Teaching in the Distracted Age: What Students Expect from Online Courses - P...Samuel Edsall
This document discusses trends, tools, expectations, and challenges for teaching online courses. It notes that the majority of University of Utah students are in-state, married, or work more than 30 hours per week, creating demand for flexible online classes. Effective online teaching tools include the Canvas platform, videos under 10 minutes, and organized course structures. Students expect quick email responses, timely feedback, clear rubrics, and opportunities for peer collaboration. However, motivating minimal-effort students and ensuring engagement remain challenges for online courses.
Securing Attention: How to Teach the Selfie Culture - Serena CarpenterSamuel Edsall
The document discusses how to teach selfie culture in education. It proposes that students be taught to highlight positive attributes about themselves through sharing selfies, text, and other media to increase their self-status and immerse themselves in a visually saturated social ecosystem. The curriculum would involve assignments such as creating a personal symbolic self-portrait, presenting and critiquing oneself, and writing a personal impact statement to encourage self-reflection and deeper connection through visual communication and critical reflection of one's online presence. The goal is to educate students on self-performance culture and social mobile marketing through a focus on selfies.
Digitizing the Classroom for the Online Environment - John HebbelerSamuel Edsall
The focus of this presentation will be on the conversion and application of a traditional media production course to an online class. Topics include the process involved in converting the traditional classroom experience to an online environment, effectively presenting information to users in the online environment, evaluation of digital media projects, and digital tools that enhance online pedagogy.
Applying Classroom Research to Improve Online Course Communication - Paul He...Samuel Edsall
We know a lot about what stimulates students in the classroom--but can we apply it to online coursework? There are a number of routes to effective teaching, even online--here's what the research says, and what you can do to move from just "high tech," to "high touch," online.
NewTek Lightwave 3D: Keyframing in LightwaveSamuel Edsall
Keyframing involves setting reference points (keyframes) to define an object's position, rotation, or scale at specific points in time. Between keyframes, Lightwave interpolates the changes to the object. Fewer keyframes generally result in smoother motion. The document discusses setting a start and end keyframe to define an animation's pacing, then adding intermediate keyframes to refine the motion. Specific techniques covered include having the camera track an object, aligning an object's rotation to follow its motion path, parenting a light to an object, and using different views to properly position objects in 3D space over time.
This document provides instructions for modifying 3D objects in Lightwave. It demonstrates how to:
- Load objects like a ground plane and triceratops model.
- Adjust the camera and grid size to frame the scene properly.
- Modify object properties like adding displacement maps to warp the surface based on images.
- Use clip maps to make parts of the object invisible.
- Adjust render settings to control how the object appears, such as making it matte, semitransparent, or changing edge highlighting over time.
NewTek Lightwave 3D: Working in 3D SpaceSamuel Edsall
The document provides instructions for loading an animated object from another scene file in Lightwave 3D and then further animating it. It describes how to load the animated MustangLowRes object from the Aviation folder along with its lights. It then demonstrates how to move, rotate, size and further animate the object over 120 frames to create a flying sequence. Settings for rendering the animation as a QuickTime movie are also outlined.
The document provides instructions for modeling 3D objects in Lightwave Modeler. It discusses starting with primitive shapes like boxes, discs, balls and modifying them. It demonstrates how to make a simple table by starting with a box primitive, adding disc leg primitives, and grouping the pieces together. The document also covers other primitive shapes like cones, capsules, toroids and text. It provides steps to assign surface categories to different parts of an object in order to apply separate colors. Finally, it walks through making a multi-colored logo object as an example of the modeling process.
Teaching in the Distracted Age: What Students Expect from Online Courses - P...Samuel Edsall
This document discusses trends, tools, expectations, and challenges for teaching online courses. It notes that the majority of University of Utah students are in-state, married, or work more than 30 hours per week, creating demand for flexible online classes. Effective online teaching tools include the Canvas platform, videos under 10 minutes, and organized course structures. Students expect quick email responses, timely feedback, clear rubrics, and opportunities for peer collaboration. However, motivating minimal-effort students and ensuring engagement remain challenges for online courses.
