editing platform.

In this first video you will learn how to find your files and bring them to Audition, the difference between the “Waveform” and the “Multitrack” windows, and destructive vs. non-destructive audio editing.

In this second video you will learn a few basic commands to create a podcast “Multitrack” session, to position your audio tracks, and to start editing your audio in a non-destructive environment.

This third video will show you a few editing tricks and will explore two ways to export your audio.

Setting up your Nikon D7100

Here are two excellent tutorials by PhotographersOnUTube, that will help you navigate the Nikon’s D7100 mainly to get your settings straight for still photo. Please check them out and read below the basic settings we will be using in class and for assignments.

Part 1:

Part 2:

 

1- Creating a “Photo” folder in your JDRIVE. You will download all your production into that folder. You can subdivide by “Drills” and by “Assignments” numbering the internal folders (1, 2, 3 etc.)

2- Inserting SD card. By systematic. Use “slot 1” for photos and “slot 2” for overflow.

3- Set the camera for Auto Focus (unless you are confident on your focusing skills). The switch is on the left side of the camera’s body.

-On that switch there’s a button which allows you to change the type of AF. In the viewer you will have three positions AF-A (which chooses the focus automatically); AF-S (which allows you to choose the focus); and AF-C (which is normally used for targets in movement). You should start with AF-S. You change this by pressing on the button and moving the front dial (under the top viewer of camera).

4- Sub Dial: S = Single shot ; CL = Continuous Low; CH = Continuous High; Q = Quiet. Set it up for CL.

MENU / You operate it with the wheel cursor to the right of the back screen.

  • PLAYBACK MENU

PLAYBACK DISPLAY OPTIONS

Focus point: it will mark with a red point where the camera focus is.

Highlights: It will show you whether the photo is overexposed or not.

  • SHOOTING MENU

Role played by card in slot 2 = “Raw 1 / JPEG 2”

Image quality= RAW

White balance= AUTO

Set Picture control= Standard

Active D-Lighting= Auto.

Movie settings=

Frame size/rate =1920/1080 30p

Movie quality= high

Microphone= Auto (check the audio before recording video)

Destination= Slot 2

ISO= The button left of the display. You change it by pressing it and moving the dial at the top right of the body (lower ISO = lower light sensitivity / Higher ISO = higher light sensitivity)

  • SETUP MENU

FORMAT MEMORY CARD in case you need a clean card. Remember to download all the info you have in the SD card before formatting.

COPYRIGHT INFORMATION. You can add it here, or later in production using Adobe Bridge.

 

New Slideshows from Barcelona (2014)

Sombrerería (by Annalisa Palumbo and Giulia Carrarini)

Chichón, el Payaso (by Felipe González, Roble Ramírez and María Rosa Verdejo)

Gonzalo y su Saxofón (by Blanca Navarro and Nina Raquel)

Líneas Indelebles (by Adriano Luciani, Ana Matyszczyk and Camila Aristizábal)

El Templo de Gundicia (by Carla Fajardo, Monica Pelliccia, Giorgia Wizemann)

El Sueño de un Pescador (by Carlos Poveda, Claudia Sastre and María García)

New Projects from Catalonia (2013)

Here are a few more examples of the work of my masters students in Barcelona, Catalonia, produced during the Winter of 2013.

This first one by Nicolás Guillot y Melisa Aedo, tells the story of the urban statues at the Ramblas, and how the local government displaced them from the top of the Ramblas at Plaza Catalonia, and relocated them closer to the sea.

This second project, by Dea Stojadinowic and Anahí Gallardo, portrays the experiences of a Mexican actress in Barcelona.

A third video by Sebastián Garavelli and Dani Sorolla takes us for a walk into the last Vinyl stores in town.

This fourth video shows the struggle of catalonians who fight evictions to stay in their homes.

The fifth project, by Anna Garbus and Iu Andrés, shows what happens in a small Catalonian chapel in the week of Pope Benedict XVI resignment.

This project by Jenny Olbrich, Piera Carchedi and Alma Zhu portrays Catalan singer actress Olga Fañanás.

Our final slideshow takes us to the Carnaval in Sitges.

Google Drive and WordPress for Ithaca Week

In this series of videos I will show you how to how to work in Ithaca Week using Google Drive and WordPress.

This first movie will show you how to add our shared folders to your Google Drive, how to create and share a new document, and how to write comments in it.

 

In this second video you will learn how to publish the document to WordPress using Google Drive.

 

This third video will show you how to edit your document in WordPress, add categories, authors, and photos to it, and place it on the front page of Ithaca Week, or in one of its sections.


This fourth and final video shows you how to add images and modify Ithaca Week’s front page.


 

Avid Media Composer: Eight Videos to Hit the Ground Running

This series of videos will help you set up your project using AVID Media Composer. Some of the more refined commands will be explained in class, but here are the basic ideas you will need to get started with AVID.

In this video I show you how to set up your AVID user and where to place your files

This second video teaches you how to connect to your files via Avid Media Access and how to navigate your footage in the viewer and the timeline.

The third video shows you how to splice-in and overwrite clips into your timeline.

In this fourth video I show you how to add and manipulate transitions.

This fifth video shows how to add fades and start creating titles with Marquee.

This sixth video will show you how to use Marquee to add titles to your project

In this seventh video you’ll learn how to bring your titles to the timeline and add them to your sequence.

