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jingwensoundandimage · 3 years ago
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Overall Reflection of Ass 2.2
Through two times of production experience, whether it's editing skills, understanding of the script, the use of the camera, shooting, sound, or even the acting of the actor, I had a lot of contacts. I think this is an excellent opportunity to consolidate the foundation. The most important thing is to experience this process. It allows me to have a deeper understanding and mastery of all aspects of making a movie or short video. I also realized the lack of my ability, which point needs to be improved. I still need to learn more and practice more.
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jingwensoundandimage · 3 years ago
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Lenny 2 - Reflection
Pre - Production
The scene I chose this time is the one with the dialogue. Similarly, in preproduction, I drew a bird's eye view and a storyboard. From the overall results produced, I found that the choice of shooting location was not very good at the beginning. I should not choose a place where the lights are too concentrated and too bright. It will have a pronounced difference between light and dark, which is not conducive to the post-production, and not helpful to the quality of the image as well. It is necessary to repeatedly adjust the white balance to try to narrow this contrast. This point has not been discovered in the first group shooting, because the previous video did not move the camera, and each time the camera moves position will be re-adjusted, so it can not be reflected. But this time it contains the brightest and darkest parts in one shot, which makes the footage particularly bright or very dark. I think this is the most essential part to improve.
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Production
The shooting time is concise for this project, and I also encountered some problems during shooting. The second shot of my plan is to follow the actor for a while, then lift the camera. At that time, only the smoothness of the image was considered in the pre-production, the weight of the camera and my ability were not taken into account. So for this shot, I did two versions to make sure one of them is available to use, but in the end, I used both of them in two different final versions. In this case, although there is sufficient preparation in the pre-production, there will be some irresistible factors when shooting. So if I have a chance next time, I will carefully examine the location of the filming, and do more rehearsals with the actors to ensure that I can smoothly capture the footage I want. When I was editing, I found that when I was shooting, the lens was dirty and I couldn’t erase the stain. This also needs attention. Also, I need to pay attention to the focus, because I was only looking at the shooting, I did not notice whether the picture is in focus, which leads to a lot of frames are not focused, this is a severe problem, need to pay more attention next time. 
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Post - Production
With the experience of the last project, this time is even handier. But at the same time, there are new challenges. Because all the footage is filmed handheld, so looks quite shaky. The first step I did is to use Warp Stabilizer to remove shake, make the images look smoother. In terms of coloring, I still follow the method last time, do color correction first, then color grading. For color correction, as mentioned earlier, due to the negligence of the choice of shooting location, the footage appears to be overall dark and has no three-dimensionality. So my first step is to adjust Brightness and Contrast to brighten the image, but the problem is that if I only increase the brightness, the shadow will naturally brighten, and the bright part will lead to overexposure, which is a tricky part for me. But later I lowered the whiteness in the tones, although the overall picture was darkened, the exposure improved slightly. In terms of color tone, I think the overall image is greenish, so the red color is required. Because the sound was not recorded this time, the sounds of atmosphere and dialogue were not well displayed. But I put a little piece of relaxing music in the first half of the video, which I think would make the video less boring.
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jingwensoundandimage · 3 years ago
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Lenny 2 - Version #2
Relatively compact editing, switching shots at a high frequency, especially in the dialogue section, used different angles for some of the shots as well.
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jingwensoundandimage · 3 years ago
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Lenny 2 - Version #1
Relatively soothing editing, switch the shots at a small frequency.
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jingwensoundandimage · 3 years ago
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Lenny 1 - Reflection
Pre - Production
We did a lot of preparation work in the early stage for pre-production. We made proper plans and arrangements for the production of the project so that the film production can proceed smoothly. After several weeks of production, I found that pre-production is significant, such as the foundation of everything. We have a total of five people in our group because we already have a ready-made script, so we only made a shot schedule, a bird's eye view diagram, a storyboard, and decided the shooting location. The active cooperation between the group members also contributed to the smooth production process.
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Production
Luckily we have the early preparations, the filming process was generally very smooth, and we were all in our roles, and each shot was successfully taken as we expected. What needs to be improved is that we need to pay more attention to the quality of the footage, such as the focus problem. When I browsed the footages in the post-production stage, I found that there were a lot of shots that were not focused. Another point to note is to remember to write a log sheet when shooting. We forgot about it at the time, so there was a lot more to do before the editing, I understand how vital the log sheet is during post-production. Since the shooting cannot be performed in the order of the shots, these records help the connection between the shots of the film, also provide accurate data and information for complement and edit. However, we don't have a log sheet this time, so we need to look at each video and then filter it, which wasted a lot of time.