Securing Attention: How to Teach the Selfie Culture - Serena CarpenterSamuel Edsall
The document discusses how to teach selfie culture in education. It proposes that students be taught to highlight positive attributes about themselves through sharing selfies, text, and other media to increase their self-status and immerse themselves in a visually saturated social ecosystem. The curriculum would involve assignments such as creating a personal symbolic self-portrait, presenting and critiquing oneself, and writing a personal impact statement to encourage self-reflection and deeper connection through visual communication and critical reflection of one's online presence. The goal is to educate students on self-performance culture and social mobile marketing through a focus on selfies.
Digitizing the Classroom for the Online Environment - John HebbelerSamuel Edsall
The focus of this presentation will be on the conversion and application of a traditional media production course to an online class. Topics include the process involved in converting the traditional classroom experience to an online environment, effectively presenting information to users in the online environment, evaluation of digital media projects, and digital tools that enhance online pedagogy.
Applying Classroom Research to Improve Online Course Communication - Paul He...Samuel Edsall
We know a lot about what stimulates students in the classroom--but can we apply it to online coursework? There are a number of routes to effective teaching, even online--here's what the research says, and what you can do to move from just "high tech," to "high touch," online.
NewTek Lightwave 3D: Keyframing in LightwaveSamuel Edsall
Keyframing involves setting reference points (keyframes) to define an object's position, rotation, or scale at specific points in time. Between keyframes, Lightwave interpolates the changes to the object. Fewer keyframes generally result in smoother motion. The document discusses setting a start and end keyframe to define an animation's pacing, then adding intermediate keyframes to refine the motion. Specific techniques covered include having the camera track an object, aligning an object's rotation to follow its motion path, parenting a light to an object, and using different views to properly position objects in 3D space over time.
This document provides instructions for modifying 3D objects in Lightwave. It demonstrates how to:
- Load objects like a ground plane and triceratops model.
- Adjust the camera and grid size to frame the scene properly.
- Modify object properties like adding displacement maps to warp the surface based on images.
- Use clip maps to make parts of the object invisible.
- Adjust render settings to control how the object appears, such as making it matte, semitransparent, or changing edge highlighting over time.
NewTek Lightwave 3D: Working in 3D SpaceSamuel Edsall
The document provides instructions for loading an animated object from another scene file in Lightwave 3D and then further animating it. It describes how to load the animated MustangLowRes object from the Aviation folder along with its lights. It then demonstrates how to move, rotate, size and further animate the object over 120 frames to create a flying sequence. Settings for rendering the animation as a QuickTime movie are also outlined.
The document provides instructions for modeling 3D objects in Lightwave Modeler. It discusses starting with primitive shapes like boxes, discs, balls and modifying them. It demonstrates how to make a simple table by starting with a box primitive, adding disc leg primitives, and grouping the pieces together. The document also covers other primitive shapes like cones, capsules, toroids and text. It provides steps to assign surface categories to different parts of an object in order to apply separate colors. Finally, it walks through making a multi-colored logo object as an example of the modeling process.
NewTek Lightwave 3D: Learning the LayoutSamuel Edsall
The document provides an overview of the Lightwave 3D interface and how to navigate around a 3D scene. It describes the main interface elements like the viewport, timeline, and tabs. It then demonstrates how to import an object, manipulate it using translate, rotate and scale tools, and create a basic animation by setting keyframes at different times on the timeline. It also shows how to play previews and render individual frames and full animations.
Education on the Move: Mobile Technologies, Online Platforms, and Pedagogy - ...Samuel Edsall
Education with mobile technologies and online platforms is, for the most part, education on the move. It is education that is convenient to populations of students who for whatever reason cannot commit to site- and time-specific class meetings. This kind of education serves a good purpose, by making education available to demographics of students, who, without mobile education, may not have any education. But in order for convenient education to produce quality learning, instructors must organize and structure the mobile and online presentation of educational content methodically and carefully. In a brick-and-mortar classroom, where course instruction occurs in a set place and time period, the regularity of place and time provide structure. With mobile and remote education, it is in the interest of both instructors and students for instructors to determine precisely when students will engage with educational content. Structuring the availability of learning information structures the educational experience. Structure can be created in a number of ways with technology: by date and time control mechanisms built into e-learning systems, with specialized client-side soft- ware, as well as with server-side controls on the computers storing the instructional data. With remote instruction, the technological framework is responsible for the
success of the pedagogy.
