As you all know, the deadline for final projects was 10 am this morning...
To those of you who got your projects in -- congratulations....
If you haven't uploaded yet, get that done ASAP. We will be taking points off for late work, and the later the project comes in, the more will be deducted.
Looking forward to watching the projects.
-Jeff
Friday, December 18, 2009
How to Post Soundslides Projects to the Blog (same info I e-mailed)
So to post a Soundslides project... There are two ways:
There are two ways you can do this:
1. The first step will be to export from Soundslides (once you're finished), and that will generate a whole folder full of files. Next, upload the Publish_to_Web folder full of files to your Web space.
For Web space, you can use the file hosting service that Maryland provides, ... it's File Manager under TerpConnect
http://terpconnect.umd.edu/myweb
Then post the link to your slideshow to the blog.
The OIT help desk should be able to walk you through any problems that come up with that (http://www.helpdesk.umd.edu/documents/4/4781/)
2. Some of you have found that Soundslides lets you convert your project so you can upload it to Blogger or YouTube without having to put it on TerpConnect. Here's how Michaelle did it (thanks Michaelle!)
First, go to this link:
http://support.soundslides.com/index.php?pg=kb.page&id=132
Then, after the project is already exported, create a zip file out of the "publish_to_web" folder by using the steps listed based on the type of computer you are using.
Then, click "online video converter." (a link in the first sentence).
Type in your email address and click "continue."
Then, select your file and upload it. It will be converted into an MP4 file and emailed to you.
Go to the link, save it and upload it to the blog.
These steps are all outlined on the Web page.
Issues with Method 2:
Some students are reporting that the captions are dropping out of Soundslides when the projects are converted to mp4 video files (the method I sent most recently). After doing some digging, I've learned that this is a bug of converting Soundslides to video formats:
(see: http://multimedia.journalism.berkeley.edu/tutorials/using-soundslides/publishing/)
So, if you've already finished your project and posted it that way, then post a comment on the blog with the captions you intended and note what time each was to appear.
Or, use the first method of uploading that I described and upload the folder of files to the TerpConnect Web space -- that will keep the captions in place.
-Jeff
There are two ways you can do this:
1. The first step will be to export from Soundslides (once you're finished), and that will generate a whole folder full of files. Next, upload the Publish_to_Web folder full of files to your Web space.
For Web space, you can use the file hosting service that Maryland provides, ... it's File Manager under TerpConnect
http://terpconnect.umd.edu/myweb
Then post the link to your slideshow to the blog.
The OIT help desk should be able to walk you through any problems that come up with that (http://www.helpdesk.umd.edu/documents/4/4781/)
2. Some of you have found that Soundslides lets you convert your project so you can upload it to Blogger or YouTube without having to put it on TerpConnect. Here's how Michaelle did it (thanks Michaelle!)
First, go to this link:
http://support.soundslides.com/index.php?pg=kb.page&id=132
Then, after the project is already exported, create a zip file out of the "publish_to_web" folder by using the steps listed based on the type of computer you are using.
Then, click "online video converter." (a link in the first sentence).
Type in your email address and click "continue."
Then, select your file and upload it. It will be converted into an MP4 file and emailed to you.
Go to the link, save it and upload it to the blog.
These steps are all outlined on the Web page.
Issues with Method 2:
Some students are reporting that the captions are dropping out of Soundslides when the projects are converted to mp4 video files (the method I sent most recently). After doing some digging, I've learned that this is a bug of converting Soundslides to video formats:
(see: http://multimedia.journalism.berkeley.edu/tutorials/using-soundslides/publishing/)
So, if you've already finished your project and posted it that way, then post a comment on the blog with the captions you intended and note what time each was to appear.
Or, use the first method of uploading that I described and upload the folder of files to the TerpConnect Web space -- that will keep the captions in place.
-Jeff
Thursday, December 17, 2009
Operation Best Day Ever- FINAL
Captions:
00:16-00:23
Voice of Teddy Powers
U-Md. Junior
Founder of Operation Best Day Ever
01:26-01:32
Voice of Kelly O'Brien
U-Md. Junior
Sam Nassau Interview and Sequences--Justin Cousson and Off the Wall
Also functions as preliminary for Final Project.
