Intro to 4D: 2012

Wednesday, December 5, 2012

Homework due 12.18.12 (after Final Reviews)

Congratulations on some great performances yesterday! Isaac and I were super impressed with what you accomplished in a very short period of time. If I don't see you next week, have a wonderful break.
-Norene

1. Assemble and review your documentation (video, photos, etc.). If you have video, do a basic edit, and burn a quicktime file to DVD. If you have photos, please edit them down to the best 10-15, and burn to CD/DVD.

2. Deliver a CD/DVD with your performance project documentation (photos and/or video) to my locker in Fine Arts (instructions for accessing the locker will be emailed to you) by 10am Tuesday December 18, 2012. If I do not have documentation of your performance, I cannot submit your grade. You can also drop off additional DVDs with projects you have reworked/revised, or DVDs of projects that you didn't turn in. I will use the newest DVDs to calculate your final grade.

3. Watch and give feedback on Vito's performance video, and stop motion project videos by Alma & Vito. YouTube links will be emailed to you early next week.

4. Fill out the online course evaluation for this class.

Making a Mastered DVD for any DVD Player

These are basic instructions for making a DVD with a menu that will play anywhere (any TV, any computer, and any DVD player). DVD's are by their very nature just Standard Definition (i.e. NOT HD). iDVD will take your HD movie and down convert it into interlaced NTSC Standard Def video. In order to record HD video onto a physical disk you need a Blu-Ray disk and Blu-Ray burner, not something that is standard on Apple or owned by most people. This is why you are making BOTH a full quality Quicktime file (preserving HD as needed) AND a mastered DVD of your projects.

1. Export your projects as full quality Quicktime files and burn them to DVD so that you have backups (http://introto4df12.blogspot.com/2012/10/fcp-exporting-high-quality-quicktime.html).

2. Copy all of your Quicktime files to Work in Progress on one of the New School's computers (don't try to burn DVDs from your hard drive!) and open iDVD. Click "Create New Project." If you are asked, keep the aspect ratio Standard. (In order to properly display widescreen DVDs, the DVD player and TV must be able to read the widescreen aspect ratio and properly display the full menu, which most TVs and DVD players cannot do. Widescreen DVDs suffer from significant cropping when displayed on regular 4:3 TV sets.)

3. Go to iDVD> Preferences. Under "General" uncheck "Show Apple Logo Watermark."

Under "Projects" change the Encoding to Professional Quality and DVD Type to Single Layer. Name your DVD.

4. Click on "7.0 Themes" and change to "All." Scroll down to "Portfolio Color." Drag and drop your Quicktime video projects into the main area. They will appear as icons with text below.

5. To edit the buttons, click "Buttons" on the lower right to choose the shape. Then Control-click on the image and choose "Show Inspector Window" which will allow you to adjust the size, etc. of the button.

To edit the text, click twice. You can choose font, size, etc.

6. Click the Play button on the bottom right to preview your DVD.

Once it's ready, click the Burn button next to the Play button. Insert your DVD-R DVD and get out something to read because THIS WILL TAKE A LONG TIME (20-30 minutes maybe more!). Then voila! You have a DVD. Burning subsequent DVDs takes a lot less time, so make duplicates NOW.

7. Make as many of these DVDs as you need. They burn much more quickly after the first one.

Video tutorial:

PDF tutorial (you don't need chapter markers, so start from page 6):
http://nobetty.net/4d/resources/iDVD_tutorial.pdf -from http://www.bgsu.edu

Ken Stone is also an excellent resource for all things FCP and iDVD related.

Detailed iDVD tutorial from Ken Stone's web site:
http://www.kenstone.net/fcp_homepage/idvd_6_stone.html

iDVD 7
http://www.kenstone.net/fcp_homepage/idvd_07_stone.html

**There are some options for burning Blu-Ray material onto a standard DVD in a format that Blu-Ray players will recognize in FCP, see this earlier post: http://introto4df11.blogspot.com/2011/10/burning-mastered-dvd-directly-from-fcp.html. Only do this if you have a Blu-Ray DVD player, it will not play on your Mac!

Final Crit Schedule

Isaac's schedule for tomorrow is below. Email us ASAP if there are any changes or concerns. We are starting at 9am in 2 W. 13th St. room 811. Get here EARLY so that we can start right at 9am. The class will go until 3pm, so that we can fit everyone in. If you have to leave earlier, please let me know in advance. Due to the size of the class and our time constraints, you will only be allowed to perform for 5 minutes. PLEASE REHEARSE, we don't want to have to cut you off. Everyone had some great ideas last week, really looking forward to seeing your projects!

-Norene

TIMES:

Performance Classroom (2 W. 13th St. room 811)
9.00 - 9.20 Elsa
9.20 - 9.40 Sarah (documentation)
9.40 - 10.00 Rob (video)
10.00 - 10.20 Vito (video and possible performance)
10.20 - 10.40 Alma
10.40 - 11.00 Gabby
11.00 - 11.20 Athena (laptop/projection)
11.20 - 11.40 Rusty (video OR performance)

BREAK

Presentation Space (Installation Space A, Fine Arts, 25 E. 13th St., 4th floor)
12.20 - 12.40 Manuel
12.400 - 1.00 Kerim
1.00 - 1.20 Georgia (video)
1.20 - 1.40 Lola (video)
2.00 - 2.20 Damasia (projection + installation)
2.20 - 2.40 Sahar
2.40 - 3.00 Erin (video)

Friday, November 30, 2012

More Performace Art References

Cheryl Donegan
http://www.ubu.com/film/donegan.html

Marina Abramovic's Balkan Baroque
http://vimeo.com/38023444

Thu Tran's Food Party
http://www.youtube.com/watch?v=8XfTaH9Tg3E

Wednesday, November 28, 2012

Homework due 12.06.12

1. Finish your performance piece. The guidelines are posted here: http://introto4df12.blogspot.com/2012/11/project-3-performance-due-120612.html. *It must be 5 minutes or less.*

2. Arrange documentation of your performance piece (if you are performing it live).

3. Make sure you have signed up for a space/time via Isaac's google doc: https://docs.google.com/document/d/18ZrBwJEM32jj8Jjfw1u8PNxUyEZIb6KMFtqfT8dLdec/edit.

Reminder: New classroom and meeting time

We are going to start class at 9am tomorrow in our performance space in 2 W. 13th St. room 811. There's a lot to cover so please be on time. Looking forward to hearing your performance ideas!

Wednesday, November 14, 2012

Homework due 11.29.12

1. Think/Draw: Develop ideas for performance project (drawings & notes in sketchbook).

2. Look: Go see one of these performances: http://introto4df12.blogspot.com/2012/11/performance-do-over.html.

3. Read: The next installment of Roselee Goldberg's Live Art http://nobetty.net/4d/resources/readings/TheLiveArt-1970-80.pdf.

4. Watch: There is a super concise history of performance art posted to the blog. Choose one piece to discuss with the class next week.