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Post - Production
In post-production, the first thing is editing. My method is to arrange the footages on the track in the order of the shot list, then edit them according to the previously produced shot list as a rough cut. The next step is color correction and color grading. When I get the footages, I will analyze first, if this is useable footage, whether there is an issue on exposure, this is convenient for subsequent color adjustment.
About the color correction and color grading. First of all, what I am doing is the primary color correction. The main thing is color reduction and correct basic parameters, including exposure, white balance, and saturation. Ensure the footage is no clipping for both light and dark parts. Even though we did white balance during the shoot, there may still be some problems. In scene 1, I tried to keep the same hue between the shot and shot in a scene. When there is light above the actor, I will increase the brightness to make the picture more natural, increase contrast at the same time to increase the contrast between highlights and shadows on the actor’s face. I usually look at Lumetri's RGB Parade for the white balance problem to determine if the overall tone is normal because the standard white balance should be in an average range of three colors. Some of the footages if they seem quite right and no adjustment is needed. After this, I finished the primary color correction; I named this sequence “Final v1”. 
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Next, I made some detail adjustments and added some effects on it, which is the secondary color grading. About scene 1, because the shooting time is night, so I added a bit of purple tone to make the picture more natural. When Lenny walked across the camera, the mood should be sad, so I lowered the saturation. For scene 2, the close-up of Van's face lacks a little light, so I made a careful adjustment to her face. In order not to touch the background, I created a mask to adjust the face separately. I use the curve to brighten the highlights and darken the shadows, making the picture and the actor's face more solid. Scene 3 is a dialogue scene, so I didn't put any music. Without the aid of music, I think the overall coloring should still be natural, with no apparent adjustments in tone. Because of the intense lighting, I think the color tone is warmer, especially this shot. I think this shot is the most difficult to do the color correction. 
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Even I am not satisfied with the final result. I still need to learn more about this. I used the color wheel to addict the color of the mid-tones and shadows, according to the color complimentary theory, make the color temperature bluer, also observe the RGB parade. This looks normal compared to the original footage, and the picture looks more textured as well.
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The next step is to add some effects. In the very beginning of the video, I made a fade in through opacity. To match the background sound to the image, I also made a constant power of the sound, so that the background music can be broadcast slowly, not suddenly. In terms of sound and music, I chose relatively sad music based on the plot and integrated into the first two scenes. In the third scene, I will pay more attention to the OTS shot, which is the dialogue. I adjust the volume of the sound according to the situation. I have also added constant power between all the dialogues and music, which makes it sound more comfortable and smooth.
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jingwensoundandimage · 3 years ago
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Lenny 1 - Version #2
With both color correction and color grading.
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jingwensoundandimage · 3 years ago
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Lenny 1 - Version #1
With the color correction only
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jingwensoundandimage · 3 years ago
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#4 - You find a Scene
Google Drive Link: https://drive.google.com/file/d/19B_afmfVjPQeETZ0zZEYZTXI5mvKxwF4/view?usp=sharing
In the classic musical film The Wizard of Oz (Fleming, 1939), there is a very famous scene, Dorothy and her house are blown up by a tornado. This scene is an essential part of the whole movie and also a significant turning point.
In this scene, after Dorothy is hit by the window she goes into a dream. The special effect of using smoke swirling around her head, and by using blurring Dorothy’s face effect, it tells the audience that she is going into a dream state. Lighting is sourced as a low-key light focused on the forehead of Dorothy. The position is located above her at an angle from the right side of the frame. It serves two purposes it helps capture the smoke in the air around her head and focuses the light on her forehead to set up the plot of her dreaming.
Upon the window coming out of the wall and hitting Dorothy in the head-causing unconsciousness (a dreaming state), the background music turns into dramatic, silly, with dream-like, unnatural qualities. The music aids in the “still” sense of Dorothy inside the tornado, even though she is spinning around, and chaos all around her. Unusual chords, rhythms, tempos, volumes, and instrumentation, create the unnatural theme of the scene. The tornado’s sound effects are incredibly intense and dramatic, loud, and sounds that associate with a tornado. The sound effects also help to create the mood and help the audience to hear how things sound in the movie. Combining the dialogue, sound effects, and background music, they create a magical dream atmosphere to the audience. 