Wednesday, December 16, 2009
DRAFT- Final Project "Operation Best Day Ever"
For some reason, the attribution credits did not come up, but I will fix that.
It may have something to do with me not selecting to upload the "lower thirds," but I'm not sure.
Tuesday, December 15, 2009
Ben Giles Final
Open this file in your web browser to view the audio slideshow:
http://terpconnect.umd.edu/~brgiles
http://terpconnect.umd.edu/~brgiles
Monday, December 14, 2009
Sunday, December 13, 2009
Saturday, December 12, 2009
Friday, December 11, 2009
Thursday, December 10, 2009
Wednesday, December 9, 2009
Tuesday, December 8, 2009
Monday, December 7, 2009
Sunday, December 6, 2009
Friday, December 4, 2009
Eric Villard sequence ID - repost
This video was actually shot by Richard Waganer, a resident of my hometown (Eldersburg, Md.) who is also a professional videographer. It is a commercial he entered in the Doritos Crash the Super Bowl Challenge with hope of getting it aired during the big game. Waganer’s Doritos ad is his take on the recent ‘Balloon Boy’ media frenzy. The video is on the Doritos Web site, http://www.crashthesuperbowl.com/#/video/1258/ , and the most recent version of the Adobe Flash Player is required to see it. When the site first loads a Doritos ad pops up – you can skip it by clicking the button in the lower right of the screen.
Unfortunately the site does not have time stamps on the video, but it is relatively short and the shots occur within a five second span. I’ll put by estimations on timing in parentheses. About two-thirds of the way through the commercial the main character, let’s call him ‘Jeff,’ is running through a field – this is where the sequence I’m identifying begins. It has a total of five different shots.
*The first shot (17 seconds in) is a very wide one with Jeff held in the rightmost third of the frame. It gives depth and a sense of place to the sequence.
*Immediately after this (18 seconds in) is a tight shot of the upper fourth of Jeff’s body as he is running through a field. The camera pans with him, mimicking the movements of his body.
*Right after this (18.5 seconds) is a tight shot the the Doritos bag making a landing in the wheat field.
*Next is a shot similar to the one at the 18-second mark (19 seconds in), but it is pulled out to a medium distance and encompasses his whole body. Again the camera pans with him and mimics his body movement.
*Lastly we have another tight shot (20 seconds in) of Jeff’s face as if we were in the bottom of the Doritos bag looking up. This shot makes it clear that the focus is Jeff and removes and possible outside interference by framing his face within the bag.
Since it is a spoof on ‘Balloon Boy,’ this video was aiming to capture the frenzy that surrounded it. As a result the cuts in the video, especially toward the end, are tight and quick. I think having the camera bob and sway with Jeff as he runs clumsily through a field hoping to find his darling ‘Chip’ in the bag effectively captured this. The variance in sequence shot types made the video dynamic and helped to keep the audience’s attention.
Unfortunately the site does not have time stamps on the video, but it is relatively short and the shots occur within a five second span. I’ll put by estimations on timing in parentheses. About two-thirds of the way through the commercial the main character, let’s call him ‘Jeff,’ is running through a field – this is where the sequence I’m identifying begins. It has a total of five different shots.
*The first shot (17 seconds in) is a very wide one with Jeff held in the rightmost third of the frame. It gives depth and a sense of place to the sequence.
*Immediately after this (18 seconds in) is a tight shot of the upper fourth of Jeff’s body as he is running through a field. The camera pans with him, mimicking the movements of his body.
*Right after this (18.5 seconds) is a tight shot the the Doritos bag making a landing in the wheat field.
*Next is a shot similar to the one at the 18-second mark (19 seconds in), but it is pulled out to a medium distance and encompasses his whole body. Again the camera pans with him and mimics his body movement.
*Lastly we have another tight shot (20 seconds in) of Jeff’s face as if we were in the bottom of the Doritos bag looking up. This shot makes it clear that the focus is Jeff and removes and possible outside interference by framing his face within the bag.