Performance Art: 1950's-1970's
http://introto4df12.blogspot.com/2012/11/performance-art-1950s-1970s.html

Performance Art: 1980's-Present
http://introto4df12.blogspot.com/2012/11/performance-art-1980s-present.html

Performance Art: 1980's-Present

1980’s

Tehching Hsieh
1980-81 One Year Performance” April 11, 1980 - April 11, 1981
http://vimeo.com/16280427
http://www.youtube.com/watch?v=1hcqweHEWec
Linda Montano and Tehching Hsieh
1983-84 “Art/Life: One Year Performance (a.k.a. Rope Piece)” 4 July 1983 – 3 July 1984 http://nobetty.net/4d/resources/images/montano_tehching_ropepiece_1984.jpg

Laurie Anderson
1981 “O Superman (For Massenet)” http://www.youtube.com/watch?v=-VIqA3i2zQw
1986 “Home of the Brave” http://www.youtube.com/watch?v=osHBA6YAHAo

Paul McCarthy
*1995 "Painter" http://www.ubu.com/film/mccarthy_painter.html
documentary “Destruction of the Body” (2001) VCA14303 http://www.ubu.com/film/mccarthy.html

1990’s

Andrea Fraser

1989 "Museum Highlights: A Gallery Talk"

http://nobetty.net/4d/resources/images/fraser_museumhighlights1989.jpg

2003 “Untitled” http://nobetty.net/4d/resources/images/fraser_untitled2003_01.jpg http://nobetty.net/4d/resources/images/fraser_untitled2003_02.jpg

Coco Fusco & Guillermo Gomez-Peña
1992 “Undiscovered Amerindians” http://www.youtube.com/watch?v=gLX2Lk2tdcw
“The couple in the cage [videorecording] : a Guatinaui odyssey“ VCA4352 http://vimeo.com/7319457
“Operation Atropos” DVD10349
Interview with Coco Fusco DVD10118
2009 “A Room Of One's Own: Women and Power in the New America"
http://www.youtube.com/watch?v=-8Voh4nLWIw

Janine Antoni
1992/93 “Loving Care” http://nobetty.net/4d/resources/images/antoni_lovingcare_1993_01.jpg
1992 “Gnaw” http://nobetty.net/4d/resources/images/antoni_gnaw_1992_01.jpg
http://nobetty.net/4d/resources/images/antoni_gnaw_1992_02.jpg
1993 “Lick & Lather” http://nobetty.net/4d/resources/images/antoni_lickandlather_1993.jpg

Matthew Barney
1987-ongoing Drawing Restraint http://www.drawingrestraint.net/
Short interview about Drawing Restraint http://www.youtube.com/watch?v=83WTxmkye04
2005 Drawing Restraint 9 Trailer http://vimeo.com/23751206
1994-2002 Cremaster Cycle http://www.cremaster.net/
2002 Cremaster Cycle Trailer http://www.youtube.com/watch?v=R_aZQffIBw0
Cremaster 1 http://www.youtube.com/watch?v=_y9tM8dcyuk
Cremaster 2 http://www.youtube.com/user/LeRareMovies#p/u/27/v6rD4y7ZltY
Cremaster 4 http://www.youtube.com/watch?v=-VpXpMJzPVc

Contemporary

Miranda July
2000 “Love Diamond” performed at The Kitchen (excerpt) http://www.youtube.com/watch?v=XuU99STtP2s
2007 “Things We Don't Understand And Are Definitely Not Going To Talk About” performed at The Kitchen (excerpt) http://www.youtube.com/watch?v=A8OQassYB_4

Patty Chang
*2003 “In Love with Patty Chang” short documentary http://www.youtube.com/watch?v=5LeEMWNqjJw

Sharon Hayes http://www.shaze.info/
2003 “Symbionese Liberation Army (SLA) Screeds #13, 16, 20 & 29“ http://www.shaze.info/projects/sla_video.html
2007 “Everything else has failed! Don’t your think it’s time for love?” http://www.shaze.info/projects/eehf_audio.html
2009 “In the Near Future” http://nobetty.net/4d/resources/images/hayes_inthenearfuture_2009.gif

Lilibeth Cuenca Rasmussen
2009 “Never Mind Pollock” http://vimeo.com/10953391
2011 “Afghan Hound” http://vimeo.com/31501248

Tino Sehgal
2007 “The Kiss” http://nobetty.net/4d/resources/images/sehgal_thekiss_01_2007.jpg
http://nobetty.net/4d/resources/images/sehgal_thekiss_02_2007.jpg
2010 “This Progress” http://nobetty.net/4d/resources/images/sehgal_thisprogress_2010.jpg

Ernesto Pujol http://ernestopujol.org/
2010 “Awaiting” http://www.youtube.com/watch?v=6i-npj7cgGI

Nick Cave
2010 “Soundsuits” interview http://www.youtube.com/watch?v=PwupTQt9zxY
performance UCLA http://www.youtube.com/watch?v=ksm7LkzyFrk

Performance Art: 1950's-1970's

Project 3: Performance (due 12.06.12)

Einhorn (Unicorn), Rebecca Horn, 1970

For your final project, create a five-minute (or less) piece that explores performance. We are defining performance as "the execution of an action" so your project has a wide range of options and influences: Rebecca Horn (prosthetics), Marina Abramović (direct use of the body), Adrian Piper (confrontation/politics), Robert Whitman (interaction with projections/media), John Cage (sound), etc. This can be a recorded performance or a live performance.

The key to many successful time-based artworks is documentation. Think about how you are going to stage it, and what exactly you want the audience to see for your final critique: Is it a live performance? Are you showing only evidence from a past performance? Are we watching a video of the performance? Is there an installation component?

The project is due on 12.06.12 and you have a maximum of five minutes to perform/present your piece. You have a choice of two rooms:
55 W. 13th St. room 404
2 W. 13th St. room 811
*any other room/space must be ok'd by Norene & Isaac, due to time limitations

Please plan in advance. Check out the available rooms, and consider how, when, where and what equipment (camera, TV, DVD player, LCD projector) you will need. Your performance must be thoughtfully documented. Arrange for one of your classmates to video/photo it, including reserving the video camera and tripod. The documentation will then be edited and burned to a DVD due 12.18.12.

Isaac will be organizing the crit schedule and equipment, so you need to let him know ASAP what your room and equipment needs are.

CLASS SCHEDULE

11.15.12
Critique of finished stop motion projects
Introduction: Performance History (50’s-70’s)
HW: Develop ideas for performance project (drawings & notes in sketchbook). Go see one of these performances: http://introto4df12.blogspot.com/2012/11/performance-do-over.html

11.22.12
Thanksgiving NO CLASS

11.29.12
Introduction: Performance Now (80’s-Present)
Movement exercises
Review preliminary sketches/concepts
Work time
HW: Finish performance project. Bring any necessary props. Sign out equipment and plan for documentation.

11.30-12.05.12
Norene & Isaac available by appointment for extra feedback

12.06.12
Critique of final performance projects
HW: After reviews, edit performance documentation and burn to DVD.

12.13.12
Fine Arts Department Final Reviews

12.18.12
Deliver a DVD with your project to Norene's locker in Fine Arts (instructions for accessing locker will be emailed to you)

Performance Do-over

If you could not make it to Isaac's exhibition, please choose one of the following ongoing performances/exhibitions to attend. Make notes in your sketchbook, and be prepared to discuss in class 11.29.12. If you went to Isaac's exhibition, you are welcome to attend one of these for extra credit.

1. Martha Rosler
Meta-Monumental Garage Sale
November 17 to 30, 2012, MoMA
Wednesday–Thursday, 12:00–5:00 p.m.
Friday, 12:00–7:30 p.m.
Saturday–Monday, 12:00–5:00 p.m.
Closed on Tuesdays and Thanksgiving Day, November 22

For her first solo exhibition at The Museum of Modern Art, Martha Rosler (Brooklyn, New York) will present her work Garage Sale in The Donald B. and Catherine C. Marron Atrium from November 17 to 30, 2012. Rosler, through her artistic practice, teaching, and writing, is widely regarded as one of the most influential artists of her generation. For more than 40 years, Rosler has made “art about the commonplace, art that illuminates social life,” examining the everyday through photography, performance, video, and installation.

http://www.moma.org/interactives/exhibitions/2012/garagesale/

2. Krzysztof Wodiczko
Abraham Lincoln: War Veteran Projection
November 8 - December 9, 6-10 PM daily, Union Square Park North at 16th Street passageway

Beginning November 8th, voices of recent veterans of the Iraq and Afghanistan wars will animate a bronze commemorative statue of Abraham Lincoln that has stood silently in Union Square Park since 1870.