After waking up, she saw something flying everywhere outside the window. A woman is sitting in a rocking chair, and two men are rowing in the air. Even Almira was riding in the wind, but later she changes into a witch riding a broom, foreshadowing what to come. This shot the double exposure of the Almira transforms the Almira into a witch. These can be regarded as part of Dorothy's dream. Sigmund Freud's The Interpretation of Dreams (Freud, 1900) proposed that the hero of the dream is the subconscious. Uncle and aunt chose to ignore Dorothy’s noise. At the same time, the beloved puppy will be hurt by people. Dorothy has a traumatic memory in real life. From here we can look back when Almira appears out of the window, the focus is sharp on her, but during the transition to a witch, it is taken out of focus and then back in focus on the image of the witch which aids in the elusion of the transformation between the two images. And before she was dreaming, she was on her way away from home; she feels panic and tension. So people and things in real life are transmitted into dreams and processed for the second time, and finally, become a dream disguised as a fairy tale. The people and things that Dorothy sees outside the window is the guidance of this dream; they will continue to appear in Dorothy’s dream in another way. For example, Almira is an annoying neighbor in Kansas, and she is also a bad witch in Oz. Then, everything within her house was disorderly and destroyed which makes the perfection of oz seem surreal.
As a film in 1939, it was excellent to restore the scene of books to reality. The simple and interesting special effects, all of these are added like an unexpected interest to the film. 
References:
Fleming, V., 1939, “The Wizard of Oz”, Loew’s Inc.
Freud, S. (1900). The Interpretation of Dreams. [online]  available at: 
http://psychclassics.yorku.ca/Freud/Dreams/dreams.pdf  [Accessed 16 Apr. 2019].
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jingwensoundandimage · 3 years ago
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#3 - TK2 Taxi Driver Deconstruction
In the film Taxi Driver (Scorsese, 1976), I have talked about a lot of shooting techniques in the scene where the protagonist Travis first found Betsy and ask for a date. In fact, the choice of these technologies is for a reason. The director took the most care of the audience's emotions when he was designing because the primary target for the film is still the audience. So as a good filmmaker, Scorsese pays attention to detail, to make the people feel the same, and what the audience needs to do is feel its charm.
In the film, Scorsese uses a lot of exquisite “camera language,” composition of images and color metaphor to express the relationship between the characters and promote the development of the story. In order to maintain the ambiguity of the “camera language,” the audience is always in a nervous situation, everything about Travis is given by implied means. For example, before Travis entered the office building, Betsy and Tom were having a pleasant conversation, and through the content of the conversation and the shooting techniques, they emphasized that the scene seemed to be very harmonious. However, when Travis walked into the building, the shooting style became tense. When he entered the building, the shooting equipment became a hand-held camera. This different shooting style approach made the audience very obvious to discover that Travis brought his own instability into this stable world. At the same time, in this scene, we saw that Travis showed interest in women, and he sent an invitation to Betsy to date. Including when two people have the conversation, for the way of using OTS, I think the director wants to express the two have no sense of distance at that moment because the shot for both sides is always brought to each other. In the design of the shots, with the aid of the dialogue, it did not isolate any of them, telling the audience that the two sides are relaxed and happy in this scene, and no one is dominant in the dialogue.
Among these points, the director clearly uses the skills of this audiovisual language to explore the inner thoughts of the actor and confuse the audience. When I thought about seeing this clip for the first time, I found that some places are deceived by the director intentionally using audiovisual language skills. He leads my imagination of the story to another direction. For example, if the audience sees this, they will think that his date will be successful, even I thought it would be a romance film. But then the development of the plot is entirely different from my imagination of the story. In other words, it will keep the audience immersed in the plot and continue to provide surprises. Therefore, this shows the charm of special shooting techniques and audiovisual language in the film.
References:
Scorsese, M., 1976, “Taxi Driver”, Columbia Pictures.