Since it is a spoof on ‘Balloon Boy,’ this video was aiming to capture the frenzy that surrounded it. As a result the cuts in the video, especially toward the end, are tight and quick. I think having the camera bob and sway with Jeff as he runs clumsily through a field hoping to find his darling ‘Chip’ in the bag effectively captured this. The variance in sequence shot types made the video dynamic and helped to keep the audience’s attention.
Blackberry Love Commercial and Sequences--Sam Nassau
http://www.youtube.com/watch?v=ylPejo32uik
Posting the video itself doesn't work right.
At :01, there's a wide shot of the man and the mountain.
Then at :03, a medium shot. He's getting ready.
At :04, a wide shot. Climbing.
Just the feet at the end of :04 and into :05, a detail.
:06, its wide. Still climbing.
Then, at :07, super wide. Success.
At :08, a medium of the guy and the guitar.
Two seconds later, at :10, the detail of him writing.
And at :11, the wide of the band playing.
There's also two mediums of the players at :12 and :14.
After this, the commercial plays around with the editing more, moving in some shots, staying still in others, breaking scenes up. Most of the rest of the shots are medium, though there are a few details and wide shots peppered in. By beginning with the two sequences, the commercial establishes the idea of people working toward something and acheiving it, a tone that carries through the rest of the video.
Posting the video itself doesn't work right.
At :01, there's a wide shot of the man and the mountain.
Then at :03, a medium shot. He's getting ready.
At :04, a wide shot. Climbing.
Just the feet at the end of :04 and into :05, a detail.
:06, its wide. Still climbing.
Then, at :07, super wide. Success.
At :08, a medium of the guy and the guitar.
Two seconds later, at :10, the detail of him writing.
And at :11, the wide of the band playing.
There's also two mediums of the players at :12 and :14.
After this, the commercial plays around with the editing more, moving in some shots, staying still in others, breaking scenes up. Most of the rest of the shots are medium, though there are a few details and wide shots peppered in. By beginning with the two sequences, the commercial establishes the idea of people working toward something and acheiving it, a tone that carries through the rest of the video.
Thursday, December 3, 2009
Peter Tartaglione talks Geico Commercial
Geico Commercial - http://www.youtube.com/watch?v=1j8NCAhjd_4
The commercial for Geico insurance, featuring the famous Geico Caveman, effectively utilizes sequence.
Within the first 5 seconds of the commercial, the commercial goes from a medium shot, to a wide pan out of the caveman walking, to a tight shot of his face. The sequence works because it sets the scene through the wide shots and shows the personal emotion through the close-ups.
:01- The Caveman gets off an escalator and walks toward the exit.
:04- The camera angle widens and you see the Caveman exiting a train station.
:06- The camera zooms in on the anguished Caveman's face.
Right after that closeup, the picture pans out to show the Caveman standing in front of a slew of T.V.'s advertising Geico with the slogan "So easy a caveman can do it." It then zooms into his face again to show greater anguish.
The video continues to switch back and forth between tight shots and medium shots as the Caveman runs down the street. The importance of the wide shots is to show the Caveman running through the streets alone, depicting him as a loner, and then the tight shots show his discontent with this. The commercial uses sequence very successfully to tell this story.
The commercial for Geico insurance, featuring the famous Geico Caveman, effectively utilizes sequence.
Within the first 5 seconds of the commercial, the commercial goes from a medium shot, to a wide pan out of the caveman walking, to a tight shot of his face. The sequence works because it sets the scene through the wide shots and shows the personal emotion through the close-ups.
:01- The Caveman gets off an escalator and walks toward the exit.
:04- The camera angle widens and you see the Caveman exiting a train station.
:06- The camera zooms in on the anguished Caveman's face.
Right after that closeup, the picture pans out to show the Caveman standing in front of a slew of T.V.'s advertising Geico with the slogan "So easy a caveman can do it." It then zooms into his face again to show greater anguish.