For thirty-two days, the memories and feelings of ordinary Americans will speak through Lincoln as part of an outdoor public art installation by Krzysztof Wodiczko, an artist renowned for his large-scale light projections on architectural facades and monuments. Abraham Lincoln: War Veteran Projection marks a return of sorts to Manhattan for the artist, whose last monumental work here was the influential and still often cited Homeless Project (1988).

http://www.moreart.org/artists/krzysztof-wodiczko/

3. Performing Histories (1)
September 12, 2012–March 11, 2013, MoMA

Performing Histories (1) is the first part of a two-part exhibition of media artworks that engage with history in various ways. These works, which have all recently entered the Museum’s Media and Performance Art collection, represent a wide range of perspectives, reflecting the diversity of the artist’s practices and backgrounds. The featured artists are Kader Attia (b. France, 1970), Andrea Fraser (b. USA, 1965), Ion Grigorescu (b. Romania, 1945), Sharon Hayes (b. USA, 1970), Dorit Margreiter (b. Austria, 1967), Deimantas Narkevičius (b. Lithuania, 1964), and Martha Rosler (b. USA, 1943).

The practices, exemplified in these works, of revisiting existing narratives and examining one’s own cultural, social, and personal history are not bound to any specific medium; they are part of critical artistic practice, in general. In recent decades, artists have increasingly chosen to employ performance in conjunction with cinematic mediums, such as film, slide projection, video, and photography, in orderto create multifaceted narratives and provide new readings of past events.

http://www.moma.org/visit/calendar/exhibitions/1312

*There is a related conference about performance art today this Friday and Saturday, but it's sold out. You can still go the day of, and try to get in.

How Are We Performing Today?
New Formats, Places, and Practices of Performance-Related Art
November 16 and 17, 2012, 1–7pm

How Are We Performing Today? examines the shifting conditions and rising popularity of performance-related art, and its evolving—and frequently ambivalent—relationship to the museum. Drawing on the double meaning of "performance" as both a live element in the arts and a benchmark for economic productivity, the conference seeks to understand the character and consequences of new performance formats and strategies used by artists, curators, and institutions. Moreover, it explores how performance is tied to the experience economy—in which memory itself is a product—and how it is framed institutionally. The program of prominent scholars, artists, and curators addresses questions including: Where and under what conditions does performance art emerge today? How can artists and institutions address performance's migration from the margin to the center of contemporary art discourse? What kinds of transformations or conditions might be necessary to create a meaningful or critically engaged performance art program within the museum?

Through this conference, MoMA's Department of Media and Performance Art seeks to deepen its engagement with the theory and practice of performance-related art—reflecting on the medium's changing parameters, modes of production, and presentation.

November 16

Introduction
Sabine Breitwieser, Chief Curator, Department of Media and Performance Art, MoMA

Keynote Address
Judith Butler, Professor of Rhetoric and Comparative Literature and Co-director of the Program of Critical Theory, University of California, Berkeley
Shannon Jackson, Professor in the Arts and Humanities, University of California, Berkeley
Moderator: Sabine Breitwieser, Chief Curator, Department of Media and Performance Art, MoMA

Session 1: The Places of Performance
Rachel Haidu, Associate Professor in the Department of Art and Art History and the Graduate Program in Visual and Cultural Studies, University of Rochester
Andrea Fraser, Artist, Professor for New Genres, University of California, Los Angeles
Moderator: Johanna Burton, Director, graduate program at the Center for Curatorial Studies, Bard College

November 17

Session 2: New Formats
Pierre Bal-Blanc, Director, CAC Brétigny, Paris, France
Boris Charmatz, Director, Rennes and Brittany National Choreographic Centre (Musée de la Danse)
Tim Griffin, Executive Director and Chief Curator, The Kitchen, New York
Stephanie Rosenthal, Chief Curator, Hayward Gallery, London
Moderator: Ana Janevski, Associate Curator of Performance, Department of Media and Performance Art, MoMA

Session 3: New Artistic Practices
Film screening: Grand Openings. Return of the Blogs, by Loretta Fahrenholz
Jutta Koether, artist, writer, and Professor, Hochschule für bildende Künste (HfbK), Hamburg
Jay Sanders, Curator of Performance, The Whitney Museum of the American Art, New York
Simon Leung, artist and Professor of Art, University of California, Irvine
Emily Roysdon, artist and writer
Moderator: Claire Bishop, Associate Professor in Art History, CUNY Graduate Center, New York

Archival Case Studies
Jonathan Lill, Project Archivist, MoMA
Michelle Elligott, Archivist, MoMA
David Senior, Bibliographer, MoMA

Organized by Sabine Breitwieser, Chief Curator, and Ana Janevski, Associate Curator of Performance, with Leora Morinis, Curatorial Assistant, Department of Media and Performance Art.

How Are We Performing Today? is made possible by MoMA's Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Live-stream the conference at MoMA.org/live.
Find out more about the symposium and other performance-related events at MoMA.org/performance.

Wednesday, November 7, 2012

Homework due 11.15.12

1. Finish your stop motion project. Bring in your project as a QuickTime file on a DVD in addition to your hard drive http://introto4df12.blogspot.com/2012/10/fcp-exporting-high-quality-quicktime.html.

2. Read this excerpt from Roselee Goldberg's Performance: Live Art 1909 to the Present
http://nobetty.net/4d/resources/readings/TheLiveArt-1950-60.pdf. Be prepared to discuss in class.

Revised Timeline

11.08.12 Critique of finished stop motion projects, Lab time
11.15.12 Critique of finished stop motion projects, Intro to performance
11.22.12 Thanksgiving NO CLASS
11.29.12 Develop performance projects
12.04.12 Norene available 10:30-12:30 by appointment for extra feedback
12.06.12 Performance and critique of final performance projects
12.13.12 Fine Arts Department Final Reviews
12.18.12 Deliver a DVD with your projects to Norene's mailbox

Wednesday, October 24, 2012

SexEd: extra credit and Collab course

SexEd http://sexedproject.org is an ongoing quest to expose the current state of sexual education in the US, encourage a public discourse around the topics of sexual health and education, and develop a sex education curriculum that is artist-inspired and community-based—something currently not in existence in the United States. The SexEd project launches at Cuchifritos gallery on the LES in February 2013.

Need extra credit?
Make a video for our YouTube open call:
http://sexedproject.org/youtube-video-calls

With Liz Slagus, I'm also teaching a SexEd Collab course through the Fine Arts department at Parsons next semester. Students will be making SexEd-themed video work that is screened at Cuchifritos on selected dates, curating screenings of video work submitted to the SexEd project website via the open call, and creating a pop-up YouTube booth for public interventions. For more info go to http://sexedproject.org and/or email me for the syllabus.

Homework due 11.01.12

Finish your stop motion project for the crit next week. Export it as a high quality quicktime file, burn it to a DVD, and bring the DVD and your firewire drive as a backup: http://introto4df12.blogspot.com/2012/10/fcp-exporting-high-quality-quicktime.html.

FCP: Exporting a High Quality QuickTime file (2)

1. Once you are finished, save everything, then make sure that your final sequence is open in the Timeline.

2. Go to File>Export>Using QuickTime Conversion. In the dialogue box:
Save As: give your movie a title like "time_final_highquality.mov" so it is distinguishable from your other video exports.
Where: Save it to your FireWire hard drive.
Format: QuickTime Movie
Then click on Options, and a new dialogue box appears.

