Here are some links to my online presence.
Tuesday, April 30, 2013
Thursday, April 25, 2013
Meeting with Carrie Brooks
I met with Carrie Brooks on Monday April 8, 2012 to discuss my resume and several different strategies I might be overlooking when I’m applying for an internship and also to go over some interview techniques that might be helpful in obtaining jobs, residencies and really just anything. They say that a first date is actually like an interview. You never know. But, I am old. So, I have had to apply and interview for many different positions in my lifetime, and I thought by now that I would have this down. But as it turns out, Carrie had several ideas that could streamline and increase the effectiveness of my resume and also my interview skills.
First we started by taking a look at my resumes, YES, resumes… plural. I have three different resumes because there are several different fields that I am applying to jobs. My degree here at Memphis College of Art will qualify me to work in a position as a university professor in Painting and foundations. And, I am interested in gaining that experience to teach different classes, but I also am interested in curatorial or writing positions. Carrie had some ideas about arranging my experience in a RELATIVE experience and also OTHER experience type format so that each employer would have easy access to what is most pertinent to the job that I might be applying for. I would really love to have a good job doing something exciting and creative after school too, so I am working on gaining the knowledge to qualify for such a position. There are so many options.
Carrie also decided she would go ahead and run through a mock interview with me while we were there and she asked a lot of open ended questions in the interview. She likes to ask broad questions, as employers like to do the same thing. It is sometimes hard to find the right amount of time in responding so you don’t seem unenthused but also so you don’t just babble on and on and on about things.
The meeting was good and very helpful. Carrie is wonderful and has helped me a great deal in preparing for interviews and the application process. I really appreciate all that she does here at MCA.
The big folder is the same as your scratch disk.
All your files need to live in that one big folder.
All the files that you are using for FCP should not be rendered to H264.
Once you have all of your files correct codec and together in a big folder
OPEN FINAL CUT… It’s important to only run Final Cut as it is function intensive
It will immediately ask for a deck…. CLICK CONTINUE….
If you get an ERROR at this time, then you want to “reset scratch disk”
Then assign YOUR OWN FOLDER. You have to tell Final Cut to Quit your project:
You cannot just close Final Cut… or your project will pop up when it reopens.
Then save the untitled project… there should only be one project open that says “untitled project 1”
Save Project As
then save that to your folder. Now you will see in the folder a FCP project file. This is now your editing decisions…. It doesn’t include all the files associated with it. This is why we established the scratch disk.
The First thing you need to do when you open up
Final Cut Pro
Then set your scratch disks….. click “Set” in the Upper Right and then go to the folder where you are working. YOU MUST DO THIS AT THE BEGINNING EACH TIME YOU OPEN FCP because somebody before you has been using a different folder.
REMEMBER: At the beginning hit shift Q and make sure that your scratch disks are set to the appropriate folder.
The Next thing you want to do is import the files that OR the folder that you wish to work with. You can
By default FCP will open up a sequence. You need to make sure that the sequence settings match up.
If they do not.. highlight the sequence, then go to Sequence Settings and change it to animation or whatever so all files and the Sequence are the same. EVERYTHING SHOULD MATCH UP!
The Next thing you want to do is start editing
The best way is to highlight the clip and double click… . it will pop up in the middle window. As you move along, the upper right corner will show you the time that have moved. Because you have not marked in and out the time will adjust.
There are three tabs in the middle window. The video you would like to “Fit to window’
Sync you want to leave off
The third has many many options. And you want to have it set to image. Title safe bar can be turned off and on while editing.
The final button is show excess luma. Which will keep you in the parameters for legal broadcast.
J K and L are the backwards forwards and stop keys. Double clicking on L with make it move fast
Other keyboard shortcuts…. If you use the right and left arrow key it will move you one frame… adding shift will move you by the second.
To mark in and out on a clip: I for in and O for out. If I want to go back to any point you can use the UP arrow. If Option I and Option O will remove the markings.
If you would like to have more than one clip from the same clip, you can go to Apple U and it will create a sub clip (or a copy of the original clip) and
The top right window is the canvas, which is a representation of your sequence or timeline. There are many ways to bring to the timeline. You can drag and drop and you can cliek the red yellow or blue buttons. You should look at the direction of the arrow when you drag the clip down. Red means and overwrite edit (when pointing down) Insert edit will move things aside, the yellow edit will move aside, the red will OVERWRITE.
Apple plus and minus will zoom you in and out when you are editing.
The timeline indicator in the bottom left shows you where you are.
In the upper right hand corner is the ripple sequence marker.. don’t use.
There is a button to disconnect the video with audio… as if you wanted to flash to a reaction. SHIFT L will also unlink the video with the audio. This unlinking is called and L cut.