The video continues to switch back and forth between tight shots and medium shots as the Caveman runs down the street. The importance of the wide shots is to show the Caveman running through the streets alone, depicting him as a loner, and then the tight shots show his discontent with this. The commercial uses sequence very successfully to tell this story.
Alexis Gutter discusses the Gap holiday commercial
http://www.youtube.com/watch?v=UqLlqfNBl68&feature=rec-LGOUT-exp_fresh+div-1r-2-HM
Holiday Gap commercials have been among my favorite for years as I love the music and dancing. For the 2009 holiday commercial, there are many sequences that change camera views quickly. Here is an example of such a sequence:
1 second: A tight shot of a dancer's face before the number begins. The tight shot builds anticipation and gives independence to each dancer so that they will not be categorized as a group throughout the duration of the commercial
2 seconds: Wide shot of all of the dancers starting to move and singing. This shows what the entire scene looks like and is great contrast to the first shot.
3 seconds: Medium shot of three dancers in motion. This shot shows facials and more detail that engages the viewer more than the wide shot.
Changing angles and shot variance is a good way for the commercial to keep the audience engaged especially considering that the only other content of the ad is the song. Moreover, I'm personally happy that I had a reason to watch the advertisement 8 times because I truly do love Gap holiday commercials.
Ben Giles talks Bird vs. Jordan
The overall effect of the sequence of shots in this video is a bit cheesy, but it's still effective, especially considering how iconic this commercial was and still is today.
The common sequence of shots here is to shift from a medium shot of either Bird or Jordan taking a shot, and then to zoom in for a quick, tight shot of a ball swishing through a hoop. The first time we see this is at the 22 second spot, after a Jordan shot.
The sequence of quick cut shots get more extravagent as the trick shots the player's take get more complicated. In a series starting with a Bird basket taken from the bleachers: a total of three camera shots are shown in only three seconds.
31: the ball bounces off midcourt.
32: the ball bounces off the jumbotron.
33: the ball swishes through the hoop.
And to cap it all off, second 34 in the video is a tight shot of a flabbergasted Jordan.
The video goes on in this manner, and then even uses wide shots for grand effect as the baskets taken by the players get even more ridiculous. At the end of the commercial, the camera pans out into a wide angle shot of Bird and Jordan standing on a skyscraper, starting at the 52 second mark.
Zettler Clay Explains Sequential Elements in Dark Knight Trailer
Dark Knight, one of the greatest movies of the decade and the second-highest grossing (domestic) film ever, was ushered into the summer of 2008 with much hype. This trailer was a big reason why. It built anxiety, suspense, drama and action in just under two minutes and 30 seconds.
Starting at the 14 second mark, there are two consecutive wide shots followed by a medium shot (ending at the 18 second mark). The trailer wouldn't show a close shot until the 28 second mark, when the Joker was introduced. This will become a familiar pattern throughout the video. I thought this was very effective because the audience was anticipating the arrival of the new character and the production team of Dark Knight capitalized on that by saving its close shot for the late Heath Ledger's appearance.
This trailer would go on to use close shots sparingly, set up by a barrage of wide-to-wide-to-wide-to-medium sequences before sprinkling in a close shot. The production team also seemed focused to limit its close-ups on the Joker and Harvey Dent/Two-Face, the antagonists of the film.
In fact, every shot of the Joker is a close-to-medium shot. Batman/Bruce Wayne, on the other hand, was displayed with more dimensions (which, when you think about it, is fully in line with how Batman is). The whole video is spliced with this consistency, but a special sequence best encapsulates the sequential elements we discussed in class:
1:33 - 1:48: It begins with a close up of the Joker and ends, fittingly, with a close up of Harvey Dent's metamorphosis into Two-Face. In between, there was 15 rapid scenes. 10 of them were close ups, three of them were wide shots and two were medium. At one section (between 1:36 and 1:39), there were four straight close shots, immediately followed by two wide shots and a medium shot. For the remaining seven scenes in this sequence, there was only one wide shot, sandwiched between two consecutive close shots and four consecutive close shots. These shots and the speed with which they were put together was executed effectively to emphasize the crescendo of the trailer.