3. Under Video choose Settings
Compression Type: Apple ProRes 422.
Click OK, this takes you back to the earlier dialogue box.

4. Under Video choose Size. Change as needed to match your project settings.

5. Click OK again, then Save. Your file will begin exporting. This takes time, be patient! Do not click on the file, even if it appears in the Finder, until FCP is finished.

6. Check your exported video -- open it in QuickTime, it should look fabulous. If not, check your settings and try again. You can also try using H264 for compression instead of Apple ProRes 422.

7. Burn this file to DVD. It will be big, several gigabytes. This is your backup, you can use this file to make mastered DVDs, and to import into other versions of FCP/FCP Express. Make 2 copies, 1 for me and 1 for you. Bring the DVD with you to class next week for the crit, as well as a backup on your firewire drive.

Friday, October 19, 2012

FCP: Setting up your HD stop motion project (with photos only)

1. Open FCP, in the first dialogue box "Format" choose Apple Pro Res 422 and set the primary scratch disk to your FireWire 800 drive. The program should open.

2. In the upper left choose Final Cut Pro>System Settings. Make sure that all of the options are set to save to your FireWire drive.

3. In the upper left choose Final Cut Pro>Audio/Video Settings. For your sequence preset choose Apple ProRes 422 1440x1080 30p (*not* Apple ProRes 422 (HQ)). For your capture preset choose HDV-Apple ProRes 422. For your device control preset choose non-controllable device. Video playback should be set to none and audio to default. Then click OK.

4. Go to Final Cut Pro>User Preferences. Click on the Editing tab and change the Still/Freeze duration to 1 second (the default is 10 seconds, way too long!).

5. Go to File>New>Sequence. A new sequence "Sequence 2" should appear in your Browser. Double check that Sequence 2 has the correct settings by going to Sequence>Settings. Your sequence should be 1440x1080 29.97fps and the Compressor Apple ProRes 422. Then go back and delete your first sequence, "Sequence 1," and rename Sequence 2 something you'll remember.

6. Go to File>New Project, then immediately save your project to your FireWire drive.

7. Import the folder with your stop motion photos by going to File>Import>Folder and choosing the folder with your photos.

You're all set! Start editing away. Try and remember to save your project often -- computers crash, especially when they are editing video.

Wednesday, October 17, 2012

Homework due 10.25.12

Finish your shooting and import your images into FCP.

Instructions for setting up your project are posted here:
-if your project only uses photos http://introto4df12.blogspot.com/2012/10/fcp-setting-up-your-hd-stop-motion_19.html
-if your project uses photos and HD video http://introto4df12.blogspot.com/2012/10/fcp-setting-up-your-hd-stop-motion.html

Instructions for working with photos in FCP are posted here:
http://introto4df12.blogspot.com/2012/10/fcp-tips-for-working-with-photos.html

Please have them imported (or at least attempt it) BEFORE class next week. Isaac and I will help you troubleshoot during class time.

FCP: Additional resources

The AMT computer lab at 2 West 13th St. on the 10th floor has FCP and access to LYNDA (http://www.lynda.com/). Go on over and ask a technician to log you in. There are all kinds of tutorials for FCP and other software.

FCP: Setting up your HD stop motion project (with live action HD video)

1. Open FCP, in the first dialogue box "Format" choose Apple Pro Res 422 and set the primary scratch disk to your FireWire 800 drive. The program should open.

2. In the upper left choose Final Cut Pro>System Settings. Make sure that all of the options are set to save to your FireWire drive.

3. In the upper left choose Final Cut Pro>Audio/Video Settings. For your sequence preset choose Apple ProRes 422 1920x1080 30p (*not* Apple ProRes 422 (HQ)). For your capture preset choose HDV-Apple ProRes 422. For your device control preset choose non-controllable device. Video playback should be set to none and audio to default. Then click OK.

4. Go to Final Cut Pro>User Preferences. Click on the Editing tab and change the Still/Freeze duration to 1 second (the default is 10 seconds, way too long!).

5. Go to File>New>Sequence. A new sequence "Sequence 2" should appear in your Browser. Double check that Sequence 2 has the correct settings by going to Sequence>Settings. Your sequence should be 1920x1080 29.97fps and the Compressor Apple ProRes 422. Then go back and delete your first sequence, "Sequence 1," and rename Sequence 2 something you'll remember.

6. Go to File>New Project, then immediately save your project to your FireWire drive.

7. Import the folder with your stop motion photos by going to File>Import>Folder and choosing the folder with your photos.

You're all set! Start editing away. Try and remember to save your project often -- computers crash, especially when they are editing video.

FCP: Working with photos

1. Put all of the images you want to use in one folder on your FireWire drive.

2. In FCP, set up your project with the correct HD settings
-if your project only uses photos http://introto4df12.blogspot.com/2012/10/fcp-setting-up-your-hd-stop-motion_19.html
-if your project uses photos and HD video http://introto4df12.blogspot.com/2012/10/fcp-setting-up-your-hd-stop-motion.html

3. Go to Final Cut Pro>User Preferences. Click on the Editing tab and change the Still/Freeze duration to 1 second (the default is 10 seconds, way too long!).

4. Go to File>Import>Folder and choose the folder of images in your hard drive. The folder will appear in the Browser. Drag the folder into your timeline, and your images will appear in sequence. Each image will have a duration of 1 second.

5. To apply a filter or change the speed of all of your images you will need to NEST your sequence. This turns your many clips into one clip.
To nest a sequence:
-create a new sequence in your Browser (File>New>Sequence)
-double click to open it in the Timeline
-from the Browser, pull your original sequence down into your new sequence, it will appear as a single clip
-to make edits to your nested sequence that require the Viewer, remember to hold down the Option key when you double click to get your nested sequence to appear in the Viewer

6. If FCP is acting buggy, it may be that your images are too big. Suggested camera settings are posted here: http://introto4df12.blogspot.com/2012/10/canon-60d7d-settings-for-stop-motion.html. If you shot them as RAW files, all is not lost -- you can open/import them in iPhoto, then go to File > Export, and choose JPEG, high or medium quality. Then import the images into FCP again. This should make everything go much faster.

Wednesday, October 10, 2012

Canon 60D/7D Settings for Stop Motion

To shoot images for your stop motion project with the 60D/7D, you will make your life easier if you switch the image setting from RAW to JPEG S1 (fine). Your image will still be 2.2mb, and this smaller file size is much easier for FCP to handle.

Remember that the top and bottom of your image are going to get cropped when you import them into FCP! The Canon has a different aspect ratio than your HD video project. The 7D will give you a preview if you leave it in Movie mode.

To shoot in short bursts, you can use the camera in Sports mode, the 60D will shoot 5.3 images per second, the 7D can shoot 8 images per second.

More Stop Motion

http://rrrrrrrroll.tumblr.com/

Homework due 10.18.12

Make significant progress on your stop motion project. Reshoot and record sound as needed. Be prepared to show video/audio footage next week.

Wednesday, October 3, 2012

Stop Motion Project (due 11.01.12)

For your next assignment, create a short (3 minutes or less) stop-motion animation project influenced by the hand-made/drawn/torn animations of William Kentridge or the more traditional stop-motion techniques of Jan Svankmajer. This is a short, experimental project, keep it simple. You have 2 class periods of work time, 1 class of editing time, with the final animation due 11.01.12.

Examples of student work:

http://www.youtube.com/watch?v=OxAmSh6YYXQ

http://www.youtube.com/watch?v=rWsWxxjTR34

http://www.youtube.com/watch?v=CgMns9I0dhw

In addition to our usual classroom, a studio room will be available to us during class time (location TBD).

