Alchemy supports the playback of Apple Loops as well as standard .wav audio files and can manipulate tempo and pitch in realtime. Alchemy’s sophisticated synthesis engine can transform loops with multiple forms of resynthesis and an abundant collection of filters, modulation and effects racks. This presentations introduces some of these new features.
Alchemy supports the playback of Apple Loops as well as standard .wav audio files and can manipulate tempo and pitch in realtime. Alchemy’s sophisticated synthesis engine can transform loops with multiple forms of resynthesis and an abundant collection of filters, modulation and effects racks. This presentations introduces some of these new features.
Taken from a white paper called, ‘Logic Pro X, Elemental Morphing in Alchemy’. Located at, https://fdocuments.in/reader/full/logic-pro-x-elemental-morphing-in-logic-pro-x-elemental-morphing-n-alchemy-morphing.html. August 2015
Taken from a white paper called, ‘Logic Pro X, Elemental Morphing in Alchemy’. Located at, https://fdocuments.in/reader/full/logic-pro-x-elemental-morphing-in-logic-pro-x-elemental-morphing-n-alchemy-morphing.html. August 2015
iMovie Making with iPads
How can you use iMovie with iPads in the classroom? Well, your imagination is just the start. Everything from slow motion videography to documentation, to presentations, assessments and everything in between. This academy is designed to help educators design, structure, manage, and issue film challenges to students in any content area. Digital storytelling is an important 21st century skill and this academy will enable you to help your students tell a digital stories masterfully.
How can you use iMovie with iPads in the classroom? Well, your imagination is just the start. Everything from slow motion videography to documentation, to presentations, assessments and everything in between. This academy is designed to help educators design, structure, manage, and issue film challenges to students in any content area. Digital storytelling is an important 21st century skill and this academy will enable you to help your students tell a digital stories masterfully.
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Sound editing with adacity RP YADAV Sr. Lecturer Multimedia and Animation Dept. at ISBAT University. RANDHIR PRASAD YADAV Multimedia, Animation and ITC Dept. B.Sc. and M.Sc. In Multimedia & Animation TechnologyBFA in Fine Art, Advanced Diploma in 3Ds Animation 10 Years of Experience (INDIA,MAURITIUS & UGANDA)Email: rpyadav@africamail.com, +256 706207727 , 702606786
Want more ideas to use iMovie with iPads in the classroom? Join us to explore how to create workflows for documentation, peer feedback, self reflection, creating stories, Pecha-Kucha, photo essays, field trips, creating instructional videos, slow motion analysis, animated films and so much more!
An introduction to Autodesk Smoke as taught by Professor Sam Edall using clips from FCP7 Quest media files. This first lecture shows the Media Hub and Timeline interface.
Movie Making with iMovie
Want more ideas to use iMovie with iPads in the classroom? Join us to explore how to create workflows for documentation, peer feedback, self reflection, creating stories, Pecha-Kucha, photo essays, field trips, creating instructional videos, slow motion analysis, animated films and so much more!
Teaching in the Distracted Age: What Students Expect from Online Courses - P...Samuel Edsall
Most students today will enroll in at least some online classes during their academic career. However, online pedagogy has a reputation of lacking interaction, instantaneous communication, or visual tools to assist in instruction. The purpose of this presentation will be to share student expectations in an introductory media online class and how these expectations were met through the use of social media, smartphone applications, and screen-capturing applications.
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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.
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
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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.
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The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
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Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
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Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
3. Let’s Get Started
Load your 420
lesson project
Load up your Wildlife
sequence
Switch to the
Timeline view if
necessary
Change the view to
Source - Sequence
4. Getting Around Your
Sequence
Sequence positioner
You can drag the play
head back and forth to
see different parts of
your sequence
Click on the timecode
below to snap the play
head to that spot in the
sequence.
5. Getting Around Your
Sequence
Try it out
Click on the play head
and drag back and
forth to see different
parts of your
sequence
Click on the timecode
below to snap the play
head to that position.
6. Getting Around Your
Sequence
Type it in
If you know you need
to go to a particular
timecode you can type
it in
Use the Add and Sub
to move the play head
forward or backward
by whatever number
you enter.
