Learn to edit your videos using Pinnacle Studio 17 Plus and Ultimate. This book works as both a set of tutorials and a manual, with comprehensive Contents and Index sections. It shows you how to get the best out of the program, suggests workflows and provides troubleshooting techniques. Beginning with some basic principles, you can then get started with the sample footage that comes with the program. Learn the basics of editing and how to use audio and multiple tracks. Studio's Smart editing rules are then explained. For more advanced techniques, download raw material (or have it sent to you on DVD) and make projects that teach you to harness the full power of multi-track editing, transitions and effects. Subjects covered include working with photos, keyframing, creating titles and menus, Importing and Exporting and the all-important subject of keeping your complex movies in sync as you edit. Developed with feedback from three previous books in the series, the text and illustrations have been fully revised for Studio 17 Plus and Ultimate users.

Almost as familiar as the images of the American West he painted and sculpted is the figure of Charles M. Russell himself. Standing or mounted, in boots and wide-brimmed hat, sash knotted at his waist, gaze steady under a hank of unruly hair: he is the one and only "Cowboy Artist." What is not so well known is the story that unfolds in the myriad photographs of Russell, pictures that document a remarkable life while also reflecting the evolution of photography and the depiction of the American West at the turn of the twentieth century. This biography makes use of hundreds of images of Russell, many never before published, to explore the role of photography in shaping the artist's public image and the making and selling of his art. More than that, the book shows how the Cowboy Artist personified what he portrayed.

Born in 1864 to a well-to-do family in St. Louis, Russell was smitten early on by the burgeoning art of photography and the images of the West that were proliferating as rapidly as the frontier was disappearing. When he moved to Helena at sixteen, his passions came together, as professional and amateur photographers made their way to the Montana Territory to document the cowboy life that Charlie was embracing and beginning to paint. Larry Len Peterson traces Russell's image and his career from these first adventures to his apotheosis as an artist, and then to his California period and his final days as the grand statesman of the American West. Along the way we meet some of the most interesting photographers of the era, as Russell posed for Edward S. Curtis, Roland Reed, Clarence S. Bull, Hildore C. Eklund, and Dorothea Lange, among others. Because Nancy Russell used photographs to promote her artist husband's career and artistic identity, we also see the medium's early application as a marketing tool in the hands of a surprisingly savvy businesswoman.

Alongside Peterson's engrossing tale of the life of this American icon, the hundreds of photographs of Russell, his friends, family members, business associates, colleagues, and celebrities of his time offer a unique view of the artist's historic and cultural milieu--a view at once panoramic and intimate.

Essay from the year 2010 in the subject Art - Photography and Film, grade: -, University of Westminster, language: English, abstract: Photography has played various roles in the African American Post-War Civil Rights Movement. Besides its extraordinary coverage of the contemporary Jazz scene and the historical documentation of the segregated South (Kasher, 1996), it had in particular a remarkable political function. Photography and television have given the Civil Rights fighters a voice which could not be ignored in Post-War America; by showing the struggle in all its unjust cruelty they confronted the national and international community with the shocking reality. People got motivated to express their sympathy for the demonstrators and the number of Movement supporters grew rapidly. Thereby, the most significant stream of followers arose only after the news media had shown images of unexpected outrage, making the relationship obvious (Streitmatter, 2008). In general, media do not only have a significant impact on public opinion but also contribute greatly to the success of humanitarian organisations. Often their influence even exceeds the possibilities available to politicians. This arises from the news media being the only source of information consumers get about developments further afield, making the success of civil rights movements highly dependent on their image given by press and television (International Council on Human Rights Policy, 2002). As one of these movements, the struggle for desegregation in America is the most thoroughly documented social conflict to date (Kasher, 1996). The tabloid Life, which can be seen as the national newspaper at the time (Shepherd, 1997), was reaching even more people than the new medium of television. For this reason, the magazine's understanding of the events, which was expressed by its presentation of images of the iconography of war - uniformed troopers, weaponed assaults, the wounded, state funerals - was spread w

Seminar paper from the year 2009 in the subject Art - Photography and Film, grade: 6 (Schweiz), University of Zurich (Kunsthistorisches Institut), course: Global Issues in Contemporary Photography: The Politics of the Big Picture, language: English, abstract: The paper investigates the construction of Chinese youth identities in the photography work of Chinese artist Cao Fei. For this purpose, the author first offers an overview of the current debates on cultural globalization, to go on discussing local and global aspects of Cao Feis work.