Guidelines and notes:
-If you use one of the school's DSLR cameras and have it set to shoot video, it will take a still image and give you a preview of what the image will look like in FCP (note the gray bars on the top and bottom). If you use your own camera, it may not. If it's a different aspect ratio, how are you going to use the extra space in the frame?
-Use a tripod and tape its placement on the floor. Label your tape with Sharpie that says "DO NOT REMOVE UNTIL 11/1/12." Every time your camera moves, even slightly, it changes the shot and will effect the flow of your animation (you will suddenly have a slight jump over to the left, for example).
-Definitely do not use natural light, it's impossible to keep consistent. If the lighting changes, even slightly, it changes the shot and will effect the flow of your animation (you will suddenly have one blueish frame, for example).
-If you can work in the studio room, I'd suggest pulling the shades and leaving the overhead lights on to keep the lighting consistent.
-Before you start, test with and without a flash to see what works better (if you have anything glossy or shiny no flash).
-You can use photo lights but they have to be set up in exactly the same place in exactly the same way every time, tough to do when you have to move around. Be sure to tape the placement of everything on the floor and take notes. Label your tape with Sharpie that says "DO NOT REMOVE UNTIL 11/1/12." You can sign out light kits from the Equipment Center.

Homework due 10.11.12

1. Draw: Finalize sketches and written plans for your strop motion project.

2. Supplies: Bring whatever you need to work on your project for the full class (paper, drawing materials, tape, pushpins). Sign out equipment: cameras, lights, etc. There will be a studio room available to you.

Wednesday, September 26, 2012

Homework due 10.04.12

1. Look: Go to MoMA and see "Quay Brothers: On Deciphering the Pharmacist's Prescription for Lip-Reading Puppets" http://www.moma.org/visit/calendar/exhibitions/1240. Be prepared to discuss in class.

2. Draw: Come up with some preliminary ideas for a stop-motion animation project where your hand is evident. We'll be discussing these references and more next week: http://introto4df12.blogspot.com/2012/09/stop-motion-animation.html.

3. Document: Post your project to YouTube http://introto4df12.blogspot.com/2012/09/fcp-exporting-and-uploading-to-youtube.html.

Stop Motion Animation

Stop motion (also known as stop action) is an animation technique to make a physically manipulated object appear to move on its own. The object is moved in small increments between individually photographed frames, creating the illusion of movement when the series of frames is played as a continuous sequence. Clay figures are often used in stop motion for their ease of repositioning. Motion animation using clay is called clay animation or clay-mation.

"Darkness, Light, Darkness" 1990 dir. Jan Svankmajer

"Alice" 1989 dir. Jan Svankmajer (excerpt)

"Superstar: The Karen Carpenter Story" 1987, dir. Todd Haynes

*There are only a few instances of stop-motion here, but the use of inanimate objects to play live characters functions in a similar way

Openly gay, experimental filmmaker Todd Haynes burst upon the scene two years after his graduation from Brown University with his now-infamous 43-minute cult treasure "Superstar: The Karen Carpenter Story" (1987). Seizing upon the inspired gimmick of using Barbie and Ken dolls to sympathetically recount the story of the pop star's death from anorexia, he spent months making miniature dishes, chairs, costumes, Kleenex and Ex-Lax boxes, and Carpenters' records to create the film's intricate, doll-size mise-en-scene. The result was both audacious and accomplished as the dolls seemingly ceased to be dolls leaving the audience weeping for the tragic singer. Unfortunately, Richard Carpenter's enmity for the film (which made him look like a selfish jerk) led to the serving of a "cease and desist" order in 1989, and despite the director's offer "to only show the film in clinics and schools, with all money going to the Karen Carpenter memorial fund for anorexia research," "Superstar" remains buried, one of the few films in modern America that cannot be seen by the general public.

"Automatic Writing" 2003, William Kentridge

"Mound" 2011, Allison Schulnik

Mound by Allison Schulnik from garaco taco on Vimeo.

Gotye - Somebody That I Used To Know (feat. Kimbra)

Oren Lavie - Her Morning Elegance

Video: 1990s-Present

Chris Cunningham 1997 "Only You" Portishead http://www.youtube.com/watch?v=ohDDxCdm9Oo
http://vimeo.com/channels/153296

Pipilotti Rist 1996 “Sip my ocean” http://www.youtube.com/watch?v=0VTkxwNJHHs
1997 "Ever is Over All" http://www.youtube.com/watch?v=a56RPZ_cbdc
http://www.ubu.com/film/rist_ents.html

Gillian Wearing 1997 “2 into 1” http://www.youtube.com/watch?v=h7y5uvyhHgc

Shirin Neshat 1998 “Turbulent” http://www.youtube.com/watch?v=VCAssCuOGls

Tony Oursler 2003 "Coo" http://www.youtube.com/watch?v=kBYaVAPvNh0
http://www.ubu.com/film/oursler.html
http://www.tonyoursler.com/ Interview: http://www.youtube.com/watch?v=p-s4xzB5D2Q

Diana Thater “Rare” 2008 http://vimeo.com/19218073
“gorillagorillagorilla” 2009 http://vimeo.com/19215391
“Chernobyl” 2010 http://www.youtube.com/watch?NR=1&v=sNzwQBa_9R8

Marilyn Minter “Green Pink Caviar” 2009 http://www.greenpinkcaviar.com

Ryan Trecartin http://ubu.com/film/trecartin.html
“The Re'Search (Re'Search Wait'S), 2009-2010” 2009-2010 http://ubu.com/film/trecartin_research.html

10.06.12: "Question for Revolution and Universal Brotherhood" exhibition

Please attend the "Question for Revolution and Universal Brotherhood" performance, reading, and discussion on Saturday, October 6th from 4pm - 8pm. There will be a 2 hour dance performance by one of the BFA seniors followed by a closing reading with discussion led by Isaac and other curators. Some of the readers include Andrea Geyer, Heather Love, Mira Schor and Jack McGrath.

For more info:
http://nobetty.net/4d/f12/QRUB%20Press%20Release.pdf http://nobetty.net/4d/f12/QRUB%20poster%20FINAL.pdf

Location: Aronson Galleries, 66 Fifth Avenue, New York
Gallery hours: Open daily 12:00 p.m. - 6:00 p.m. and Thursday evenings until 8:00 p.m.;
closed all major holidays and holiday eves
Admission: Free
Info: Please contact 212.229.8919 or visit www.newschool.edu/sjdc

Monday, September 24, 2012

Installation Spaces in Fine Arts

New Guidelines:

Presentation Space #1 on the 5th floor is for MFA use only.

Studio #4: Only BFA seniors who share a studio in 403 will be able to book studio #4 on the 5th floor for the rest of the year. Exception: MFA Open Studios (+plus one week in advance of) and MFA mid and end of year reviews.

Meeting Space B on the 5th floor is available for all BFA and MFA students.

Installation Space A on the 4th floor is available for all BFA and MFA students.

All installations spaces on 4+5 will be available for BFA use during their mid and end of semester reviews and the books should also be blocked out to reflect that.

To ensure that installation spaces are all vacated as they were found, students will check installation spaces both IN and OUT with FA student workers and any spaces not painted and returned to good order and also within required time frame will lose rights to book it out again.

Thursday, September 20, 2012

FCP: Nesting

To apply a filter or change the speed of all of your images you will need to NEST your sequence. This turns your many clips into one clip.