7. Getting Around Your
Sequence
Try it out
Check the current
timecode of your play
head position
Click on the number to
bring up the calculator
Add three seconds to
the current time and
press Enter
In this case
10 00 10 00
or 10 00 10.
8. Getting Around Your
Sequence
Try it out
Use the Add button
Click on the timecode
window again to bring up
the calculator
Type 3 0 0 and press Add
Play head moves forward
3 seconds
Type 2 . and press Sub
Play head moves back 2
seconds
9. Getting Around Your
Sequence
Zooming in and out
on your sequence
Command + and –
Command & Option,
then drag the mouse
Shift Z to fit the whole
sequence
10. Getting Around Your
Sequence
Looking up and down
Use the scroll bar on the
far right to look at upper
and lower tracks
Changing track size
Click on the scroll bar
and drag left and right to
vertically zoom on your
sequence changing the
height of your tracks
11. Getting Around Your
Sequence
Try it out
Try the Command +
and Command – to
zoom in and out
Shift Z to fit the
sequence or use the
layout combo box
Click and drag left and
right on the vertical
scroll bar
12. Getting Around Your
Sequence
Change the track size
Click on the bottom
part of the track and
drag
Clip metadata
Press the / key then
click on a clip to show
information about that
clip
13. Getting Around Your
Sequence
Try it out
Click on the bottom
edge of a track and
drag to change the
height of that track
Shift Z if you want to
restore it
Hold down the / key,
then click on a clip to
see clip information
Move your cursor to
other clips while still
holding the / down
14. The Patch Panel
Represents source
tracks and
destination tracks
Green tabs on the left
are source tracks
Dark gray tabs on the
right are destination
tracks
15. The Patch Panel
Add some tracks
Control click on the
empty space above
the video track and
select New > Video
track
Control click on the
empty space below
the audio tracks and
select New > Mono
Audio Track
16. Patching Video Tracks
Couple of ways
First, select a video
clip in the Media
Browser
Click on the P in the
patch panel
Drag the focus point
(horizontal bar) up and
down on the play head
17. The Patch Panel
Try it out
Select a video clip in
the Media Browser
you haven’t used yet
and set a duration of
2-3 seconds
Move the play head
where you would like
this new clip
Change the patch
panel to your new
video track
18. The Patch Panel
Try it out
Perform an insert or
overwrite edit at this
location on your new
track
Play your new
arrangement
Pause, then try the up
and down arrows and
notice where the play
head now snaps to
19. Patching Audio Tracks
This is a little strange
First, select the audio clip
you wish to edit in the
Media Browser
Mono sources can only
be edited to mono tracks
in the sequence
Stereo sources can only
be edited to stereo tracks
on the sequence
Then select the track you
wish to edit to, click and
drag right to select that
track
20. The Patch Panel
Try it out
In the Voiceovers
folders select the VO
022509-2 (should be
the 1st one)
In the patch panel put
your cursor on the
mono patch and drag
right to select this
track
21. The Patch Panel
3-point Edit the VO
In the timeline move
the play head to the
beginning of the
sequence and press I
Move the play head to
the end of your
sequence and press O
Select the insert or
overwrite edit to drop
the VO to your
sequence
22. Fix the Mix
Change the view
from Source-
Sequence to Player
In the Options pop-
up menu select
Show Audio Desk
23. Fix the Mix
Play your sequence
and adjust channels
1 & 2 lower so the
narration can be
heard
Change the pan
setting on top of
channel 3 to hear
the narration on
both tracks
24. Patch Panel Controls
Select / Deselect a
track
Click on the source or
destination side of a
track to allow a source to
go to the selected track
Click again to separate
the source – destination,
which will prevent the
source from being edited
to that track
25. Patch Panel Controls
Track Visibility
On/Off
No slash = track can
be seen or heard
Slash = track is
turned off
Click to turn on/off
track visibility
26. Try it out
Select a clip in the
Media Library,
select the top video
channel, but
disconnect the
patch
If you try to make an
edit, you will not be
able to until you