Social Media: Expanding Pedagogic Opportunities in Film and Television Produc...Samuel Edsall
Social media has changed the way television and films can be produced. Producers in New York can interactively discuss scripts, storyboards and rough cuts with their contacts in Los Angeles via on-line or via mobile devices and applications. The implications for integrating mobile media technology into higher education curricula and pedagogic methodology are equally transformative. For faculty teaching film and video production, mobile media can provide students with access to an infinite number of resources that exponentially expand what can be taught, how it can be conveyed, and where learning can take place.
At the University of Cincinnati a group of thirty-three students from four academic programs in three different colleges utilized a variety of social media technologies to experience an interdisciplinary class that was "team-taught" by both their UC Professor and professionals from the film and TV industry in LA and NY. Their work resulted in the 2012 Gold Rush Expedition Race documentary, an hour-long film that will air this March on a national cable television channel.
Mobile Technologies as Course Research Tools - BEA 2014 Presentation by Dr. D...Samuel Edsall
This document discusses mobile device ownership statistics and various studies related to college students and mobile devices. Some key findings are that 90% of American adults own cell phones, 58% own smartphones, and college students believe tablets can improve learning and replace textbooks. The document recommends that faculty design courses to incorporate formal and informal mobile learning and collaborative assignments. It also describes a mobile media study project for students to research how people use mobile devices for social media.
Video Project Grading Rubric - BEA 214 Presentation by Sam EdsallSamuel Edsall
This document discusses student assessment of video projects in the Broadcasting Department at Western Illinois University. It outlines the department's program with 200 majors across 3 tracks. The Provost's office requires departments to develop and revise plans for assessing student learning in their major. The document then discusses moving from narrative evaluations of student projects to using rubrics, with the benefits being easier assessment, identifying student strengths and weaknesses, and informing curriculum improvements. It provides an example rubric used with 10 scoring categories to holistically evaluate various elements of student video projects. Results are analyzed to track individual student and whole class progress.
Final Cut Pro X Weynand Certification Lesson 12Samuel Edsall
This document discusses various options for exporting and sharing projects created in Final Cut Pro X. It covers adjusting audio and video levels, exporting files like QuickTime movies and audio files, publishing to services like iTunes and YouTube, and backing up projects. The goals are to prepare projects for export by fixing any issues in audio peaks or video brightness, and to understand the various export formats and sharing options available in Final Cut Pro X.
Final Cut Pro X Weynand Certification Lesson 11Samuel Edsall
This document provides instructions for a lesson on applying effects and enhancing color in Final Cut Pro X. It describes how to apply over 200 video and audio effects, modify effect parameters, animate effects using keyframes, audition effects, and enhance color using tools like the color board and video scopes. Step-by-step instructions are provided for applying, modifying, copying, and animating various video and audio effects to clips in a sample project. The document also explains color correction fundamentals and how to balance and enhance color in Final Cut Pro X.
Final Cut Pro X Weynand Certification Lesson 10Samuel Edsall
This document provides an overview of the lesson on retiming and transforming clips in Final Cut Pro X. The lesson covers retiming clips by changing their speed, applying freeze frames, and using the retime editor. It also demonstrates how to reverse clip direction, apply preset speed effects like rewind and instant replay, and transform clips by scaling, positioning, cropping, and applying Ken Burns effects. The goals are to understand FCPX retiming tools and to create keyboard shortcuts for common retiming commands.
Final Cut Pro X Weynand Certification Lesson 9 Samuel Edsall
- The document discusses working with titles, generators, and themes in Final Cut Pro X. It provides instructions on adding different types of titles like lower thirds, credits, and placeholders. It also covers using generators to add elements like colors, textures and timecodes. The document demonstrates how to modify titles using the inspector and themes to provide unity.