To nest a sequence:
-create a new sequence in your Browser (File>New>Sequence)
-double click to open it in the Timeline
-from the Browser, pull your original sequence down into your new sequence, it will appear as a single clip
-to make edits to your nested sequence that require the Viewer, remember to hold down the Option key when you double click to get your nested sequence to appear in the Viewer

Wednesday, September 19, 2012

Video: the 1980's

Dan Graham 1982 “Rock My Religion” http://vimeo.com/8796242

Bruce Nauman 1970 “Live/Taped Video Corridor” http://www.youtube.com/watch?v=9IrqXiqgQBo
1985 “Good Boy, Bad Boy” http://www.youtube.com/watch?v=VugLUa47sLI
1992 “Anthro-Socio” http://www.youtube.com/watch?v=MyiZD4Q3Mdk

Mark Pauline / Survival Research Lab http://srl.org/
http://www.youtube.com/watch?v=aeNdH2ByfCM&feature=relmfu

The Guerilla Girls http://www.guerrillagirls.com/
http://www.youtube.com/watch?v=HvUKPhT5jHA

Homework due 09.27.12

Finish your first project: Structural Film <> Appropriation. You must have a high quality QuickTime file of your project on a DVD ready to go at 9am. Unless you request otherwise, all projects will be viewed for critique on the large screen at the front of the classroom.

FCP: Exporting and Uploading to YouTube

EXPORTING FROM FCP
Use YouTube's settings: http://support.google.com/youtube/bin/static.py?hl=en&topic=1728570&guide=1728585&page=guide.cs

UPLOADING TO YOUTUBE
1. Login to YouTube, login info was sent to your email. Click on Upload in the upper right. Click on the yellow Upload button on the left, and choose your newly exported file from your hard drive. It should begin uploading.
2. While your file is uploading (this can also take a while), choose a Title, Description, and Tags if you want your video to be Public. Tags are one or two word identifiers that make it easy to find your videos in a search, i.e. your name or Parsons.**If you don't want your video public, choose Unlisted.**
3. Once your video is uploaded on YouTube, you can send the link anywhere.

FCP: Exporting a High Quality QuickTime file

1. Once you are finished, save everything, then make sure that your final sequence is open in the Timeline.

2. Go to File>Export>Using QuickTime Conversion. In the dialogue box:
Save As: give your movie a title like "time_final_highquality.mov" so it is distinguishable from your other video exports.
Where: Save it to your FireWire hard drive.
Format: QuickTime Movie
Then click on Options, and a new dialogue box appears.

3. Under Video choose Settings
Compression Type: Apple ProRes 422(HQ).
Click OK, this takes you back to the earlier dialogue box.

4. Under Video choose Size. Change as needed to match your project settings.

5. Click OK again, then Save. Your file will begin exporting. This takes time, be patient! Do not click on the file, even if it appears in the Finder, until FCP is finished.

6. Check your exported video -- open it in QuickTime, it should look fabulous. If not, check your settings and try again. You can also try using H264 for compression instead of Apple ProRes 422(HQ).

7. Burn this file to DVD. It will be big, several gigabytes. This is your backup, you can use this file to make mastered DVDs, and to import into other versions of FCP/FCP Express.

FCP: Titles

http://multimedia.journalism.berkeley.edu/tutorials/finalcut/titles/

FCP: Time Remapping & Chroma Key Editing

Time Remapping Tutorial

Green Screen/Chroma Key Editing
http://content.videoblocks.com/2011/06/how-to-use-final-cut-pro-to-do-green-screen-and-chroma-key-editing.html

FCP: Audio

To Normalize your audio:
1. Lock your video clips and select all of your audio clips.

2. Go to Modify>Levels. Adjust gain by: 0dB and Make Changes: Relative.

*You can also adjust your levels manually using keyframes (the pen tool) and the "mountain" button in the lower left corner of the Timeline.

Free Sound Effects: http://www.freesound.org/
You need to register, but it's free.

To get audio from YouTube etc. from any computer: http://offliberty.com/

Wednesday, September 12, 2012

Homework due 09.20.12

1. Re-shoot / re-search as necessary.

2. Assemble a rough cut of your footage.

Converting Files for FCP

Apple's Compressor is both conversion and compression software that comes bundled with FCP and is available on all of the Mac towers at the New School.

1. Open Compressor. You'll get a dialogue box that asks about templates. Hit cancel.

2. Drag the first file you want to convert into the box with the arrow. A thumbnail of your video will appear.

3. Down below, click on the Settings tab. Choose Apple>Formats>QuickTime>Apple ProRes 422. Click and drag Apple ProRes 422 up to where it says "drag settings and destinations here." A QuickTime icon and Apple ProRes 422 will appear on the left, next to your video thumbnail.

4. Go back down and click on the Destinations tab. Choose Custom>Work In Progress. Click and drag Work In Progress up to where it says Source. Work in Progress should then appear next to Apple ProRes. To the right of Work In Progress, choose a new file name, be sure to keep the .mov file extension. Then click Submit on the lower right. Your file will begin compressing -- do not attempt to open it, even though it will appear in the Finder! Once it's done, save it to your hard drive. You can now safely import it into FCP.

->If your files can't be converted with Compressor and you can't download free conversion software:
Try Zamzar http://www.zamzar.com/, a free online converter. Free, but limit of 5 conversions per day and 100mb file size, for unlimited upgrade to paid plan.

->If you are on your own computer:
You can use free software called MPEG StreamClip http://www.squared5.com/. There's a tutorial here: http://www.youtube.com/watch%3Fv%3DXbqysbip7T4.

You can also try HandBrake http://handbrake.fr/.

Setting up your HD project in FCP

1. Open FCP, in the first dialogue box choose Apple ProRes 422 (HQ) and set the primary scratch disk to your FireWire 800 drive. The program should open.

2. In the upper left choose Final Cut Pro>System Settings. Make sure that all of the options are set to save to your FireWire drive.

3. In the upper left choose Final Cut Pro>Audio/Video Settings. For your sequence preset choose Apple ProRes 422(HQ) 1920x1080 30p. For your capture preset choose HDV-Apple ProRes 422(HQ). For your device control preset choose non-controllable device. Video playback should be set to none and audio to default. Then click OK.

4. Go to File>New Project, then immediately save your project to your FireWire drive.

You're all set! Start editing away. Try and remember to save your project often -- computers crash, especially when they are editing video.

Final Cut Pro (FCP)

New School FAQ for FCP: http://www.newschool.edu/information-technology/technology-labs/video/

Software and Hardware Overview
• Digital vs. analog video, nondestructive and nonlinear editing
DV requires 3.6MB of storage per second, 216MB per minute, 1GB per 5 minutes
• Aspect Ratios
4x3: This is the standard television format used throughout the second half of the 20th Century. Sometimes referred to as 12x9.
16x9: This format has gained acceptance as the new standard for widescreen TV, DVD and high-definition video.
21x9 (Cinemascope): A very wide screen format used for theatrical release movies.

