Wednesday, March 10, 2010
Awards for Professor Hattendorf
The year 2009 was a busy one, award-wise, for the former head of the Munson Institute at Mystic Seaport, Professor John Hattendorf. The Naval War College, home for Dr. Hattendorf, stated that the Samuel Eliot Morrison award (named after the eminent Harvard Professor) was given for John's public service in scholarship, patriotism and interest in maritime topics. The equally prestigious Alfred Thayer Mahan Award was given for literary achievements that advance the understanding of naval warfare, strategy and policy. In addition to his teaching duties, Dr. Hattendorf has written, edited or contributed to more than forty books. His recent Oxford Encyclopedia of Maritime History is a major editing achievement in the field. And if all that weren't enough, John also received the Department of the Navy Superior Civilian Service Award in 2009. The good professor deserves an extra ration of grog for his outstanding capabilities.
Tuesday, March 9, 2010
Life of a Podcast: The Final Touches
Once we have all the custom footage we need it's time to compile all the clips we need, and if needed pull stock footage from one of our countless tapes in our climate controlled film/video vault.
It may surprise you to learn that we don't work in DVDs but rather Beta tapes. In fact, only recently has the industry started to change their accepted archival medium from Beta to that of the digital file and hard drive storage. These tapes are of high quality, and durable to boot, making them perfect for archival.
Booting up the Media 100 software on our computer, we must now digitize all of our desired footage. This process is the most time consuming portion of the editing process, the digitization process working in real-time as opposed to the instant drag and drop process of a digital file. To cut back on time, we usually only digitze the full tape for our custom shots, and digitizing pre-selected clips from stock tapes.
The Media 100 software now allows us to use the clips we have digitized and manipulate them in any way we wish. We can create further clips from them, drop them into the timeline as-is, or remove the audio, or even video from the selected clip to suit the needs of the video. A second program, Adobe After Effects is often used for various motion effects for still shots and moving fonts.
Once the program is complete we can export the file as an .MOV format to our "Podcasts" folder. Now it's time for the second most time-comsuming process, encoding for the internet. Since the Media 100 and our Cleaner XL encoding software work on the same codec, Media 100 must be close, but we're done editing anyways so it's ok. While .MOV files are fine on their own, we find that MP4 files are much better suited for YouTube posting. For our actual Podcast Feed, the file must be further encoded to an .m4v file before being uploaded to our ftp server online.
The finished product is now able to be uploaded and promoted across the internet for all our visitors to see. But our work is never done, no time to rest, time to work on our next podcast!
It may surprise you to learn that we don't work in DVDs but rather Beta tapes. In fact, only recently has the industry started to change their accepted archival medium from Beta to that of the digital file and hard drive storage. These tapes are of high quality, and durable to boot, making them perfect for archival.
Booting up the Media 100 software on our computer, we must now digitize all of our desired footage. This process is the most time consuming portion of the editing process, the digitization process working in real-time as opposed to the instant drag and drop process of a digital file. To cut back on time, we usually only digitze the full tape for our custom shots, and digitizing pre-selected clips from stock tapes.
The Media 100 software now allows us to use the clips we have digitized and manipulate them in any way we wish. We can create further clips from them, drop them into the timeline as-is, or remove the audio, or even video from the selected clip to suit the needs of the video. A second program, Adobe After Effects is often used for various motion effects for still shots and moving fonts.
Once the program is complete we can export the file as an .MOV format to our "Podcasts" folder. Now it's time for the second most time-comsuming process, encoding for the internet. Since the Media 100 and our Cleaner XL encoding software work on the same codec, Media 100 must be close, but we're done editing anyways so it's ok. While .MOV files are fine on their own, we find that MP4 files are much better suited for YouTube posting. For our actual Podcast Feed, the file must be further encoded to an .m4v file before being uploaded to our ftp server online.
The finished product is now able to be uploaded and promoted across the internet for all our visitors to see. But our work is never done, no time to rest, time to work on our next podcast!