With over $1 billion in the bank, it's safe to say that it might have worked.
Starting at the 14 second mark, there are two consecutive wide shots followed by a medium shot (ending at the 18 second mark). The trailer wouldn't show a close shot until the 28 second mark, when the Joker was introduced. This will become a familiar pattern throughout the video. I thought this was very effective because the audience was anticipating the arrival of the new character and the production team of Dark Knight capitalized on that by saving its close shot for the late Heath Ledger's appearance.
This trailer would go on to use close shots sparingly, set up by a barrage of wide-to-wide-to-wide-to-medium sequences before sprinkling in a close shot. The production team also seemed focused to limit its close-ups on the Joker and Harvey Dent/Two-Face, the antagonists of the film.
In fact, every shot of the Joker is a close-to-medium shot. Batman/Bruce Wayne, on the other hand, was displayed with more dimensions (which, when you think about it, is fully in line with how Batman is). The whole video is spliced with this consistency, but a special sequence best encapsulates the sequential elements we discussed in class:
1:33 - 1:48: It begins with a close up of the Joker and ends, fittingly, with a close up of Harvey Dent's metamorphosis into Two-Face. In between, there was 15 rapid scenes. 10 of them were close ups, three of them were wide shots and two were medium. At one section (between 1:36 and 1:39), there were four straight close shots, immediately followed by two wide shots and a medium shot. For the remaining seven scenes in this sequence, there was only one wide shot, sandwiched between two consecutive close shots and four consecutive close shots. These shots and the speed with which they were put together was executed effectively to emphasize the crescendo of the trailer.
With over $1 billion in the bank, it's safe to say that it might have worked.
Wednesday, December 2, 2009
Michaelle Bond on Barilla Pasta Commercial
The commercial is in Italian, but that doesn't matter because it contains sequences.
00:30- tight shot on boxes of Barilla pasta
00:31- medium shot of mother and son at the store with pasta boxes
00:32- wide shot of Barilla trucks transporting the pasta
00:34- tight shot of the face of the founder of Barilla
00:35- tight shot of the grain in his hand
This commercial is about Barilla pasta from 1877 to the present and how it has continued to be a family favorite through the years. The commercial and this sequence are trying to get viewers to feel like they have always been part of the Barilla family throughout the pasta's history.
The combination of the three types of shots works in this commercial. The first three shots in this sequence go from tight to medium to wide. This shows the way something as simple as pasta can be more important than just food and can connect people. The pasta starts out as just food, but becomes something bigger than itself over time because of the people it touches. The tight shot of the pasta boxes works because it puts the focus back on the item being marketed, lest the viewers forget the name of the only type of pasta that has been connecting people for more than 100 years. It also draws the viewers into the commercial, like they are part of the family. The medium shot of the mother and son also allows the viewers to feel like part of the family. The wide shot of the trucks shows that the pasta is being distributed to families in all different locations.
The tight shot of the founder's face brings viewers back to where it all began, as does the tight shot of the grain in his hand.
Peter Tartaglione Interviews Matt Lipsky on Maryland Basketball
I was having trouble posting my video to the blog, so here is a Link to my video on Vimeo.
Tuesday, December 1, 2009
Alexis Gutter discusses the Gap holiday commerical
Holiday Gap commercials have been among my favorite for years as I love the music and dancing. For the 2009 holiday commercial, there are many sequences that change camera views quickly. Here is an example of such a sequence:
1 second: A tight shot of a dancer's face before the number begins. The tight shot builds anticipation and gives independence to each dancer so that they will not be categorized as a group throughout the duration of the commercial
2 seconds: Wide shot of all of the dancers starting to move and singing. This shows what the entire scene looks like and is great contrast to the first shot.
3 seconds: Medium shot of three dancers in motion. This shot shows facials and more detail that engages the viewer more than the wide shot.
Changing angles and shot variance is a good way for the commercial to keep the audience engaged especially considering that the only other content of the ad is the song. Moreover, I'm personally happy that I had a reason to watch the advertisement 8 times because I truly do love Gap holiday commercials.
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