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jingwensoundandimage · 3 years ago
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#2 - Readings
Actor and the Director
In a film, the actor is the most direct communicator of the director's thinking, so the director must understand the actors and the relationship between actors and themselves. Mackendrick’s article The Director and the actor (2004) repeatedly stated that does being a "good actor" require a strong comprehension? Among this, Mackendrick (2004, p. 179) mentioned Antonioni’s self-report, “does not need to understand; he needs to be”. It may be inferred from this that comprehension is not necessary. On the contrary, if a good actor must have good comprehension, then the most intelligent actor should be the best actor. But this is not the case; if an actor is wise, he has to work harder to be a good actor. Because he wants to deepen his understanding, he wants to think about everything and all the details. In fact, he creates obstacles for himself. According to the general view, the actor's thinking about his role should make him closer to the specific character, but thinking has hindered his efforts and made him look unnatural. Movie actors should film in the most primitive state; the more intuitive he is, the more natural his performance will be. Genius actors work from intuition, instinct, and impulsiveness, not critical and intellectual understanding. This point has impressed me a lot.
Another point in the text is about how actors can perform better through the director. For the acting itself is a synthesis of many artistic factors, it is the most vital factor in stage art, it is the most profound, touching and artistically creative means of director's art. These seemingly ordinary performances, the most casual and full of rational scenes, are also full of repeated thoughts. As an example in the text, it is scarce to continually look at other people's eyes in actual daily behavior, which does not seem natural (Mackendrick, 2004). It is something the audience usually cannot notice, but on the big screen, these small and inconspicuous problems will be infinitely magnified, especially in close-up shots. Different acting may trigger different emotions. But the director can improve these problems; their job is to let the actor do what they need, using actors to express personal intentions and ideas. By asking questions, step by step to introduce actors into the field known to the director. As long as the actors get what they understand on their own, it is hard to forget. Questioning is a way to force actors to think. The director is not to instruct the actors but to motivate them.
References:
Mackendrick, A. 2004, On film-making: an introduction to the craft of the director, (pp. 179-194). London: Faber and Faber.
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jingwensoundandimage · 3 years ago
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#2 - Readings
Sight and Hearing
French director Robert Bresson’ s unique and firm aesthetic concept is fresh for me. He always uses sound instead of images in his movies, because he thinks that the ear is more profound; the eyes are very impetuous and too easy to satisfy. He believes the image itself should be regarded as meaningless. For this concept, I did not understand it at first, because this has a certain deviation from my previous understanding of the film. I used to think that the most important thing in a movie is visual. But after watching Bresson’s movie, I seem to have a new understanding. For example, A Man Escaped (Bresson, 1956) directed by Bresson, he used sound throughout the whole film and played a significant role. Other works are the same; he believes that sound is as important as the image. Sometimes he even let the sound dominate the image, let the actions replaced by the sound, because the sound is more malleable than dynamic pictures, sometimes the ear has a more pleasant pleasure than the eyes. Bresson used the sound to capture the action scene of the image, used sound to replace the familiar images that have already formed in the audience’s minds. He is not blindly using the close-up of the characters stacked in the long take to release the beauty of the film. The emphasis on sound makes him one of the few directors who can correctly interpret the interaction between sound and image.
Other than this, Bresson (1986, p. 52) also proposed “Image and sound must not support each other, but must work each in turn through a sort of relay.” This point also subverts my previous understanding of the image and sound in the film. In my opinion, the two must be mutually assisted to exert the most exceptional beauty. But in Bresson's view, the rhythm of the sound is in addition to its own rhythm; it is the rhythm of the alternating sound and image. This is an alternation between sound and image, not mutual solubility. He believes that the ears are moving inward and the eyes are out. When a sound can replace an image, the image should be deleted or counteracted. The sound should never rescue images; also image should not rescue the sound. If the sound is necessary to complement the image, either focus on the sound or focus on the image. If the two are equal, it will only damage each other or destroy each other. Therefore, the image and sound should not be coordinated with each other but should be operated in turn by relay.
References:
Bresson, R. 1956, “A Man Escaped”, Gaumont Film Company.
Bresson, R. 1986, Notes on the cinematographer. London: Quartet.
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jingwensoundandimage · 3 years ago
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#1 - The initiative post
The book Film Art: An Introduction (2017) written by David Bordwell is a good choice for beginners of film production. It has almost all the categories covered by the film and its detailed explanation. I started reading this book about six months ago; it gives me a better understanding of film and film production. Among them, Chapter 10 is about experimental films, which is the latest genre of film I have come into contact with. By reading this chapter, I found that the experimental movie was a fascinating form of film. There is no specific expression or specific framework. Most of them have no traditional narrative, surrealist and abstract expression styles that make these kinds of the film more attractive.