The tool palette is down on the right side. The tools are selection A … blade tool B and track tool T. A selects… the next one is a track select you can highlight and shift click to select.
Numeric delete will delete and close the gap, a regular delete will only delete the clip or the gap… one thing at a time.
If you mouse in between two clips and if you select the gap between and then double click you will get a trim edit window to pop up.
If you only want to change the one of the left, you will highlight the window that you are wanting to adjust, if you want to watch how the edit is working, you can watch it on a loop.
On the very bottom of the timeline there are items that you can click on…. You can click on here. Show audio wave forms is a useful function that is listed there. You can also change the size of your video in the area. You can change the size of the timeline.
The toggle click overlays… will provide a black line and you can edit the opacity/brightness of your clip, or you can highlight the pink line if you want to edit your audio.
When you are done with your video…. All you have to do is go to save project and the CLOSE project and the quit
Monday, April 22, 2013
Tuesday, April 16, 2013
I have done extensive research in finding a summer internship. A lot of the internship possiblilities have been found using College Art Association CAA.org or I have done specific research based on institutions in a given area and/or I searched based the reputation of specific institutions.
I have applied to over a dozen institutions in the curatorial field (mostly), but also I have applied with the Seattle International Film Festival as a writer and Seattle Stranger working as a photography intern. I have sent resumes to the Henry Art Gallery (part of the University of Washington) where I have seen several film and video installation exhibitions. While I was traveling out to Seattle this spring, I was able to meet some of the people that work at the Henry Art gallery and discuss with them the photography exhibit and video installation exhibit that is currently being installed. This exhibit is wonderful in the idea that artists, like Pipilotti Rist, have generated entire environments by filling entire (small gymnasium) sized rooms with video.
I collated materials and packages together for a curatorial event planning position at The National Gallery in Washington D.C., I have also sent resumes and hiring packets to The Foster White Gallery in Seattle and sent numerous other letter requesting information or asking about the possibility of a summer internship. I also found a great internship opportunity with the MoMA, but had missed the deadline. I also found the Andy Warhol Museum offers internships.
I have applied for a summer internship working in the curatorial department with Seattle Art Museum, Olympic Sculpture Park, and also as a teacher with the Frist Center for the Visual Arts in Nashville Tennessee. I have been interviewed twice and am expected to drive to Nashville next week to interview in person. I have collated a package for consideration to a studio residency programs with the Whitney Museum in New York.
Although I have not been formally extended an internship or invited on board with any of the institutions that I have been applying with, I am keeping my fingers crossed that something will come up soon. Carrie Brooks has been instrumental in helping me to improve my resume and also drilling me with specific questions that might be asked during an interview.
Thursday, April 11, 2013
The breakdown for a demo reel pretty much goes like this. There are lot's of do's and don't of the demo reel but basically it boils down to:
1. Make it short. Don't jumble it up with lots of stuff. It's a bit like a pitch line.
2. Include a good variety of different work that highlights what it is that you do.
3. Make sure that it is your best work. Why would you want to include something you almost did well to a possible employer????
4. The music isn't all that important.
$. Nothing gross or weird. Make it presentable as if you were going to be present in an interview when the people watch this video. You are not trying to get a show at the Whitney after all. So... BE PROFESSIONAL!!!
There are some really funny demo reels out there. this one is great for a good laugh. It made me laugh anyways. It's not a great demo reel. First, the dude's animation/cinema work isn't anything to write home about, and second, the music cusses a lot. It's very juvenile, and so, that is probably why I laughed at it.
Ian Pfaff's Demo Reel from Ian Pfaff on Vimeo.
Here is another one demo reel. this one is very long, but there is a great multitude of awesome footage and work from some Television and commercial work. The music is not offensive and seems to be okay, but I hate the music for some reason. could be just my taste preferences.
Branit|vfx 2009 Reel from BranitVFX on Vimeo.
Here is a wonderful (and very LONG) cinematographer's demo reel. this one is done with super wide screen. The music is totally freaky, but then again, so is the imagery, so it has a nice flow.
Director | Cinematographer REEL from Elliott Sellers on Vimeo.
Here is another professional demo reel that seems to work well. It is short and sweet, (only a minute and a half). Although it doesn't have the widest range of variety, it does have a lot of good work and the music doesn't seem to weigh too much. I would love to have something about half this long.
Tuesday, April 9, 2013
Monday, April 1, 2013
here are the initial layers of spray foam insulation on the circles that I've cut. The circles will float away from the wall and I will either sand (cut away) into the forms or I will build them up even more. I want to spray paint them so they have some affect on the colors.
I made this silly bubble video: I think some transition or dissolve like this might actually be really cool.
Here are some of the images that I will be animating from the experiments with dye and milk. When my old school overhead projector is fixed, I intend to do another run with the materials and hopefully get some compelling motion video that can be animated or surged into the animations.