On Tue, Mar 27, 2012 at 10:06 PM, Lenore Von Stein wrote:
Travis,
Just reviewed the tapes – the sound is very nice – complex and clear. I made DVD copies and will mail them to you. The sound on the DVD’s made at the taping was too hot – am wondering why – is that because the tape deck volume was up.
Anyway the important sound on the tape was very good and the pictures were interesting – a big step. thank you, Lenore
Travis Collins answered
OK, thanks. That clears something up for me. The way you have to monitor the levels of the DVD player is confusing. You do it through the VHS player, then there is a discrepancy between levels in the digital and analog realm. DeShawn convinced me that the levels should be set to 0, which would ordinarily be true, but not when using the DVD player. Anyhow, I will go back to what I was doing before. Glad our DVcam copies are usable.
I also wouldn’t mind having a copy of the DVD on this taping and perhaps the next, just to see what is really happening there for myself.
Thanks,
Travis
Movie Recommendation
Brighton Rock, 2010 based on a Graham Greene novel. BBC Films
First movie on the novel was in 1947
Movie Recommendations
1. Francesco Rosi’s Le mani sulla città (Hands over the city – 1963) (DVD – 2006) – Italian with English subtitles with Rod Steiger, Salvo Randone, Guido Alberti, Marcello Cannavale, Dante Di Pinto, Alberto Canocchia, Carlo Fermariello, Terenzio Cordova, Gaetano Grimaldi Filioli, Angelo D’Alessandro, Vincenzo Metafora, Danv Paris
2. The House of Suh by Iris K. Shim Grayscale Films 2011 English and Korean with English subtitles – documentary
Statement of way of working: techniques and goals
From Lenore Von Stein
Combining my interest and techniques from three fields:
1. Method Acting: monologue techniques, detailed plan to develop and extend performer’s focus especially under the added stresses and/or distractions of performance itself (as opposed to rehearsal)
• What do I want (objective)? What am I doing to get it (action)?
• Who am I talking to, about what, what do I expect, what am I talking about (setting for the initiative)
2. Musical Composition: Modern art music, classical, baroque, be bop, free jazz, and electronic compositional techniques, forms, styles, examples
• Clarity, thematic analysis, transitions
• Economy of movement, focus, justification, adjectives
• Counterpoint between individual lines of music
• Parameters and sensibilities
3. Musical Performance: Singing
• Vocal skills: Training and maintenance
• Sound quality
• Focus, through line of action
• Rehearsal methods
• Injury prevention and treatment
4. Prose Composition: fiction including play form
• Logic of the progression from section to section, transitions
• Economy of movement, focus, justification, adjectives
5. Prose Composition: Non-fiction including business communications
• Audience interests and expectations
• Clarity of arguments
• Length and packaging of presentation
• Positioning for successful presentation
6. Ballet and Modern Dance
• Economy, clarity, relevance of movement
• Individual movement’s relationship to the whole body
• Physical space including performance space
• Rehearsal methods
• Injury prevention and treatment
7. Mixed with the new visual dimension of TV and internet video
• Crew requirements: training, sensibilities, parameters of involvement, levels of involvement, satisfaction, politics
• Visual Composition: elements, counterpoint, resource limitations
• Lighting, recording, audio, resource limitations
• Timing: production and pre and post production chores
• Distribution
• Fundraising
Statement of the importance of individual artists and fostering their individuality
1687, Inc. supports the artwork of one artist and the artists, technicians and other professionals that work with her on 1687 projects. In order to do this we are building a business model that facilitates the production and growth of an individual artist and as such serves as an exploration into elements that are beneficial to individual artists, the results of supplying those in a variety of amounts and for different lengths of time and finally the importance of art works created by individual artists with complete content control as opposed to collective artistic products – (in both cases citing specific examples) to the expressive, intellectual and emotional progress of peoples and civilizations.
Taping Report on The Facts’ “Building a Character” episodes
it’s christmas day and I’m so full – glad to be sitting again at the computer to finish this report
Report on taping December 20th – “Building a Character”
Working from DVD’s – will hear tapes this week and get a better picture
We keep on going forward – so exciting – what do they call this? – oh ah ART
New levels of video movement in these tapes. The action kept pulling the audience through the piece and the room.
Real strides in what I’m calling the “personal approach” to filming these productions – evocative shots
Sound was good – volume was good
Issues:
Establishment shots were often out of focus at first and then moved into focus – we need them to be really out of focus or really in focus -
One idea – use robot pre-sets for establishment shots in order to get crisp focus every time
Lighting wasn’t as good as it has been – the red light lighting the cable box in the back didn’t work as well – this was my mistake – the black background would have been better
Lighting was also set early in the set-up period before a series of changes were made to the talent positions.
Merry Christmas!!!
Yes you are making real strides- look forward to seeing the next one-
Have a great day!