About the abstract film, the editing, visual effects, sound properties, colors, shapes, and rhythm design are all very different from traditional movies. They are applying the abstract art of painting and music to the creation of a film. Classic films pay attention to telling stories to the audience; the experimental movie is more concerned with the expression of the creators. For example, Ballet Mécanique (Léger, 1924) is a classic abstract movie; I watched this after reading. There are more than 300 shots in the whole film; I think this movie is merely put the shapes derived from everyday items together, and changed to different colors. The combination of rhythmic images and sound formed a scene that is indeed full of cinematic movements - the dance of the machine. However, because of this expression, I feel a sense of freedom and informality, emphasis on immanent impulses and emotional feelings. It does not have a complete storyline, even no logic. Instead, it presents improvisational techniques and content.
Associative movies are also non-narrative forms; personally, I think it's not too different from the abstract forms of film. Similar duration, random material, unique storyline and the particular way of editing. But from Bruce Conner's film named A Movie (1958), I not only saw an ordinary experimental movie, but I also saw Conner's thinking about the post-war era of America. It is the difference between associative films and other types of films. As mentioned in the article, it uses imagery and music patterns to evoke thoughts and emotions. Experimental films are like poetry which is not as narrative as fiction. Each of the things in the poem is called imagery, and a combination of imagery can create a state of mind.
Through some reading and reflections, I think I can try to make experimental movies myself later. Because of its experimental nature, experimental films can naturally be free from logic and rules. The shooting style and production method are also different and even opposite to mainstream movies, and relatively free. It is an extraordinary existence in the film industry.
References:
Bordwell, D, Thompson, K, & Smith, J 2017, Film Art: An Introduction, McGraw-Hill Education, 2 Penn Plaza, New York, NY 10121, pp. 369-386.
Léger, F. & Murphy, D., 1924, “Ballet Mécanique”, Synchro-Ciné.
Conner, B. 1958, “A Movie”, United States.
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jingwensoundandimage · 3 years ago
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#5 -  A scene
The dialogue scene is the basis of film production. These scenes enrich the image of the character and often communicate important plot information. In the film Taxi Driver (Scorsese, 1976), there is a scene where the protagonist Travis first looks for his favorite woman Betsy to date. The shots in this clip tell the story very smoothly. At the same time, some details tend to be psychologically portrayed by the characters, and more shots show the characters' expressions. Therefore, it requires a high-level acting skill of actors.
At the beginning of the clip, Scorsese first used a medium close up shot to explain the main characters, then use tracking in the shot to explain the environment and the spatial relationship between car and building, then cut to the shot after Travis enters the building, which is also a medium close up shot. This achieves a balanced view of time and space, and it is an excellent way to switch spaces through the movement of the characters.
When he gets out of the car and goes to the building, the track in shot shows his body lines, and the outfit is dressed up, and Travis’s pace seems quite confident. Even after he communicates with Betsy, the language expression is chic and natural. I think this is the illusion made by the director, letting the audience think that Travis initially good at chased the woman.
When Travis walks into the building, it is a subjective shot, which is also a semi-wide shot with much information. The director needs to guide the audience to pay attention to a valuable object. When many people are in the frame, the director lets the audience to notice the objects that Travis is looking for. Therefore, in this situation, Scorsese needs to use this moving shot to guide the audience "what to look at."
The slightly swaying shot shows Travis’s perspective. From this shot, it can be seen that he is nervous for face to the woman he likes. This shot has been taken from semi-wide shot to medium close up; it enables the audience to observe the dress of Betsy from a long distance to the above part of her collarbone to express the beauty and pure tenderness of Betsy.
When they talked, the director used the shooting technique of dirty OTS. It can show the characters who get together for particular reasons or situations. The head and shoulders of the character being photographed will be in the frame and out of focus. In this case, the OTS settings determine who is talking to who, because things change very quickly when three people are talking. So Scorsese chose to use dirty OTS to confirm who is talking to whom.
However, after the third character left, we determined that the remaining two people were talking, so the director would use some single shots to express. Because we are a hundred percent sure that the objects they speak are each other, although later transitioned from single shot to OTS. This type of usage is more abundant than always use a single shot, which also means that people who talk to him will speak at any time.
In their dialogue, OTS is not only switched to show that they are having a conversation but also there is a scene in which the two protagonists are on both sides of the frame. The intention is very obvious, in order to let the audience notice the expressions and actions of other people besides them. There is also a close-up of the table, trying to visualize their conversation. The presence of these two shots is just right; this will not always be the shots of two people in the dialogue, which is more interesting.