Monday, March 1, 2010
American Library Association Selects Connecticut History Online as the National Digital Library of the Week
Now in its 10th year, CHO is embarking on a collaboration with the Encyclopedia of Connecticut History Online to serve the needs of scholars,teachers and students, genealogists, and the general public. This new initiative builds upon a very successful collaboration of libraries and museums carried out in two IMLS National Leadership grant-funded phases (19992007) that focused on digital capture of historical artifacts, including photographs, maps, broadsides, oral histories, manuscripts, and oral histories. These document events, people, and places that are part of the fabric of Connecticut and American social, business, political, educational, cultural, and civic life.
Monday, February 22, 2010
Life of a Podcast: The Shoot
Occasionally a script calls for custom shooting by the Film/Video Archives crew. Sometimes simple, sometimes complex and creative, we always go through a similar preperation process.
Once the script is complete, the producer/director of the particular video sometimes compiles the precice shots they need by drafting a storyboard. Although the art may not be sophisticated, usually stick figures, they still perform the important job of establishing the composition of the shot. Together with arrows indication motion, the actors and cameraman will work together to replicate the layout and angle of each needed shot in the video.
Storyboard in hand, and actors in tow, it is time to collect the necessary equipment for the set. The most important piece of equipment, of course, being the BetaCam Video Camera. As good practice, the crew always packs at least an hour of tape more than expected needed for the shoot, just in case.
Next comes the heavy duty tripod. Our tripod has adjustable tension and locks for tilt and pan rotations. For less level ground, a ball-socket joint allows us to adjust the head of the tripod, with the aid of a light-up bubble level, even in the dark.
The next batch of equipment packed depends on the needs of the shoot. Is there audio? Will we need additional light? How much light? Will we be doing in-camera effects?
With the addition of Lappel mics, we are able to capture up to two different audio channels for our actors. Or, for even more actors or a noisy environment, a boom mic with a 10 foot extension wand can give us a more directional and selective range for our audio needs.
Lighting additions to the shooting kit gets a bit tricky. Although we have a full lighting kit complete with a multitude of lights, reflectors, and colored gels. We won't necessarily need the entire kit for the shoot. Again, it all depends on the needs for the shot. However, whenever we need light we always use the 3 point lighting rule-- Key light, your main source of light in the shot. Fill light, a smaller amount of light to fill the shadows cast on the subject by the main light. Back light, a minor, often obscured, light to provide emphasis on the background of the subject.
Finally, if lights are indeed needed, the last pieces of equipment needed are universal C-Stands and sandbags to weigh them down. C-Stands are one of our most usefull pieces of equipment both on and off the set. Not only do we use these in lighting setups to hold reflectors or shields, we also can use them as a steady Boom Mic rig, a balancing rig for our steady-cam, or even to hold various backdrop material.
One last check of the equipment list and producer, director, cameraman, and talent are off to the set. Ready to make video magic before the editor takes their turn...but that's for another entry.
Once the script is complete, the producer/director of the particular video sometimes compiles the precice shots they need by drafting a storyboard. Although the art may not be sophisticated, usually stick figures, they still perform the important job of establishing the composition of the shot. Together with arrows indication motion, the actors and cameraman will work together to replicate the layout and angle of each needed shot in the video.
Storyboard in hand, and actors in tow, it is time to collect the necessary equipment for the set. The most important piece of equipment, of course, being the BetaCam Video Camera. As good practice, the crew always packs at least an hour of tape more than expected needed for the shoot, just in case.
Next comes the heavy duty tripod. Our tripod has adjustable tension and locks for tilt and pan rotations. For less level ground, a ball-socket joint allows us to adjust the head of the tripod, with the aid of a light-up bubble level, even in the dark.
The next batch of equipment packed depends on the needs of the shoot. Is there audio? Will we need additional light? How much light? Will we be doing in-camera effects?
With the addition of Lappel mics, we are able to capture up to two different audio channels for our actors. Or, for even more actors or a noisy environment, a boom mic with a 10 foot extension wand can give us a more directional and selective range for our audio needs.
Lighting additions to the shooting kit gets a bit tricky. Although we have a full lighting kit complete with a multitude of lights, reflectors, and colored gels. We won't necessarily need the entire kit for the shoot. Again, it all depends on the needs for the shot. However, whenever we need light we always use the 3 point lighting rule-- Key light, your main source of light in the shot. Fill light, a smaller amount of light to fill the shadows cast on the subject by the main light. Back light, a minor, often obscured, light to provide emphasis on the background of the subject.