Final Cut Pro X Weynand Certification Lesson 1Samuel Edsall
The document provides instructions for using lesson content from the Apple Pro Training Series Final Cut Pro X book and DVD. It explains how to copy lesson files to the computer and access them through Final Cut Pro X. The document then gives an overview of the Final Cut Pro X interface and basic functions like using menus, tooltips, and keyboard shortcuts. It also provides guidance for viewing and organizing media in the Event Browser, building a project in the Timeline, and navigating playback of projects.
Final Cut Pro X Weynand Certification Lesson 7Samuel Edsall
This document discusses applying transitions in Final Cut Pro X to refine edits between video clips. It describes different types of transitions like dissolves and wipes, and when each type is best used. It provides instructions for applying, modifying, and replacing transitions. It also covers transition mechanics, using the transitions browser, and dealing with transitions on connected clips and compound clips.
Final Cut Pro X Weynand Certification Lesson 6Samuel Edsall
The document provides instructions for fine-tuning a rough cut project in Final Cut Pro X. It describes duplicating the project for refinement, removing selected ranges of clips using different deletion methods, adding gaps, moving clips, trimming clips precisely, and adjusting edit points. Precision editing in the precision editor is demonstrated by trimming an edit point to remove a repeated line of dialogue from one of the clips. The document provides guidance on pacing, content selection, and narrative flow when refining a video project.
Final Cut Pro X Weynand Certification Lesson 5Samuel Edsall
The document provides instructions for finishing a rough cut in Final Cut Pro. It describes how to add more clips to develop the story, connect new clips, audition clips, replace clips, trim clips, and work with storylines. Key steps include setting markers, performing connect edits, overwriting and replacing clips, adjusting clip volume, and creating a secondary storyline to move connected clips as a group. The overall goal is to enhance the storyline by selecting the best clips and arranging them effectively in the timeline.
Final Cut Pro X Weynand Certification Lesson 4Samuel Edsall
The document provides instructions for building the rough cut of a story in Final Cut Pro. It recommends starting with a primary storyline and adding complementary B-roll visuals and music or narration. It describes how to create a new project, customize project settings, screen and mark clips, and append clips to the timeline to start building the story. It also covers how to insert additional B-roll clips into the timeline and rearrange clips using the magnetic timeline functionality.
Final Cut Pro X Weynand Certification Lesson 3Samuel Edsall
Organizing clips in Final Cut Pro X involves assigning metadata like keywords, ratings, and notes. Keywords are applied using the keyword editor and allow clips to be grouped into keyword collections for easy sorting and filtering. Clips can be rated as favorites or rejected. Smart collections dynamically group clips based on filter criteria and update automatically. Notes provide additional context for each clip. Together these tools help manage large media libraries.
Final Cut Pro X Weynand Certification Lesson 2Samuel Edsall
The document provides instructions for importing media into Final Cut Pro (FCP) and organizing it using events and keyword collections. It discusses how FCP can import from various sources and formats, optimize and analyze imported clips. It explains how to create a new event, import folders and files, set import options to copy files and create optimized media. It also covers how FCP automatically analyzes and sorts clips into smart collections based on settings like color balance and people detection.
Final Cut Pro X Weynand Certification Lesson 8Samuel Edsall
This document provides instructions for working with sound in Final Cut Pro X. It discusses evaluating and optimizing primary audio levels by using audio meters and adjusting clip volumes. Secondary sounds like music and sound effects should be added after primary audio is at the proper level between -6dB and -15dB. Specific instructions are given to isolate clips using solo, adjust levels of interview clips, and add sound effects from the sound effects library to sweeten the audio. The audio inspector is also introduced as another tool for adjusting sound levels and properties.
The document provides instructions for applying various video effects in Smoke, including timeline effects, axis effects, color correction, resizing, titles, speed/timewarp, and slow motion cleanup. It demonstrates how to add effects to clips, modify effect parameters, animate text, change clip speed, and fix issues from speed changes like stuttering. The overall document is a tutorial for learning the basic effects tools in Smoke.
The document provides instructions for navigating and editing sequences in Smoke. It covers how to move the playhead, zoom in and out, change track sizes, view clip metadata, add and patch tracks, perform editing functions like splicing, trimming and moving clips, and adjust audio levels. The instructions include screenshots and advise the reader to try out the different functions on their own project to become familiar with the Smoke interface and tools.