The last shot of this clip returned to the exterior, similar to a medium shot, and the frame stayed above the waist of Travis. This shot can show his body language; his position and atmosphere can be seen in this shot as well. Also, the environment is the same as the beginning, which shows the fluency and integrity of the fragment.
References:
Scorsese, M., 1976, “Taxi Driver”, Columbia Pictures.
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jingwensoundandimage · 3 years ago
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#4 - Keyboard shortcuts
When editing with Adobe Premiere, some of the necessary shortcuts and tricks are useful to us. Liza Brown (2019, para. 1) contends “For efficient workflow, the keyboard shortcuts cannot be beaten.”  In order to understand the use of more shortcuts, I watched the tutorial online, and I found the following four shortcuts that I think will help me a lot.
The first one is about cutting the materials. Previously, when I used Premiere, I often chose to use “Ctrl+K” to cut the material, then use “D” to select the material and delete it, even with the mouse. However, these processes are very cumbersome in everyday editing. So I learned a new shortcut, just press “Q" or “W” to use the ripple editing effect to clip it and connect it to the previous material automatically. The reason why this shortcut is useful is that cutting material is an indispensable step in editing. Every video needs to cut and arrange the material. If we use this shortcut instead of the mouse, it will be more efficient.
The second one is about moving the materials. Usually, I need to use the mouse to move the clip, but if I press “D" to select the corresponding material, then press “Alt" or “option” and the direction arrow buttons simultaneously to move the position of the material directly. This method is suitable for moving video or audio separately. If you want to move them faster, you can press the “Alt”+ “shift”+ arrow keys to drag the material, which is convenient quickly. Sometimes I use the mouse to drag the material to different tracks or positions, I will be challenging to grasp, always cover other materials, causing me to return and re-do it, which is a waste of time. With the shortcuts, you can not only see the material of each track clearly but also do not worry that it will be as uncertain as a mouse. This will save a lot of time.
The third one is about when I want to delete or extract the middle part of a piece of material, I used to use the mouse to cut it, then delete it or drag it to other tracks with the mouse as well. However, if there are shortcut keys, it will be much more convenient. We can use the “I” and “O” keys to set the workspace, and then use the semicolon key to delete the clips in the workspace. If you want to extract this clip, press the quote key to implement it quickly.
The last one is about changing the width of the video track. I always have such a situation when editing, accidentally hit the mouse’s scroll wheel; then the video track will suddenly become too wide or too narrow. When I want to adjust them to the original width, I do not know how to adjust anymore, even the other video tracks will be accidentally adjusted, and then all the tracks will be very messy. This is not a professional issue, but it often takes some time to regulate. However, to use the shortcut keys, it will be much more convenient, “Ctrl” + “+/-” to scale the width of a single track. If you want to expand or shrink all tracks at once, you can use “shift” + “+/-.” This also reduces the uncertainty caused by mouse control, thereby increasing efficiency.
References:
Liza Brown., 2019., Top 20 Adobe Premiere Shortcuts You Will Use When Editing Video Files, viewed 25 March 2019, <https://filmora.wondershare.com/adobe-premiere/adobe-premiere-shortcuts.html>
Adobe., 2019., Keyboard shortcuts in Premiere Pro CC, viewed 25 March 2019, <https://helpx.adobe.com/premiere-pro/using/default-keyboard-shortcuts-cc.html>
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jingwensoundandimage · 3 years ago
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#3 - Crew Roles
First of all, I have to admit that the whole article about the crew roles has surprised me. I never imagined that a film needs to cover so many categories of teams. However, this article also answered some of my long-standing questions. When I used to watch movies, I often encountered a situation. At the end of the film, the list of behind-the-scenes crew often rolled for a long time. Then I heard that some movies probably require nearly 2,000 staff members. So I am very curious about how so many people are coordinating their work, who will lead these people. After reading some articles, I found that the director of a film was responsible for the work of all other departments, so I think the director played a supervisory role. It is like Steve Jobs does not design, but he has good taste and high requirements. He tells the designer his ideas, and the designer gives him many solutions. With so many plans, the one he selected is an epoch-making product. So I think the level of the director directly affects the quality of the film.