patch the track again
27. Try it out
Move the play head
over the new clip in
the top video track
Click on the eye to
turn off track
visibility
This track is now
invisible
You can now see
below this track
28. Patch Panel Controls
Track locks
When locked, it
prevents any
modifications to that
track
No moving,
trimming, editing
29. Patch Panel Controls
Syncing tracks
When two or more
tracks are synced, if
you insert a clip in one
track, a corresponding
gap will also appear on
each synced track
This keeps the timing
consistent on all
tracks
30. Try it out
Turn the visibility on
for both video tracks
Make sure the top
video track is patched
Turn the sync on for
both tracks
Select poets from the
Media Browser and
set a duration of 3
seconds
31. Try it out
Use the up/down
arrow to cue the play
head to the end of the
first clip on the top
video track
Select the Insert edit
and watch what
happens
Press Command Z to
undo
32. Patch Panel Controls
P icon
Highlighted P icon
indicates the selected
video track
For audio, only the
green source icon will
indicated the selected
audio track
33. Forcing a Patch
Forcing mismatched
sources into tracks
Stereo source into a
mono track
Mono source into a
stereo track
Patching won’t work,
but you can drag and
drop the source into
the desired track &
force it into place
34. Moving Clips Around in
the Timeline
How clips behave
when you move clips
around in the
timeline depends on
these three buttons
Select/Slip/Slide button
Ripple
Snap
35. Moving Clips Around in
the Timeline
Select tool
Great tool to move a
clip from one place in
the timeline to another
Like the arrow tool in
FCPX
36. Moving Clips Around in
the Timeline
Ripple on
When you move a clip
to a new location you
will perform an Insert
edit at the new location
The gap where the clip
used to be will be
closed
Duration of your
sequence will not
change
37. Moving Clips Around in
the Timeline
Ripple off
When you move a clip to
a new location you will
perform an Overwrite
edit at the new location
The gap where the clip
used to be will remain
Duration of your
sequence may change
depending where the clip
is placed (say at the end
of the sequence)
38. Try it out
Make sure you have the
Select tool selected
Turn off Ripple
Turn on Snap (if
necessary
Select a clip in the
sequence and drag to a
new location
Notice the red indication
(overwrite)
Notice how the clip wants
to snap to an edit point
39. Try it out
Command Z to undo
the last edit
Turn Ripple back on
Drag the clip again to a
new location
Notice the yellow
indication (insert)
Notice the sequence
ripples to close the gap
where the clip was
Sequence ripples again to
make room where you
release the clip
40. Splicing Clip
Splicing
For FCPX users, this is
the same as the blade
tool
How’s it done?
No menu or tool (?)
Shortcut: Control V
Kind of looks like
this is what it does
41. Try it out
Move the play head
to a point in a clip
on the timeline
Press Control V
The clip is cut at the
play head position
42. Try it out
Command Z to undo
the splice
Now press Shift
Control V and notice
what happens
All the tracks at the
play head position are
spiced at the play head
position
Command Z to undo
43. Ripple Delete
With Ripple turned
on
Select the clip and
press the Delete key
With Ripple turned
off
Select the clip and
press Shift & Delete
44. Try it out
Make sure Ripple is
on
Select a clip and
press Delete
Undo the delete
Turn off Ripple
Select the clip again
and press Shift &
Delete
Undo the delete again
45. Lift Edit
With Ripple turned
on
Select the clip
Control click and
select Lift
With Ripple turned
off
Select the clip and
press Delete
46. Try it out
Make sure Ripple is
on
Select a clip and
control click, then
select Lift
Undo the delete
Turn off Ripple
Select the clip again
and Delete
Undo the delete again
47. Trimming a Clip
How you trim depends on
whether Ripple is turned on or
off
Turned on
Cursor = yellow
Sequence expands to make
room for added content
Closes the gap if content is
removed
Turned off
Cursor = red
Clip will overwrite on adjacent
clip if content is added
Gap left behind if content is
removed
48. Try it out
Make sure Ripple is on
Make sure the Select tool
is selected
Move your cursor to the
In point
Notice the yellow icon =