• Desktop Tour
• Menus, Shortcuts, and Controls
Shortcuts:
Cmd-+/- to zoom in and out of window
Shift-Z to fit to window
Ctrl-Click for shortcut menus
Cmd-A to select all
Cmd-X to cut
Cmd-Z to copy
Cmd-V to paste
Shift-Click to select multiple items
Home key to go to beginning of sequence
Cmd-C then Option-V to paste attributes
• Editing and Effects Windows
The Browser: window where you organize and access all of your media source material
The Viewer: your source monitor, allows you to view video and audio clips, mark edit points, and add/control effects
The Canvas: monitor where you view playback of edited sequences (linked to the Timeline)
The Timeline: displays edited sequences as clips arrayed on multiple video and audio tracks along a time axis
The Tool Palette: contains editing tools for cutting and moving clips (similar to Photoshop)

Capturing Media
• Log and Transfer

Getting Digital
• File Naming — .bin, .seq, each folder/drive/partition should not contain the entire name of another f/d/p
• Selecting a Logging Bin
• Logging and Transferring
• AutoSave Features

The Viewer
• Working with Clips
• Navigating with Timecode
• Setting In and Out Points

Editing in FCP
• Creating a sequence
• Basic Editing
Insert edit: inserts clip at the In point, and moves media to the right to make room for the new source clip
Overwrite edit: the source clip overwrites sequence clips past the sequence In point with no time shift in the existing sequence
• Deleting clips from a sequence
Lift: removes selected material leaving a gap (shortcut: Command-X)
• Performing Edits in the Timeline

Using the Timeline and Canvas
• The Canvas Window
• The Tool Palette
• Working with Items in the Timeline

Transitions
• Adding Transitions
• When to use transitions
• Locating and Applying Transitions

Technical Resources
• The Final Cut Pro Help Menu in Final Cut Pro — this is the entire FCP manual in PDF format, easy to search and relatively well written for a software manual
• http://www.mopictive.org — The New York City Final Cut Pro Users Group, free to join and a good resource for technical questions

Monday, September 10, 2012

Article on Zackary Drucker

http://www.huffingtonpost.com/2012/04/02/zackary-druckers-gold-standard_n_1383631.html

Thursday, September 6, 2012

Getting files from the Canon 7D for editing

If you plug in your camera via the USB cable to a Mac, it should appear as a hard drive on your desktop. If this doesn't happen, and your cable is plugged in, etc., try using the Image Capture application (included on all Macs). Use Spotlight to locate it or go to the Applications folder > Image Capture. You should see the 7D listed, be sure to save the files to your fire wire drive. You can also get the files with an SD card reader, available on the 8th floor of 55 West 13th St./Arnold Hall.

Shooting Tips

Before you start
Check out your equipment online 48 hours in advance. Once you get it from the 9th floor, check it meticulously before signing it out (plug in the lights, turn on the camera and check the zoom, etc.). Otherwise if any thing is wrong, you will have to pay for it.
NEVER EVER leave your equipment unattended. Get someone to watch it for you or lock it up.

Framing & Shooting
Make sure the video size/resolution is set to 1920 x 1080 30fps.

When you are framing your shots, remember that video is horizontal. If you shoot vertically, you'll have black bars on either side of your image.

To focus, zoom in on your focal point, manually adjust the focus, then zoom out.

Try to avoid using the “Auto focus” setting. Manually focus your shots, so you don’t get jumps in focusing.

Video gets cropped – even the best new flat screen TV can crop your image around the edges. Be sure that anything important happens within the “action safe” area and not at the very edge of your frame.

Just because you see life at eye level, don’t confine the camera there – the placement of the camera is one of the most important aspects of shooting video. It is the statement of what the scene represents and how the audience is supposed to view this particular situation.

Sometimes a shot will look flat when it is projected, even though it looked good to you in the viewfinder. While our eyes view the set and actors in stereo, we are dealing with a monocular system of recording and display. A good solution is to look at a scene through only one eye when you shoot it.

Video does not handle high-contrast ratios well – it’s best to avoid really bright whites or dark darks unless you are going for a particular effect.

Always remember to white balance your shots.

Avoid clothes with large white areas. Also avoid thin stripes, checks or herringbone patterns if possible.

Only zoom if you have a really good reason.

The tripod is your friend – only shoot handheld for a really good reason.

If in doubt, work with a partner and use multiple cameras – the more coverage the better.

Lighting
Handle the lights in the light kit with gloves and never touch the bulbs inside without gloves even if they are cool – they get so hot that the oil from your hands and fingerprints will burn off, and could cause the bulb to explode.

As the sun moves across the sky it changes color and temperature. This may not be picked up by your eyes, but it will be picked up by the camera.

Different light sources have different colors and temperatures (fluorescent light is green, daylight is blue). Don’t mix them together, it will wreak havoc with your white balance.

Fill panels (boards used to bounce or reflect light) can be made from almost anything (foam core, drawing pads, cardboard boxes). Improvise!

Remember, “Good editing can’t fix bad video.”

If you want to learn more about shooting professional video, and transferring video to film, I highly recommend Digital Moviemaking by Scott Billups. His website, http://www.pixelmonger.com is also a great resource.

Wednesday, September 5, 2012

Canon 7D Video Settings

Quick tutorial to set Custom White Balance
How to Set the Custom White Balance on a Canon 7D by mahalodaily

Canon Video Settings demo

Shutter Speed test

Homework due 09.13.12

1. Draw: Map or storyboard your idea for Project 2: Structural Film <> Appropriation. These can be sketches or written diagrams, but they must clearly articulate your project ideas.

2. Shoot/acquire: At least three minutes for footage for Project 2: Structural Film <> Appropriation.

3. Read: This short essay by Nam June Paik "Input-Time and Output-Time" http://nobetty.net/4d/resources/readings/paik_inputoutput.pdf
and this interview with Dara Birnbaum from "The Early Show: Video from 1969-1979" http://nobetty.net/4d/resources/readings/dara_birnbaum_interview.pdf

4. Supplies: Bring in your footage on your portable Fire Wire hard drive.

Project 2: Structural Film <> Appropriation (due 09.27.12)

Create a short (three minutes or less) video piece influenced by Structural Film (Michael Snow's "Wavelength")
http://en.wikipedia.org/wiki/Structural_film

or using appropriation (Dara Birnbaum's "Technology/Transformation: Wonder Woman")
http://en.wikipedia.org/wiki/Appropriation_(art)

The piece will be worked out through drawings and diagrams in your sketchbook, shot in HD with the Canon 7D (or your own HD camera), and edited in FCP. It is due 09.27.12 for critique. Please bring your sketches, diagrams, and three minutes of footage next week to begin the editing process.

*If you are focusing on appropriation, these links will allow you to download youtube videos without using any additional software:
http://offliberty.com/
http://keepvid.com/
http://saveyoutube.com/

If you are on your own Mac I recommend downloading MPEG Streamclip:
http://www.squared5.com/
Download the highest resolution MP4 file, but be prepared for low quality videos.
If you are willing to pay $20, iShowU works great for capturing videos in real time:
http://shinywhitebox.com/ishowu-v1/

Tuesday, September 4, 2012

Film & Video: the 1970's

Friday, August 31, 2012

Fall 2012 Visiting Artist Lecture Series

Wednesday, August 29, 2012

Where to get photo/video supplies

Adorama
http://www.adorama.com/
42 West 18th Street, New York City, NY 10011
*Ask about student discounts

B&H
http://www.bhphotovideo.com/
9th Ave. @ 34th St. New York, NY 10001
*B&H gives student discounts through this program:
http://www.bhphotovideo.com/find/eduAbout.jsp/mode/edu

Homework due 09.06.12

1. Watch:
-"Rashomon" 1950 Akira Kurosawa http://archive.org/details/dom-24164-rashomon.

-Go to P.S.1 and see "Jack Smith: Normal Love," "Zackary Drucker: At Least You Know You Exist," Edgardo Aragon's "Efectos de Familia," Ilja Karilampi's "The Chief Architect of Gangsta Rap," and Janet Cardiff's "The Forty Part Motet."
http://momaps1.org/exhibitions/. **Exhibitions close Monday Sept. 10**
Take your sketchbook, make notes, and be prepared to discuss in class.