Published to accompany a landmark exhibition on view at the J. Paul Getty Museum from March 15 through June 18, 2008, California Video presents the first comprehensive survey of the history of video art in California. Since the late 1960s, California artists have been at the forefront of an international movement that has expanded video into the realm of fine art. Whether designing complex video installations, devising lush projections, experimenting with electronic psychedelia, creating conceptual and performance art, generating guerilla video, or producing works that promote feminism and other social issues, these artists have utilized video technology to express revolutionary ideas. This illustrated volume focuses on fifty-eight artists, from early video pioneers such as John Baldessari, Bruce Nauman, and William Wegman, to Martha Rosler, Diana Thater, Bill Viola, and other established and emerging talents. Thirty-five recent interviews shed new light on these artists--their influences, creative processes, and impact. Together with commissioned essays, rare reprints, and unpublished video transcripts, California Video chronicles a distinctly West Coast aesthetic located within the broader history of video art.

Doctoral Thesis / Dissertation from the year 2008 in the subject Art - Photography and Film, grade: cum laude, University of Edinburgh, language: English, abstract: Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avant-garde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avant-garde artists to break free from traditional concepts of artistic production - they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as "motionless moving pictures"). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology - where the technique and philosophy of montage was key.

This is a beginner's guide -a hand-holding fun ride with step-by-step instructions and illustrative screenshots. If you want to write a professional script or screenplay using the open source tool Celtx, this book is for you. You need not have any previous knowledge of Celtx or any other writing software.

This is an up-to-date guide to all the basics of HD video, one of the hottest new features on D-SLR cameras. It looks at, among other things, recording audio, shooting techniques and outputting final video files. HD video is one of the hottest new features on digital SLR cameras and photographers are eager to understand how it works and optimise their results. Digital experts Rob Sheppard and Michael Guncheon have created an up-to-date guide to all the basics. They address gear, recording audio, shooting techniques, formats and standards for HD video, editing video and audio files and outputting final video files, everything a photographer new to the technology needs to know!

In an age of digital technology and renewed anxiety about media piracy, "Inherent Vice" revisits the recent analog past with an eye-opening exploration of the aesthetic and legal innovations of home video. Analog videotape was introduced to consumers as a blank format, essentially as a bootleg technology, for recording television without permission. The studios initially resisted VCRs and began legal action to oppose their marketing. In turn, U.S. courts controversially reinterpreted copyright law to protect users' right to record, while content owners eventually developed ways to exploit the video market. Lucas Hilderbrand shows how videotape and fair use offer essential lessons relevant to contemporary progressive media policy.

Videotape not only radically changed how audiences accessed the content they wanted and loved but also altered how they watched it. Hilderbrand develops an aesthetic theory of analog video, an "aesthetics of access" most boldly embodied by bootleg videos. He contends that the medium specificity of videotape becomes most apparent through repeated duplication, wear, and technical failure; video's visible and audible degeneration signals its uses for legal transgressions and illicit pleasures. Bringing formal and cultural analysis into dialogue with industrial history and case law, Hilderbrand examines four decades of often overlooked histories of video recording, including the first network news archive, the underground circulation of "Superstar: The Karen Carpenter Story," a feminist tape-sharing network, and the phenomenally popular website YouTube. This book reveals the creative uses of videotape that have made essential content more accessible and expanded our understanding of copyright law. It is a politically provocative, unabashedly nostalgic ode to analog.

Music video is a popular form worldwide. It is a teachable and accessible topic because the videos are familiar to students, easy to obtain, and short. And because it is always changing, it makes an exciting and vibrant media form to study and analyze, raising interesting questions about representations, media language, institutions, and audiences--the four key concepts of media studies. Music video has also had considerable influence formally and stylistically upon a range of other media and cultural artifacts globally. This teaching guide gives you everything you need to approach the topic with your students, including guidelines to practical work.

VirtualDub is one of the most popular video processing application for Windows. As an Open Source application, it's free, and is constantly updated and expanded by an active community of developers and experts. VirtualDub particularly popular for capturing video from analogue sources such as video tape, cleaning up the image and compressing it ready for distribution over the Internet. This book provides a rapid and easy to use tutorial to the basic features of VirtualDub to get you up and running quickly. It explains how to capture great quality video from various sources, use filters to clean up the captured image and add special effects. The book has shows all to use VirtualDub to cut and paste video to remove or insert sequences, including removing ad breaks or trailers. It goes on to cover the art of effective encoding and compression, so you end up with great quality videos that won't hog your bandwidth forever. VirtualDub is the fastest and most effective way to capture, process and encode video on your PC. This book gets you started fast, and goes on to give you full control of all the features of this legendary tool.