Rachel
Emails on visuals, music cues, and transferring files
Alice,
The visual approach to the music episodes has been evolving in my head – I’d like them to look more like a film – with the narrative punctuated more obviously by the music and the change between foreground and background for each element (music and narrative) accentuated by the camera both in a shot’s individual composition and in a group of shots – the same problem remains of no rehearsal or story boarding and improvised sections. Happy Eating Day – I usually make myself sick on such days but continue to analyze it looking for a better way (I also sent the above description to Pedro and am cc’ing this to Travis)
Best, Lenore
Hi,
Hope you both had a happy Thanksgiving. I agree that synchronizing the crew with the talent would add a lot to the show.
I think this would work if we could follow along with a score and a set list in the control room. Perhaps, I could cue the director when a piece of music was ending. Then, we would have to figure a way to cue the end of a narrative section.
Let me know what you think. Travis
Travis,
The cuing for the end of the piece would only work with someone like yourself who can read music — very few crew can do that (we’ve only had two yourself and Daniela Muhling) – I’ll bring extra copies of the music. Attached is the set list for this taping.
Cuing – there is also an issue with the improvisation because they are true improvisations and we don’t know when they will end. In general improvisations build the bridges between each piece of text and the next written piece of music. Increasingly this symmetry is changed because of the content of a particular show or just so we don’t fall into a rut – I favor asymmetry
Occasionally I change the set list during the performance sometimes because of:
A performance error – that happened a couple of weeks ago when a piece was not played
When I get the five minute mark, etc. I may decide I don’t have enough time for everything on the set list and edit so that I still end up where I planned to end up. This has also happened several times.
Also something more interesting than what I planned may be happening. This has happened several times.
Any changes during performance have to be made without disturbing the flow of the performance or confusing the musicians. Lenore
Lenore,
No problem. I understand that the scores can only be used as a guide, but I think it may help in predicting some cues. It could also make things more confusing. But, couldn’t hurt to try using them.
I wasn’t able to get the entire mastered file uploaded to the server. And, you’ll notice I deleted it along with a couple other files. The “How I became a Coward – Episode” was also incomplete and I deleted it too. The server seems to be disconnecting before the file transfer is complete. Most likely due to the length of time required to upload the file. This explains why the files are cutting off before they are done. The most important thing to check after uploading a file using Filezilla is the “filesize.” If the file on the “remote site” is much less than the one on the “local site,” then the file is incomplete.
I’ll have to bring “How I Became a Coward – Rehearsal” mastered on a disc when I see you this Weds. for the next taping. By the way, I think it looks and sounds very good.
Ironically, the conflict I have on Dec. 20th is with the Control Room Class that I’m scheduled for at MNN. That would be my last class from 6:30-9:30, where I believe I’d be needing to complete a practical exam to become certified. I’ll try to talk to Rich (the instructor) on Weds. to see how that can be sorted out. I can probably take a separate practical exam with him on his show another day. Travis
Ralph Nader on NYC government breaking up the Occupy Wall Street Encampment et al
From Oakland, California to New York City, the police, ordered by politicians, have smashed through Occupy encampments. Noted for their rigorous non-violence and orderly arrangements – tents with medical assistance, legal aid, libraries, media relations and sanitation controls – the Occupy protestors are being shoved out of their public places all over the country.
The Mayor of Oakland admitted to the BBC in an interview that mayors, police and other security officials have been in contact with each other regarding how to deal with the removal of the protestors, including an 18 mayor conference call she participated in recently.
The police power is always the first response to a mobilized citizen action that refuses to go away. Even a protest against corporate greed and governmental complicity shattering the economy and millions of livelihoods, which has widespread support by the American people, faces police intervention.
How else has the plutocracy of the corporatists and the oligarchy of the politicians who serve them responded? President Obama has remained aloof, as he did earlier this year with the giant Wisconsin labor protests. California Governor Jerry Brown has stayed out of the fray. The Congress is wallowing in its tone-deaf bubble squabbling over how to reduce the crumbs for the masses while the obscenely-bonused corporate bosses feast on the tables of corporate welfare and privilege.
Chris Hedges, the Pulitzer-prize winning war correspondent – described what entrenched illegitimacy by the power brokers has to offer besides force:
“Our elites have exposed their hand. They have nothing to offer. They can destroy but they cannot build. They can repress but they cannot lead. They can steal but they cannot share. They have no ideas, no plans and no vision for the future.”
Except, one may add, for the perpetuation of their autocratic, self-enriching, dominant rule at the expense of the “99 percent.” Their outcry is for law and order – clear the tents from the public parks. These are the same corporatists who constantly receive from the corporate-dominated state all kinds of waivers from health and safety regulations, from government contract rules, from fair labor standards, from taxes. And all kinds of loopholes to enhance their profits and executive pay packages. But there are no waivers for orderly encampments non-violently advancing justice for “we the people” by spotlighting the gross inequities and cruelties imposed on tens of millions of innocent Americans.