Finally, if lights are indeed needed, the last pieces of equipment needed are universal C-Stands and sandbags to weigh them down. C-Stands are one of our most usefull pieces of equipment both on and off the set. Not only do we use these in lighting setups to hold reflectors or shields, we also can use them as a steady Boom Mic rig, a balancing rig for our steady-cam, or even to hold various backdrop material.
One last check of the equipment list and producer, director, cameraman, and talent are off to the set. Ready to make video magic before the editor takes their turn...but that's for another entry.
Thursday, January 28, 2010
Maritime Author Series
Mary Malloy of the Sea Education Association and Harvard University opened our Maritime Author lecture series on Wednesday, January 27th with a rousing talk on Sam Hill. Captain Hill, buried in Boston within feet of John Hancock, was a notorious New Englander who led a reckless and violent life on the high seas in the early 1800's crossing paths with likes of Lewis and Clark and being the first American to live in Japan.
Mary also spoke about her foray into the world of historical fiction and the freedom and challenges it poses for a trained historian. It was a delight to welcome Mary on behalf of the Fellows of the G.W Blunt White Library, the sponsors of the event.
"The Devil on the Deep Blue Sea" and Mary'swork of fiction "The Wandering Heart" are great reads and easily avaialble through our book store or other outlets.
Tuesday, January 19, 2010
Life of a Podcast: Writing the Script
Like anything else the podcasts and other video programs produced here at the Film/Video Archives start simple enough, with an idea. These ideas being our many events and announcements of special programs from the museum. However, it is our job to come up with a way to promote in an informative and interesting way. This is where the script comes in.
Production Assistant Brandon Morgan captains most of the podcasts and videos seen regarding promotions. Production Head Daniel Harvison responsible for much larger projects such as exhibit videos and the Restoring an Icon: Charles W. Morgan programs.
When writing a promotional script, as you will see like any other part of our jobs, we have a fantastic arsenal of tools at our disposal. In this case, reference books, each with their own special job.
Websters Dictionary- Something no writer should EVER be without for obvious reasons.
Standard Handbook of Synonyms, Antonyms, & Prepositions- This book, coupled with Websters, helps us greatly expand our vocabulary for a more powerful, and therefore more effective script.
Style The Basics of Clarity and Grace- English is by far one of the most complicated and confusing language in the world. This book holds the key to unlocking the more confusing rules behind our language as well as introducing tools to clean up a cluttered script of unnecessary language. It also has a neat section on "Myths" of the English language that would greatly upset your Middle School English Teacher.
Writing Tools: 50 Essential Strategies for Every Writer- As the title says, this book is full of tips and tricks to improve any writer's style, including subtle nuances in form and sentence structure. The section on cures for Writer's Block is nothing short of a saving grace.
The Poet's Dictionary- In many ways a writer is very much a poet. Within this book are several tools in poetry that when used carefully, can spice up any script to grab the attention of the viewer.
Once the first draft is written, the production team cooperates with the event supervisors and Mike O'Farrell of the Marketing and Communications team check the script for any changes or corrections to suit their needs. Working together, what the two teams produce as a final product is ready now ready for narration, or in some cases, straight onto the video shoot.
Dan Harvison's Restoring an Icon podcasts, however. Are another story completely. Watching these videos you will notice that there is no real script behind them, and yet each one is structured with a strong narrative and even flow throughout. These programs are written by the use of interview soundbytes. Once an interview on the specified topic has been taken. Dan will review the footage, selecting quotes and sometimes even single words to construct the narrative of the program. This is the same technique documentaries use on a regular basis. Of course, to pull this specific technique off, one has to be both good writer as well as a good editor. Thankfully for us, Dan is both of these.
Production Assistant Brandon Morgan captains most of the podcasts and videos seen regarding promotions. Production Head Daniel Harvison responsible for much larger projects such as exhibit videos and the Restoring an Icon: Charles W. Morgan programs.
