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Thumbnail making

March 31st, 2014 · technical, Uncategorized

VLC snapshot(courtesy of Ren)
1. Change preference setting. Preferences > Video > scroll and change file type to .jpg – nominate a folder on your desktop to send the snap shot to…
2. Snapshot a thumbnail. Navigate to frame in video. Menu > Video > Snapshot.
3. Resize and compress in PhotoShop if required.

Selecting a frame in video file
Shift Apple 4
Resize in photoshop/gimp

Vimeo Thumbnail
Dragging existing thumbnails on Vimeo to the desktop (.jpg file)
Thumbnails can be set or determined individually in Vimeo when uploading a video
Resize if required in photoshop/gimp

Video Editing – video stills
FCP – Export a frame as .jpg or tif.
Resize if required in photoshop/gimp

QuickTime 7
Open in QuickTime 7
Playhead to position for selected video frame
Edit > Copy
Open Photoshop
New – makes image size of video frame from paste board
Paste into PhotoShop
Export for web and resize

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Korsakow resources

March 25th, 2014 · technical

The plan with this post is to collect links here on technical and conceptual notes on using Korsakow (so it is ongoing..if you see something to add comment or email me)

TECHNICAL – from the Korsakow website:

Korsakow Manual
Korsakow Quick Start
Korsakow Tips and Tricks
Korsakow FAQ

Working on PC notes

Notes by Adrian Miles from previous IM1 blogs:
Korsakow introduction
Tips and Tricks
Published Online but not working
Other notes on issues and tricks


Notes by Adrian Miles from previous IM1 blogs:
Interface design
More interface design tips
Text colour, size and design
Web of relations

Adrian’s 2014 teaching notes:
Korsakow, Making, Methods
Korsakow, Hypertext (how to think Korsakow)
A 2010 K-Film Explaining How to Make your K-Films

How to Change Text on an Interface
How I Thought About Designing A K-Film

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History of moving camera

March 25th, 2014 · Video Technologies

From open cluture – The History of the Movie Camera in Four Minutes: From the Lumiere Brothers to Google Glass

To underscore just how democratized the technology of movie making has become, the end of the video shows Hollywood cameramen shooting movies with iPhones. The piece ends with what could only be seen as an ominous technological development for the Society of Camera Operators: Google Glass, which has the potential to turn every single person into a perpetual camera operator.

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March 25th, 2014 · design

Inge Druckrey, Teaching to See, 37 minutes

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Documentary Ecologies – presentation

March 21st, 2014 · i-doc

New Documentary Ecologies: Emerging Platforms, Practices and Discourses – presentation by Kate Nash at i-docs.

How can we begin to conceptualise the way in which documentary is being re-thought in light of contemporary media cultures and technologies? This is the central question that the contributors to New Documentary Ecologies: Emerging Platforms, Practices and Discourses explore. Taking ‘the ecological’ as a heuristic that foregrounds contexts and interdependences and the relative instability of traditional categories such as text, audience, and documentary maker.

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Documentary Analytics

March 21st, 2014 · i-doc

Q7: How do we understand and measure the impact of an i-doc?

Harry Davies is currently working for Google, and he is responsible for launching tools that track user’s online bahaviours and understanding. From Goggle Analytics to Google Custumers Serveys and Google Trends, Harry is a man that practices the art of impact quantification… but what makes Harry really special for us is that he used to work for the COI (Central Office for Information) so he is used to a problematic that is central to documentary makers: how to measure impact in the long term, and in the real world (rather than just online consumption). In this interview, Harry gives us tips on how to use the current tools for impact measurement and tell us what is coming next…

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The Prisons Memory Archive

March 21st, 2014 · i-doc

The Prisons Memory Archive: Questioning and Engaging with Interactivity at i-Docs 2014

The Prisons Memory Archive (PMA) is an ongoing research project and its aim is to offer possibilities of engaging with the story of the ‘other’ in a society that is emerging from decades of political violence. One way of doing this, we believe, is through interactive documentary.

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Media Technologies – book

March 18th, 2014 · references

  • "In recent years, scholarship around media technologies has finally shed the assumption that these technologies are separate from and powerfully determining of social life, looking at them instead as produced by and embedded in distinct social, cultural, and political practices. Communication and media scholars have increasingly taken theoretical perspectives originating in science and technology studies (STS), while some STS scholars interested in information technologies have linked their research to media studies inquiries into the symbolic dimensions of these tools. In this volume, scholars from both fields come together to advance this view of media technologies as complex sociomaterial phenomena."

    tags: books mediatheory

Posted from Diigo. The rest of my favorite links are here.

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Setting the field

March 11th, 2014 · Documentary

Jenny Thornley provided a response to the article:

Aston, Judith, and Sandra Gaudenzi. “Interactive Documentary: Setting the Field.” Studies in Documentary Film 6.2 (2012): 125–139

…on the new documentary list.

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Feature Film shot on iphone

March 5th, 2014 · mobile videography

Uneasy Lies the Mind – A feature film shot entirely on the iPhone

…the folks at Apple would undoubtedly love it if filmmakers everywhere ditched their high-end video cameras for iPhones, the fact is that the phone’s tiny lens, sensor and other features are no match for those on something like the RED Scarlet X. It was those limiting factors, however, that made the phone an ideal choice for the recently-completed indie psychological thriller, Uneasy Lies the Mind. It’s being promoted as “The first narrative feature film to be shot entirely on the iPhone.

This claim of this thriller being the ‘first narrative feature film to be shot entirely on the iPhone’ set off some responses on the video vortex mail list. A number of contributors brought attention to films produced with a mobile phone.

2007 Why Didn’t Anybody Tell Me It Would Become This Bad in Afghanistan in 2007. Dutch Cyrus Frisch Netherlands – feature length documentary .
2008 SMS Sugarman, Aryan Kaganof, South African
2008 Immobilite Mark Amerika, USA
2011 Night-Fishing Park Chan-wooks (fantasy-horror short-film, South Korea)

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Video Social

March 2nd, 2014 · web video

From X Media Lab “Video+Social” about upcoming conference:

Just last week Facebook bought WhatsApp for a staggering USD$19 billion – WhatsApp has 55 employees. So what exactly is WhatsApp? Simple, it’s Mobile = Video+Social.

Content creators, corporate brands, developers, and platforms are both ever more intertwined and ever more in competition. The opportunities have never been greater, nor more uncertain.

We are in an era where companies with direct links to consumers (think Netflix) are producing thrilling dramas (eg “House of Cards” and “Orange is the New Black”) with ‘all-at-once’ release strategies, compete with ‘constrained publishing’ models (Vine, Snapchat, Twitter, Instagram), and where the ‘third screen’ has now become the first (mobile), oh – and then there’s YouTube.

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New Documentary Ecologies

March 2nd, 2014 · Documentary

Book summary recently published:

New Documentary Ecologies: Emerging Platforms, Practices and Discourses
Edited By Kate Nash, Craig Hight and Catherine Summerhayes

Documentary remains a vital and dynamic media form, one that has persisted through decades of change in patterns of media production, distribution and reception, from its early conception in silent filmmaking, through ‘new’ media such as television, to the current explosion of digital platforms. New generations of documentary filmmakers, multimedia designers, online curators and social media aggregators are exploring the challenges and opportunities of a digital environment characterised as collaborative, participatory, and interactive. This book provides a unique collection of recent research into the ways in which these digital producers are adopting the ‘documentary project’ across digital platforms, developing new documentary practices and providing distinctive new ways for audiences to engage with reality.

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