As the destruction of the Occupy encampments proceeds, this movement will disperse into many locations and become larger and stronger. From the neighborhoods, joining with long-valiant community groups, the Occupy protestors will return by day to these public squares for their ever-more innovative demonstrations.
One protestor told “Democracy Now” that their expulsion from over-night stays in Zuccotti Park will show “how intuitive and ingenious a movement we have.” Already the protestors have shown their adaptive creativity. They responded to a ban on bullhorns or other amplifiers with the “human microphone,” relaying words through waves of people.
Occupy Wall Street had a 5,000 book library loaning books to residents without access to a nearby city library branch. So taken was the “Washington Post’s” architectural editor, Phillip Kennicott with Occupy Washington at McPherson Square that he devoted two pages to an aerial view and report of its intricate organization calling it a “vibrant brand of urbanism.” The same is true of the other Washington, D.C. Occupy site at Freedom Plaza. So far City Hall and the National Park Service have left them alone.
With the coming of winter and the Occupy sites overwhelmed with the hungry and homeless poor – some urged to go there by the police – it was time for stage two. By not being somewhere, the Occupy movement will now be everywhere – in the neighborhoods, on the campuses, in churches and union halls, and marching in the streets toward the edifices of the corporatists and their political lackeys.
Furthermore, this diffusion and magnification will spread into the established institutions themselves as first a few and then more whistleblowers, dissenters and other silent patriots do their part to subordinate the corporate structures and political controllers to the sovereignty of the people. After all our Constitution’s preamble starts with “we the people,” and ends without a single mention of corporations or political parties.
Becoming stronger from violent over-reaction by the police, it will become an “Occupy America” movement with demands for long-overdue revisions of priorities and equities relating to children, workers, consumers, taxpayers, retirees and restricted voters. The sheer volume of Americans coming into the streets with their non-violence will exhaust police resources and police resolve. Already, the city police and local district attorney in Albany, New York refused the governor’s order to arrest and remove peaceful protestors. Why? Because said one police official “we don’t have those resources and these people were not causing trouble,” as quoted in the instant new paperback “This Changes Everything.”
At the University of California at Berkeley demonstration, Daniel Ellsberg said that the official enforcers’ “instinct for repression is irrepressible.” That is the dark view, predicted by Aldous Huxley’s “Brave New World Revisited” – a copy of which was found, ironically, in the debris of the destroyed Zuccotti Park library by Amy Goodman of “Democracy Now.”
But the instinct for freedom and justice is also irrepressible. Who are you betting on to prevail this time?
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Tell your friends to visit http://www.nader.org/ and sign up for Ralph Nader’s weekly column.
Audio and video out of sync on web upload to blip.tv
Lenore, Oct-17 08:28 am (EDT):
I’ve been posting videos to blip for over two years and never had problems with distortion. I recently became a pro member. The last two videos i’ve uploaded to blip using the same settings I have in the past have arrived on blip with the audio and video out of sync. These videos have audio and video in sync – no distortion problem in the Quicktime files I upload to blip.
blip.tv Support, Oct-18 11:49 am (EDT):
Hi Lenore,
Can you send me a link to the episodes where you’re seeing this problem?
Thanks, blip.tv producer support
Lenore later that day : I sent the links – these videos have since been removed
Evening of the same day Lenore sent to blip:
Solved the problem – found a YouTube page that provided new settings for Quicktime conversions that eliminates this out of sync audio-video issue
http://www.google.com/support/youtube/bin/answer.py?hl=en&answer=1297408
Apparently a common problem
Problems, Missteps and Solutions
Here is a list of some of the difficulties I’ve found working at a public access station with a crew that is a mixture of amateurs and professionals. I hope it will be helpful to others:
Overseeing all these problems is a budget that is too small for the job resulting in:
Equipment: deferred maintenance, and replacement for example:
- Took close to a year to replace the lights in the studio – out of 15 lights only 5 worked – they have now been replaced
- At the last taping all the “com” boxes that facilitate communication between the control room and studio crew were in bad shape. We asked for two “com” boxes for our taping. The studio technician gave us three saying – “I’m giving you three because all of them are dying.” The “com” boxes have been poor for at least the last year. Of the three only one worked and that sporadically. The result was missed cues, extra anxiety for crew and talent = lower grade production.
- Studio camera makes noise moving around that can be heard on the tape as well as by talent during. We were told by several technicians at and outside the station that all it needs is WD40 but we are not allowed to do that. Executive as well as network floor staff have said they’d talk care of it – that was a year ago.
- Computers in the editing suite that crash, and out of date software
Staff Support
- Insufficient staff leading to waits for information, assistance, incomplete assistance;
- Staff experts although usually helpful have limited areas of expertise and are asked to be a jack of all trades, e.g. video people who are not well versed in quality audio production