2. Read: “A History of Experimental Film and Video: Origins of the Post-War Avant-Garde” A.L. Rees http://nobetty.net/4d/resources/readings/ExperimentalFilm&Video.pdf and "The Film Idea" by Stanley J. Solomon http://nobetty.net/4d/resources/readings/THEFILMIDEA_Rashomon.pdf.

3. Draw: In collaboration with your team, sketch your 3 "Rashomon"-inspired scenes from 3 different POV's (Project 1). Sign out your equipment and be prepared to shoot during class next week (bring any props, etc. you may need).

Project 1: The Rashomon Exercise

1. Watch "Rashomon" 1950 dir. Akira Kurosawa
http://archive.org/details/dom-24164-rashomon

You can also check it out from the New School Fogelman Library or watch it at NYU's Bobst Library.

Read this analysis http://nobetty.net/4d/resources/readings/THEFILMIDEA_Rashomon.pdf.

2. With your teammates, create one scenario to be shot from three different POVs, inspired by the film. This is an exercise, keep it short and simple: each scene should be one minute or less, and consist of only one shot. You must all agree on the scenario, then each student is responsible for shooting and directing one scene, as well as supporting sketches and a written description for that scene. Think about framing/composition, camera angle and position. Once your sketches are finished, sign out a camera and prepare to shoot your scenes.

3. Bring your equipment, sketches, and any other supporting materials to class next week. Be prepared to shoot at the beginning of class.

How to reserve equipment from the AMT Equipment Resource Center

AMT Equipment Resource Center website with the hours of operation and rules:
http://amt.parsons.edu/programs/photography/photography-facilities/

They are working out the kinks in their online system, so for now go in person to the AMT Equipment Resource Center 2nd floor of 66 5th Ave. Please identify as AMT Fine Arts students taking Intro to 4D, and you can sign out a Canon Vixia HF M32 video camera for 24 hours. These equipment checkouts are for 24 hours ONLY and students who fail to return equipment on time are penalized with loss of privileges. Also note the AMT Equipment Resource Center does not have tripods or other accessories.

***You must have a valid New School ID to pick up, they will not give you anything without one. Make sure that you TEST EVERYTHING before you sign for it, otherwise you are liable -- and they will make you pay.

All AMT students have access to the equipment (including the new canon vixia cameras) linked here:
http://amt.parsons.edu/files/2012/01/2012_Spring_AMT_Catalog.pdf.

How to reserve equipment from the New School/AT Equipment Center

1. Start here with this overview of the equipment center and its policies: http://www.newschool.edu/information-technology/equipment-center/. Reservations for field equipment may be made online at least 24 hrs. in advance, with a maximum duration of 4 days, by logging in to MyNewSchool and selecting “Book Equipment for Pick-up” under the Student tab. Walk-in checkouts of field equipment may be made on a first-come, first-served basis, with a maximum duration of 2 days (48 hrs.).

2. Read and agree to terms and conditions.

3. Reserve your equipment, start date must be 24 hours in advance.

4. Choose the Canon 7D Kit (digital SLR camera with video Canon EOS 7D).

5. Pick up your equipment from the Equipment Center at the scheduled time. There is a three hour grace period, but if you don't show up within that three hours there is a $40 no show fee. Reserved equipment must be returned by 7pm. Late return fee = $20 per hour, $100 per day.

***You must have a valid New School ID to pick up, they will not give you anything without one. Make sure that you TEST EVERYTHING before you sign for it, otherwise you are liable -- and they will make you pay.

Equipment Center Location
55 West 13th St, Rm. 921

Equipment Center Contact
Tel: 212.229.5300 ext. 4556
Fax: 212.647.8202
Email: eqc@newschool.edu

Film & Video: Origins to the 1960's

Notes:

Video arrived in the mid 20th century and film was suddenly not the only means of creating moving images.

In 1965 Sony Corporation introduced the Portapak, a handheld video camera and portable video recorder — 1/2in. tape as opposed to 2in. tape used for broadcast TV — brought ease, mobility, and affordability to video production — by 1968 exhibitions of video art internationally.

Video is a new medium (only 55+ years as opposed to thousands of years of drawing, painting, sculpture) — Difficult to categorize since there are no official schools of video, like the Impressionists or the Abstract Expressionists, just themes.

Video is an 'Art of time' used to extend, repeat, fast forward, and slow down time — new way of telling a story, non-linear video loops.

Early video pioneers in the 60s and 70s used video as another material (like paint and canvas, or marble) to execute an idea — artists used whatever material they were interested in.

General Categories of Video Art:

-Recording "mixed media" performances

-Extension of the body

-Technological advances

-Interactivity

-Surveillance

-Critique of commercial television or film

-Time-based ("moving") painting or drawing

Origin of film/video
*Thomas Edison “Edison Kinetoscopic Record of a Sneeze, Jan. 7, 1894”
http://www.youtube.com/watch?v=2wnOpDWSbyw

1920's
Luis Buñuel and Salvador Dalí "Un Chien Andalou" 1929 http://vimeo.com/18540575

1940's
*Maya Deren “Meshes of the Afternoon” 1943 http://www.youtube.com/watch?v=4S03Aw5HULU

1950’s
*Hans Namuth and Paul Falkenburg, film, 1951 “Jackson Pollock” http://www.ubu.com/film/namuth_pollock.html

*John Cassavettes “Shadows”, film, 1959 Opening scenes: http://www.youtube.com/watch?v=dPUFstjELK0
Bedroom scene: http://www.youtube.com/watch?v=_JMuLsGPp-k

Robert Frank and Alfred Leslie “Pull My Daisy” 1959
*http://nobetty.net/4d/resources/pullmydaisy.mp4

1960’s
Stan Brakhage “Dog Star Man”, film, 1963 http://www.youtube.com/watch?v=mTGdGgQtZic&fmt=18 (prelude)
1959 "Window Water Baby Moving" http://www.youtube.com/watch?v=-drSrvTtZ1k part 1
http://www.youtube.com/watch?v=yxE3rI-LWm4 part 2
1963 "Mothlight" http://www.youtube.com/watch?v=Jaezt80Sm1A
*1981 The Garden of Earthly Delights http://www.youtube.com/watch?v=R3ovtSDWYRQ
*1987 The Dante Quartet http://www.youtube.com/watch?v=az13qB_AUIo

*Jack Smith “Flaming Creatures” 1963 http://www.ubu.com/film/smith-jack_flaming.html

Shirley Clarke “The Cool World”, VCA 3729 1963 excerpt http://www.youtube.com/watch?v=ZwXz9oDt7Ew

Andy Warhol “WARHOL's CINEMA - A Mirror for the Sixties (1989)” http://www.ubu.com/film/warhol_cinema.html
*“Outer and Inner Space” 1965 http://www.youtube.com/watch?v=FX-1VxYGYPo

*Michael Snow 1967 “Wavelength” http://video.google.com/videoplay?docid=-3009876496807585942

*The Black Panthers “What We Want” late 60’s/early 70’s http://www.youtube.com/watch?v=5mpFCtftF7c (Roz Payne and Newsreel)

Welcome!

Pipilotti Rist (Switzerland, 1962), I'm Not The Girl Who Misses Much, 1986, Video (video still)

Welcome to Intro to 4D! We're looking forward to an exciting and productive semester.

To download the syllabus, click here.

To download the glossary terms, click here.

Lab and classroom hours are posted here: http://www.newschool.edu/information-technology/technology-labs/lab-hours/.

The best way to get in touch with me outside of class is email, leddyn [at] newschool [dot] edu, office hours are by appointment only. If you don’t hear from me within 24 hours, please resend it. I also have a mailbox in the Fine Arts office, 25 E. 13th St. 5th Floor. You can leave me a message by phone through the Fine Arts Department 212-229-8942.