This document provides instructions for basic editing in Smoke III, including how to insert, overwrite, and replace clips. It explains the three main edit buttons (yellow, red, blue), and how the blue button offers additional edit options by clicking the white triangle. Users are guided through examples of inserting, overwriting, aligning, appending, prepending, ripple replacing, and replacing media. The document also covers zooming and scrolling in the timeline, as well as storyboard editing by arranging clips as thumbnails and dragging them directly into the timeline. It concludes with assigning homework to take a snapshot of the completed timeline.
NewTek Lightwave 3D: Learning the LayoutSamuel Edsall
The document provides an overview of the Lightwave 3D interface and how to navigate around a 3D scene. It describes the main interface elements like the viewport, timeline, and tabs. It then demonstrates how to import an object, manipulate it using translate, rotate and scale tools, and create a basic animation by setting keyframes at different times on the timeline. It also shows how to play previews and render individual frames and full animations.
Education on the Move: Mobile Technologies, Online Platforms, and Pedagogy - ...Samuel Edsall
Education with mobile technologies and online platforms is, for the most part, education on the move. It is education that is convenient to populations of students who for whatever reason cannot commit to site- and time-specific class meetings. This kind of education serves a good purpose, by making education available to demographics of students, who, without mobile education, may not have any education. But in order for convenient education to produce quality learning, instructors must organize and structure the mobile and online presentation of educational content methodically and carefully. In a brick-and-mortar classroom, where course instruction occurs in a set place and time period, the regularity of place and time provide structure. With mobile and remote education, it is in the interest of both instructors and students for instructors to determine precisely when students will engage with educational content. Structuring the availability of learning information structures the educational experience. Structure can be created in a number of ways with technology: by date and time control mechanisms built into e-learning systems, with specialized client-side soft- ware, as well as with server-side controls on the computers storing the instructional data. With remote instruction, the technological framework is responsible for the
success of the pedagogy.
Social Media: Expanding Pedagogic Opportunities in Film and Television Produc...Samuel Edsall
Social media has changed the way television and films can be produced. Producers in New York can interactively discuss scripts, storyboards and rough cuts with their contacts in Los Angeles via on-line or via mobile devices and applications. The implications for integrating mobile media technology into higher education curricula and pedagogic methodology are equally transformative. For faculty teaching film and video production, mobile media can provide students with access to an infinite number of resources that exponentially expand what can be taught, how it can be conveyed, and where learning can take place.
At the University of Cincinnati a group of thirty-three students from four academic programs in three different colleges utilized a variety of social media technologies to experience an interdisciplinary class that was "team-taught" by both their UC Professor and professionals from the film and TV industry in LA and NY. Their work resulted in the 2012 Gold Rush Expedition Race documentary, an hour-long film that will air this March on a national cable television channel.
Mobile Technologies as Course Research Tools - BEA 2014 Presentation by Dr. D...Samuel Edsall
This document discusses mobile device ownership statistics and various studies related to college students and mobile devices. Some key findings are that 90% of American adults own cell phones, 58% own smartphones, and college students believe tablets can improve learning and replace textbooks. The document recommends that faculty design courses to incorporate formal and informal mobile learning and collaborative assignments. It also describes a mobile media study project for students to research how people use mobile devices for social media.
Video Project Grading Rubric - BEA 214 Presentation by Sam EdsallSamuel Edsall
This document discusses student assessment of video projects in the Broadcasting Department at Western Illinois University. It outlines the department's program with 200 majors across 3 tracks. The Provost's office requires departments to develop and revise plans for assessing student learning in their major. The document then discusses moving from narrative evaluations of student projects to using rubrics, with the benefits being easier assessment, identifying student strengths and weaknesses, and informing curriculum improvements. It provides an example rubric used with 10 scoring categories to holistically evaluate various elements of student video projects. Results are analyzed to track individual student and whole class progress.