Finally, this eight video teaches you how to export your movie as Quicktime video.

Soundslides Projects by my Students in Catalonia

Here are a few examples of the work my masters students in Barcelona, Catalonia, produced during the Spring of 2012.

This first project, by Martín Rocca and Gonzalo Sarasqueta, portrays Diego Rey, an Argentine artist working in Barcelona.

This second slideshow, by Judit Pedros and Alba Fernández, introduces a local tattoo artist conflicted by her maternal role.

This project by Ariadna Marrugat and Albert Gandia features an interview with Rugby player James Oliver.

In Jordan Nelson and Alfredo Casas’ piece, two veterinarians talk about their patients (and their owners).

Daniela Caruso and Héctor Leyva visited one of the oldest Catalan cava bars in the city.

In Barcelona, jugglers get together every Wednesday afternoon to practice and learn from each other, in this piece by Paula Acebo and Rosa Brescó.

Camila Pinzón and Teresa González interviewed a group of skaters who train at the Museum of Modern Art of Barcelona (MACBA).

Fencing and architecture merge in David Boldú’s life. And this is featured in this piece by Jessica Bigio and Javier Morera.

Jessica Sauras and Alvaro Murillo talked to Luis Romero, a 81-year-old activist and member of the Catalonian Communist Party.

Clara Berdié,Juan Irigoyen and Marc Martí found Barcelona Fútbol Club’s mythical shoe repairer.

Carmen Hierro Rico and Jessica Mouzo followed Jose Rodríguez, 23-year-old store clerk who feels lucky to still have a full time job in a time of severe unemployment in Spain.

A Few Words of Wisdom, by Ira Glass

From our old friend Ira Glass, a few words of wisdom. You should never give up!

Ira Glass on Storytelling from David Shiyang Liu on Vimeo.

The audio is from this video by current.tv in which an unedited Glass talks at length about deadlines.
 

This following video is Glass on storytelling and structure of radio and TV stories. You’ll love it!

Finally, Glass on how hard it is to actually find a good story.

Narrative Journalism and Digital Media

The debate around long form narrative journalism and it’s growing potential on the web has been gaining momentum. So, I just wanted to share with you two stories and hear your ideas/comments about them.

In the first article, Forbes‘ Lewis DVorkin argues that now that we can access to data on how long people stay reading a web page, how far down readers will scroll, and how many clicks deep into a story they are willing to go, we can assess with accuracy whether readers enjoy shorter or longer pieces online.

According to Forbes’ data, and contrary to what newspaper editors thought in the past, long form journalism for the web not only interests readers but is also key to business success. Thanks to statistics (Google Analytics and so many others) but also to social media, we can now measure and more importantly see how the “social conversation evolves” around news articles (FB “likes” and “shares” and Twitter “hashtags”).

Tapping into these tools, what DVorkin found is that longer, well researched pieces have exponentially higher readership than shorter snippets, or lesser researched pieces. His recommendation: long and short form should work hand in hand. Short form will generate interest in the story (something like a teaser) and long form will deliver the bulk of the content.

In the article, DVorking also quotes an e-mail exchange with Mark Amstrong, creator of Long Reads. Amstrong  argues that this long form journalism is in vogue due to four variables:

1- The embrace of mobile devices and tablets

2- The rise of social recommendation

3- A community that embraced a new way to organize long form content

4- The rise of shifting apps like Read it Later (indirectly, also, the spread of WiFi) This fourth one is particularly amazing, because Read It Later shows data on hundreds of millions of stories saved to be read in portable devices while users have no access to the internet.

But, in fact, the mere existence of Long Reads or The Atavist, a search engine and a market platforms exclusively developed to find and market long form narrative journalism stories, speaks to the resurgence of this genre.

A second article by Wired writer David Dobbs develops some of the ideas introduced by DVorkin and adds that in Wired they also found that long form “breeds reader loyalty.”

My questions to you: how do you think this new trend could affect your career? Could these new trends affect the way you will approach your studies or your job search? Please read the articles and post a brief answer to my questions.

The Art of Writing a Good Review

Writing a good review is not easy. Primarily because you need to have enough information to make your impressions and ideas valuable to the readers.

To start, you need to know meticulously the object of your review. Your readers will use your assessments to judge whether the movie/play/video game/culinary experience  is worth their time and attention. So you need to offer them enough references, introduce enough ideas and comparisons to help them make that decision on their own.

A good review describes its object in detail. If it’s a play, you’ll devote equal time to each act. If it’s a movie, you’ll pay attention to relevant scenes. If it’s a meal, each course will get its own paragraph. But when assigning your editorial space, you will always leave some aside to discuss the most salient aspects of the piece.

A good review is a direct look into the eyes of the artist. With your most sincere, honest words, you will describe not only the experience but also the feelings it triggered in you. Sometimes those feelings will be of boredom and disgust, sometimes they will be of joy and amusement, and on rare occasions (very rare) they will be of pure amazement.

Here are a few reviews you may find useful when working on your own!

Roger Ebert’s reviews are always a good reference. Here’s one on Coriolanus, directed by Ralph Fiennes.

Here is The Village Voice‘s Rob Harvilla with a brilliant review of MIMS’ This is Why I’m Hot

Finally, here’s a review I wrote about The Limits of Control, by Jim Jarmusch for the New York Daily News, based on an interview with actress Paz de la Huerta.