The article “Developing a crew” by Michael Rabiger (Rabiger, 2003) not only mentioned the director but also more positions in other categories. Such as Property Manager, Assistant Editor, Continuity Stills Photographer, and so on. There are some things I have never heard of before, such as Best-Boy Grip and Dolly Grip… I even do not know that the photography category contains seven different positions. These people also need an excellent ability to complete their work. Developing any kind of crew is not an easy task, so I think these people are equally worthy of respect. For example, a makeup artist who needs to follow the actors around, and they will be exhausted as the actor's makeup is repeated. However, if we miss the makeup, the actors will not have the perfect presentation. These crews are behind-the-scenes; they can not openly appear on the screen; they know that the excellent development of a movie must require them to pay silently; this is an admirable spirit. So from now on, when I watch a movie each time, I will pay attention to the behind-the-scenes staff in that movie.
References:
Rabiger, M., 2003., Directing: film techniques and aesthetics, 3rd ed, Boston: Focal Press,  pp. 385-400.
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jingwensoundandimage · 3 years ago
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#2 - Goals and Desires
About my goals and desires for this semester. Firstly, I want to say that I like making the video very much. This interest was cultivated during my undergraduate course, and it was just because I loved to watch movies at that time. So I need to exercise. I have been in this class for three weeks. Although I have produced some videos during my undergraduate course, I found that the content of this course is very detailed, whether it is editing skills, scripts, camera use, shooting, or sound. All aspects of making a video are introduced very detailedly. So I hope this course will help me to solidify my foundation. But the most important thing is to experience this process and to have a deeper understanding and mastery of all aspects of producing a movie or short video, I think always refine these basic knowledge is very helpful for my editing skills. There is also the hope that I can accumulate more video works through this course, for the first reason, it will be great to find a good job. Second, I hope that when I look back at my work, I will establish a basic standard for any kind of video.
Therefore I need to use existing learning opportunities to create better conditions for myself. In the final analysis, I hope that I can have more opportunities actually to operate and lay a good foundation for future work.
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jingwensoundandimage · 3 years ago
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#1 - Reflect and Write
First of all, the article tells the importance of reflection. Always do reflection can make people precipitate and sublimate. It is a critical learning method as well, especially for the achievements to be made in the future. The article mentions two points that I think are good for reflection.
When people reflect on something, the “melting pot” (Moon, 2004) is a particularly good method. People in the process of reflection is equivalent to managing a “melting pot” of wisdom. We can put a lot of thoughts, feelings, questions to ask ourselves, other forms of consciousness, and perhaps new information into the “melting pot.” When all of them are summed up, it is possible to link old and new ideas, promote the assimilation and migration of knowledge, and also can play a role in broadening the thinking. Just like the article “The Presentation - an exercise in reflective writing” (Moon, 2004) mentioned, each time after the presentation, she wrote down her own experiences and ideas, even the attitudes of others, and over time, these words will form a "melting pot.” Then when she looks back at this "melting pot" every time, after careful thinking, she will get the answer. In further, if we can record the results of the reflection, there will be a better answer, and once we get a better answer, we will have a solution.
The second point is “Strategies for enhancing learning from everyday experience”(Moon,2004). It is the first time that I have heard about this kind of learning strategy. It is the individual's assumptions, values, and thoughts that shape the way they see the world and guide their intentions. The set of learning strategies by Marsick and Watkins (1990) is very new and special. Because most of the learning methods do not take into account all the factors of the personal learning process, team-based learning, organizational influence, and their relationship to the environment, but their approach is to integrate these and explain the relationship between each other. For example, our processing of getting information will develop our knowledge system, make rapid assumptions about people and situations, analyze other people's opinions, and so on. Individuals and teams may analyze and learn based on signals received from the organization, which is also called “Organizational learning” (Lähteenmäki et al., 2001), and may also choose to learn from the surrounding environment. Moreover, in these points, the importance of ‘reflection’ and ‘review’ has been mentioned many times.
Overall, the action after thinking is the effective action; the reflection in action will make the action more successful.
References:
Moon, J., 2004., A handbook of reflective and experiential learning: theory and practice, New York: RoutledgeFalmer, pp. 184-189, 204-209, 222-225.
Marsick, Victoria J., and Watkins, Karen., 1990., Informal and Incidental Learning in the Workplace, London: Routledge, pp.336 - 337.
Lähteenmäki, S., Toivonen, J., & Mattila, M., 2001., Critical aspects of organizational learning research and proposals for its measurement. British Journal of Management, 12(2), pp.113-129.
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