Another winner in the extremely popular How to Do Everything series, this friendly, solutions-oriented book is filled with step-by-step examples on shooting, editing, and producing professional-quality home or business videos complete with sound, animation, and other finishing touches. The book covers all the hardware and software involved as well as techniques for creating streaming video for Internet use.

Now you can make exciting digital movies using this easy-to-use and information-packed resource. Covering all editing basics, as well as serious film-making techniques, you will be able to successfully apply visual effects and control sound with pinpoint accuracy-- and deliver digital stories you never thought possible.

FROM THE EDITOR OF THE STANDARD HANDBOOK OF VIDEO AND TELEVISION ENGINEERING THE ALL-MEDIA GUIDE TO PROFESSIONAL VIDEO PRODUCTION

You dont need an engineering degree to succeed in video production. In this book, video expert Jerry Whitaker shows you production from the inside out, from studio lighting to creating post-production special effects.

The Art of Video Production

Perfect for anyone who wants to build skills in the fast-growing field of digital video production, and produce video for TV, HDTV, movies, the Internet, or any other application, Master Handbook of Video Production shows you how to--

* Select, install, and work with digital equipment

* Understand MPEG video compression

* Design video production centers

* Master standard-definition and high-definition production

* Assess bandwidth, scanning, and resolution issues

* Optimize use of video computer graphics, time code, and archiving

* Master video switching, timing, and distribution

* Achieve the highest production values in video and high-definition video

Many of the historic houses in and around the town of Victoria, Texas, were built between 1875 and 1910 by immigrant owners. From 1973 to 1975, with the support of a grant from the National Endowment for the Arts, Rick Gardner traveled throughout the region, taking photographs of these historic homes. Gardner relied on his own instincts and guidance from knowledgeable locals as to where he should aim his lens. This book is an appreciative glimpse at what these vernacular houses looked like a century after their construction. Gardner has teamed up with Victoria historian and preservationist Gary Dunnam to present these rich images along with brief historical sketches of the houses and, where possible, the persons who occupied them when they were newly constructed. The result is an understated and elegant suggestion of what life may have been like for the merchants, bankers, agriculturalists, and others who built and lived in these homes during the late nineteenth and early twentieth centuries. Designed to appeal to those with a love for old houses and especially for the preservation of historic structures, All the Houses Were Painted White offers its readers a stately appreciation of these homes and their place in the South Texas landscape. It is also a tribute to the architects, owners, and anonymous craftspeople who built the houses-to their vision, skill, ingenuity, imagination, creativity, and endurance.

Go here. Do that. Work here. Buy that.

Spend each day bored, staring at a screen, wondering if this is really all there is.

There is another way.

My name is Nightscape. Through years of training, I get to see the city in a way nobody else does. With this book, I want to show you what the world looks like through my eyes and inspire everyone to find their passion.

Don’t let anyone tell you what your limits are.

Photographs are an integral part of our daily lives, from sensationalist images in tabloid papers, to personal family snapshots, to the art photography displayed in galleries and sold through international art markets. In this thought-provoking exploration of the subject, Steve Edwards provides a clear, lively, and imaginative approach to the definition, importance, and meaning of photography. He combines a sense of its historical development with an analysis of its purpose and meaning within a wider cultural context. Edwards also discusses both well-known and more unusual photos, from the highly controversial Cottingley Fairies to Ansel Adams landscapes, and from the shocking and influential Eddie Adams image of a Vietcong suspect being executed to the portrait/performance art work of Cindy Sherman. Edwards interrogates the way we look and think about photographs, and considers such issues as truth and recording, objectivity and fine art, identity and memory.

Drawing on unprecedented access to the video archives of B'Tselem, an Israeli NGO that distributes cameras to Palestinians living in the West Bank, East Jerusalem, and the Gaza Strip, Liat Berdugo lays out an argument for a visual studies approach to videographic evidence in Israel/Palestine. Using video stills as core material, it discusses the politics of videographic evidence in Israel/Palestine by demonstrating that the conflict is one that has produced an inequality of visual rights. The book highlights visual surveillance and counter surveillance at the citizen level, how Palestinians originally filmed to "shoot back" at Israelis, who were armed with shooting power via weapons as the occupying force. It also traces how Israeli private citizens began filming back at Palestinians with their own cameras, including personal cell phone cameras, thus creating a simultaneous, echoing counter surveillance. Complicating the notion that visual evidence alone can secure justice, the Weaponized Camera in The Middle East asks how what is seen, but also who is seeing, affects how conflicts are visually recorded. Drawing on over 5,000 hours of footage, only a fraction of which is easily accessible to the public domain, this book offers a unique perspective on the strategies and battlegrounds of the Israel/Palestine conflict.