ripple trim
Drag left to add content
Drag right remove
content
Notice how the sequence
adjusts to each trim
adjustment
49. Try it out
Make sure Ripple is off
Make sure the Select tool
is selected
Move your cursor to the
In point
Notice the red icon =
overwrite trim
Drag left to overwrite
previous clip
Drag right to shorten clip
Notice now that a gap is
left behind
50. Rolling an Edit
Moves the edit point
between two clips
Duration of the
sequence does not
change
With Ripple turned off
Great tool for
aligning edits to a
music beat or sfx
51. Try it out
Make sure Ripple is off
Make sure the Select
tool is selected
Put your cursor on an
edit point
Cursor should show left
& right arrows
Drag left to move the
edit sooner
Drag right to move the
edit later
52. Trim & Roll Multiple
Tracks
Move the play head
to the middle of a
video clip
Press Shift Control
V to splice the clip
Command and click
on the audio tracks
you would like to
roll with the video
track
53. Trim & Roll Multiple
Tracks
Place your cursor
back on the video
track and drag left
and right
Notice now that the
selected audio track
will also roll with the
video
54. Slipping a Clip
Changes the content
you see or hear in a
clip without moving
or changing the
duration of the clip
Shortcut: S
55. Try It Out
Move the play head
on a clip
Press S to select the
Slip tool
Drag left and right to
change the content
of the clip
Dragging left = later
content
Dragging right = earlier
content
56. Slip on the Fly
Press A to select
the Selection tool
Slip on the fly
Put the play head on
a different clip and
select it
Press S
Use the and
keys to nudge slip
the clip left and right
57. Sliding a Clip
Moves the clip in the
sequence left or
right, overwriting one
side of the edit while
extending the In
point of the other clip
Duration of the clip
or sequence does
not change
Shortcut: D
58. Try It Out
Press D to select
the Slide tool
Put the cursor over
a clip and drag left
and right
59. Slide on the Fly
Press A to select
the Selection tool
Slide on the fly
Put the play head on
a different clip and
select it
Press D
Use the and
keys to nudge slide
the clip left and right
60. Dissolves & Wipes
Make sure no clips
are selected
Move the play head
to an edit point
Menu bar above the
sequence will show
the outgoing and
incoming clip with
transition button
enabled
61. Dissolves & Wipes
Click the transition
button
Dissolve, Wipe, Axis
Default duration is 10
frames
62. Try It Out
Click in a dark gray
area to deselect any
clips
Press the up or
down arrow to
navigate to an edit
point
Click on the
transition button
and select Dissolve
63. Dissolves Parameters
Editor
Close-up look at the dissolve with several tools to
tweak the effect
Centered, up to, from cut
Changes when the dissolve occurs
In the middle, before the cut or after the cut
65. Dissolves Parameters
Mix
Sets how much of the transition occurs at the play
head point
To/From Colour
Allows you to fade to and out of a color during the
transition
66. Try It Out
Change the duration to 1
second
Change the blend mode
to Non-Add
Press the key to render
the effect
Check out your new
dissolve
67. Wipes
Make sure no clips or
transitions are
selected
Unless you want to
change your dissolve
to a wipe
Move the play head
to an edit point
Click on the
Transition button
68. Wipes
Lots of patterns to
choose from
Click on the Patterns
button to select
View as names or as
thumbs
69. Try It Out
Click off the timeline
to deselect
everything
Use the up and down
arrows to move the
play head to a new
edit point
Click on the
transition button and
select Wipe
Change the duration
to 1 second
70. Try It Out
Click on the pattern
button
The pattern dialogue
box comes up
Not very revealing
what kinds of wipes
are available yet
71. Try It Out
In the upper left
corner click on the
Titles box and
change to Proxies
Select a wipe pattern
Adjust the wipe
parameters to suit
your taste
72. Try It Out
Click off the timeline
to deselect
everything
Move the play head
to a new edit point
Click the Transition
button and select
Wipe
Click on the Pattern
button and select a
circle wipe
73. Try It Out
Click on the Enter
Editor button
Click on the bezier
points to modify the
shape of the circle
wipe
Press Exit when
done.