Final Cut Pro X Weynand Certification Lesson 12Samuel Edsall
This document discusses various options for exporting and sharing projects created in Final Cut Pro X. It covers adjusting audio and video levels, exporting files like QuickTime movies and audio files, publishing to services like iTunes and YouTube, and backing up projects. The goals are to prepare projects for export by fixing any issues in audio peaks or video brightness, and to understand the various export formats and sharing options available in Final Cut Pro X.
Final Cut Pro X Weynand Certification Lesson 11Samuel Edsall
This document provides instructions for a lesson on applying effects and enhancing color in Final Cut Pro X. It describes how to apply over 200 video and audio effects, modify effect parameters, animate effects using keyframes, audition effects, and enhance color using tools like the color board and video scopes. Step-by-step instructions are provided for applying, modifying, copying, and animating various video and audio effects to clips in a sample project. The document also explains color correction fundamentals and how to balance and enhance color in Final Cut Pro X.
Final Cut Pro X Weynand Certification Lesson 10Samuel Edsall
This document provides an overview of the lesson on retiming and transforming clips in Final Cut Pro X. The lesson covers retiming clips by changing their speed, applying freeze frames, and using the retime editor. It also demonstrates how to reverse clip direction, apply preset speed effects like rewind and instant replay, and transform clips by scaling, positioning, cropping, and applying Ken Burns effects. The goals are to understand FCPX retiming tools and to create keyboard shortcuts for common retiming commands.
Final Cut Pro X Weynand Certification Lesson 9 Samuel Edsall
- The document discusses working with titles, generators, and themes in Final Cut Pro X. It provides instructions on adding different types of titles like lower thirds, credits, and placeholders. It also covers using generators to add elements like colors, textures and timecodes. The document demonstrates how to modify titles using the inspector and themes to provide unity.
Final Cut Pro X Weynand Certification Lesson 1Samuel Edsall
The document provides instructions for using lesson content from the Apple Pro Training Series Final Cut Pro X book and DVD. It explains how to copy lesson files to the computer and access them through Final Cut Pro X. The document then gives an overview of the Final Cut Pro X interface and basic functions like using menus, tooltips, and keyboard shortcuts. It also provides guidance for viewing and organizing media in the Event Browser, building a project in the Timeline, and navigating playback of projects.
Final Cut Pro X Weynand Certification Lesson 7Samuel Edsall
This document discusses applying transitions in Final Cut Pro X to refine edits between video clips. It describes different types of transitions like dissolves and wipes, and when each type is best used. It provides instructions for applying, modifying, and replacing transitions. It also covers transition mechanics, using the transitions browser, and dealing with transitions on connected clips and compound clips.
Final Cut Pro X Weynand Certification Lesson 6Samuel Edsall
The document provides instructions for fine-tuning a rough cut project in Final Cut Pro X. It describes duplicating the project for refinement, removing selected ranges of clips using different deletion methods, adding gaps, moving clips, trimming clips precisely, and adjusting edit points. Precision editing in the precision editor is demonstrated by trimming an edit point to remove a repeated line of dialogue from one of the clips. The document provides guidance on pacing, content selection, and narrative flow when refining a video project.
Final Cut Pro X Weynand Certification Lesson 5Samuel Edsall
The document provides instructions for finishing a rough cut in Final Cut Pro. It describes how to add more clips to develop the story, connect new clips, audition clips, replace clips, trim clips, and work with storylines. Key steps include setting markers, performing connect edits, overwriting and replacing clips, adjusting clip volume, and creating a secondary storyline to move connected clips as a group. The overall goal is to enhance the storyline by selecting the best clips and arranging them effectively in the timeline.
Final Cut Pro X Weynand Certification Lesson 4Samuel Edsall
The document provides instructions for building the rough cut of a story in Final Cut Pro. It recommends starting with a primary storyline and adding complementary B-roll visuals and music or narration. It describes how to create a new project, customize project settings, screen and mark clips, and append clips to the timeline to start building the story. It also covers how to insert additional B-roll clips into the timeline and rearrange clips using the magnetic timeline functionality.
Final Cut Pro X Weynand Certification Lesson 3Samuel Edsall
Organizing clips in Final Cut Pro X involves assigning metadata like keywords, ratings, and notes. Keywords are applied using the keyword editor and allow clips to be grouped into keyword collections for easy sorting and filtering. Clips can be rated as favorites or rejected. Smart collections dynamically group clips based on filter criteria and update automatically. Notes provide additional context for each clip. Together these tools help manage large media libraries.
Final Cut Pro X Weynand Certification Lesson 2Samuel Edsall
The document provides instructions for importing media into Final Cut Pro (FCP) and organizing it using events and keyword collections. It discusses how FCP can import from various sources and formats, optimize and analyze imported clips. It explains how to create a new event, import folders and files, set import options to copy files and create optimized media. It also covers how FCP automatically analyzes and sorts clips into smart collections based on settings like color balance and people detection.
Final Cut Pro X Weynand Certification Lesson 8Samuel Edsall
This document provides instructions for working with sound in Final Cut Pro X. It discusses evaluating and optimizing primary audio levels by using audio meters and adjusting clip volumes. Secondary sounds like music and sound effects should be added after primary audio is at the proper level between -6dB and -15dB. Specific instructions are given to isolate clips using solo, adjust levels of interview clips, and add sound effects from the sound effects library to sweeten the audio. The audio inspector is also introduced as another tool for adjusting sound levels and properties.
The document provides instructions for applying various video effects in Smoke, including timeline effects, axis effects, color correction, resizing, titles, speed/timewarp, and slow motion cleanup. It demonstrates how to add effects to clips, modify effect parameters, animate text, change clip speed, and fix issues from speed changes like stuttering. The overall document is a tutorial for learning the basic effects tools in Smoke.
The document provides instructions for navigating and editing sequences in Smoke. It covers how to move the playhead, zoom in and out, change track sizes, view clip metadata, add and patch tracks, perform editing functions like splicing, trimming and moving clips, and adjust audio levels. The instructions include screenshots and advise the reader to try out the different functions on their own project to become familiar with the Smoke interface and tools.
This document provides instructions for basic editing in Smoke III, including how to insert, overwrite, and replace clips. It explains the three main edit buttons (yellow, red, blue), and how the blue button offers additional edit options by clicking the white triangle. Users are guided through examples of inserting, overwriting, aligning, appending, prepending, ripple replacing, and replacing media. The document also covers zooming and scrolling in the timeline, as well as storyboard editing by arranging clips as thumbnails and dragging them directly into the timeline. It concludes with assigning homework to take a snapshot of the completed timeline.
2. Working in 3D Space
What is an object in 3D
space made of?
Points
Building blocks where
lines can be joined
together
Like a TinkerToy hub
Polygons
Surface created when 3
or more points are joined
together by a line
The form of the polygons
makes the object’s shape
3. Modeling in 3D Space
Making a 3D object
Made by creating,
combining, and modifying
simple shapes into more
complex shapes
Basic building blocks
Called ‘primitives’
Cubes, spheres,
cylinders, etc.
Before making a model
Think about what primitive
shapes compose your
object
4. Modeler Interface
Workspace divided
into 4 views
Each view is looking at
the same object at a
different angle
Default settings
Top, back, right,
perspective
You can change any
view to your liking
5. Let’s Get Started
Start up Modeler
Select File > Load
Object
In the Characters
folder select ‘Big
Ted’
6. Modeler Interface
Menu tabs on the top
Selectable items on
the left based on the
selected tab
Upper right of each
view
Viewport position
controls
7. Change Your Point of
View
In the Back viewport
change the view to
Front
Click & hold on the
Dolly and Zoom
button to change
your view
Notice how this
changes your other
views as well
8. Change Your Point of
View
Click on the last icon
(Expand button)
Now you can focus on
just one view at a time
with more room to
move around
Click on the same
button to return to
the default view
9. Working with Layers
Works like Photoshop
Separate pieces of the
same object kept in
separate layers
Can work on one layer
while seeing other
layers
Allows you to create, size
and align one piece of
your object to another
without effecting other
pieces
10. Active & Inactive Layers
If the top part of the
layer is selected
The layer is active and
can be modified
If the bottom part of
the layer is selected
It can be seen, but it
cannot be modified
Handy for lining up
pieces of your object
11. Change Your Layers
In the layers section,
click on the top part of
layer 2
Notice that Ted is gone
Nothing in this layer
Click on the bottom
part of layer 1
Ted is back, but you
can’t change him
Now you can make a hat!
12. Change Your Layers
In the layers section,
click on the top part
of layer 1
Now Ted is ready to be
modified
13. Loading & Saving
Objects
Loading Objects
File > Load Objects
If the object was
saved in more than
one layer, those
layers will also load
Most finished objects
are saved into one
layer
14. Loading & Saving
Objects
Saving objects
File > Save Object
Saves the object in the
active layer(s)
Warning
If you load a default
object and change it, be
sure to save the modified
object as something else!
Otherwise the original
will forever be modified
File > Save Object As
15. Save a Version of Ted
Select File > Save
Object As…
In the Characters
folder save as Big
Ted 2
Now we can tweak
with Ted and not mess
up the original
16. Selecting Parts of an
Object
The Golden Rule
When nothing is selected, everything’s selected!
If no points or polygons in an object are selected,
then whatever you do will effect the entire object
in the active layer
17. Selecting Parts of an
Object
The Golden Rule
If part of an object is selected, only that part will be
modified
18. Selecting Parts of an
Object
Polygon selection
Selected points are
highlighted in yellow
Polygon de-selection
Once you have
selected points and
release the mouse
button, drag the mouse
over the selected
points to de-select
them
19. Selecting Ted
with Polygons
Click on the
horizontal dividing
line and pull down so
the top view is bigger
Click on the zoom
tool to make Ted fill
the space
22. Selecting Methods
Hold the mouse down
and drag over the
polygons you wish to
select
Hold down the
Command key and
draw a circle around
the polygons you
wish to select
23. Selecting & Deselecting
Once you select a
part of your object
and release the
mouse, you are in
deselect mode
If you need to select
more points or polys,
hold down the Shift
key
24. Deselect Everything
To deselect any
points or polygons
click inside the
numerics box in the
lower left
25. Selecting Ted
with Polygons
Hold down the
mouse and drag over
the outer part of
Ted’s cigar
The polygons you
select become
highlighted
26. Modifying Parts
of an Object
Select what you want
to change
Select a tool from the
Modify tab
Find the viewport that
works best for the
modification
Have at it!
27. Modifying Ted
Select the Modify tab
Under Translate,
select Move (t)
Cursor now a plus
sign
Choose a viewport
and move the
selected polys to
make the cigar
longer
28. Modifying Ted
Select Rotate (y)
Cursor now a curly
arrow
Give the cigar a twist
Switch back to Move
(t) and tweak your
cigar to your liking
30. Modifying Ted
In the Modify tab,
whatever tool you
have selected, turn
that tool off
Cursor is now in
selection mode
Looks like an X
Drag over a row of
polys to deselect them
Hold the Shift key
down to re-select them
31. Modifying Ted
By selecting and
deselecting
polygons, select &
deselect parts of
Ted’s cigar then
move and rotate
different parts to
whatever shape you
would like
32. Selecting Ted with Points
Works the same way as
selecting polygons
Drag over the points
you wish to select or
hold the Command key
and draw a circle over
the points you wish to
select
Selected points are
highlighted in orange
33. Selecting Ted
Select the Selection
tab
On the left click on
Sel Points
Hold the Command
key and draw a circle
around Ted’s left ear
35. Modifying Ted
Select the Size tool
(H)
Put your cursor
inside the selected
points and drag your
cursor
36. Modifying Ted
Using the selection
tools, select and
deselect what parts
of Ted you wish to
modify to complete
your finished Ted!
37. Saving Your Work
Don’t forget to save what
you are working on
Select File > Save Object
As
To name your object as
something different
If this is a default object DO
THIS
File > Save
Do this if you have already
saved your object
previously
38. Saving Ted
Since we have
already saved Ted as
Ted 2, all we need to
do is update our
object.
Select File > Save
Or press Command S
If you HAVEN’T saved
a Ted 2 version then
be sure you Save As
your object
39. Save a Copy for your
Homework
Select File > Save As
Make a copy of your
modified Ted object
to the desktop
Later, attach this file
to an email to me