When writing a promotional script, as you will see like any other part of our jobs, we have a fantastic arsenal of tools at our disposal. In this case, reference books, each with their own special job.
Websters Dictionary- Something no writer should EVER be without for obvious reasons.
Standard Handbook of Synonyms, Antonyms, & Prepositions- This book, coupled with Websters, helps us greatly expand our vocabulary for a more powerful, and therefore more effective script.
Style The Basics of Clarity and Grace- English is by far one of the most complicated and confusing language in the world. This book holds the key to unlocking the more confusing rules behind our language as well as introducing tools to clean up a cluttered script of unnecessary language. It also has a neat section on "Myths" of the English language that would greatly upset your Middle School English Teacher.
Writing Tools: 50 Essential Strategies for Every Writer- As the title says, this book is full of tips and tricks to improve any writer's style, including subtle nuances in form and sentence structure. The section on cures for Writer's Block is nothing short of a saving grace.
The Poet's Dictionary- In many ways a writer is very much a poet. Within this book are several tools in poetry that when used carefully, can spice up any script to grab the attention of the viewer.
Once the first draft is written, the production team cooperates with the event supervisors and Mike O'Farrell of the Marketing and Communications team check the script for any changes or corrections to suit their needs. Working together, what the two teams produce as a final product is ready now ready for narration, or in some cases, straight onto the video shoot.
Dan Harvison's Restoring an Icon podcasts, however. Are another story completely. Watching these videos you will notice that there is no real script behind them, and yet each one is structured with a strong narrative and even flow throughout. These programs are written by the use of interview soundbytes. Once an interview on the specified topic has been taken. Dan will review the footage, selecting quotes and sometimes even single words to construct the narrative of the program. This is the same technique documentaries use on a regular basis. Of course, to pull this specific technique off, one has to be both good writer as well as a good editor. Thankfully for us, Dan is both of these.
Wednesday, January 13, 2010
For Your Viewing Pleasure
Visitors who take the exciting new tour of the Collections and Research Center this winter start off the tour with a very special look at all the important and dedicated departments housed in this building.
The interpreter turns on the monitor and presses play, and much to your surprise upbeat hip-hop music begins to play as images of the Collections building scrolls across the screen. Thus begins the new 13 minute "Cribs" video produced right here by the Film/Video archives.
A year in the making, this latest production shows off the talent and skill of editor, producer, and camera man Daniel Harvison. Together with Production Assistant Brandon Morgan, the Film/Video archives have the fantastic opportunity to provide all interested in the Museum with regular podcasts and video updates on the official Mystic Seaport YouTube channel.
A lot of work goes into what we do, but we're happy to make the effort to not only produce, but preserve our even larger selection of archival footage from the Mystic Seaport collection. In our very own refrigerated-vault, we house, transfer, and even clean and repair footage from throughout maritime history including the famous footage of rounding Cape Horn by Irving Johnson.
Part of the joy in our work comes from being able to share powerful moments and visuals with the world. Whether this be our continuing coverage of the Charles W. Morgan Restoration, or shooting and producing original programs for our many exhibits; we are always excited to be a part of your experience here at Mystic Seaport.
The interpreter turns on the monitor and presses play, and much to your surprise upbeat hip-hop music begins to play as images of the Collections building scrolls across the screen. Thus begins the new 13 minute "Cribs" video produced right here by the Film/Video archives.
A year in the making, this latest production shows off the talent and skill of editor, producer, and camera man Daniel Harvison. Together with Production Assistant Brandon Morgan, the Film/Video archives have the fantastic opportunity to provide all interested in the Museum with regular podcasts and video updates on the official Mystic Seaport YouTube channel.
A lot of work goes into what we do, but we're happy to make the effort to not only produce, but preserve our even larger selection of archival footage from the Mystic Seaport collection. In our very own refrigerated-vault, we house, transfer, and even clean and repair footage from throughout maritime history including the famous footage of rounding Cape Horn by Irving Johnson.
Part of the joy in our work comes from being able to share powerful moments and visuals with the world. Whether this be our continuing coverage of the Charles W. Morgan Restoration, or shooting and producing original programs for our many exhibits; we are always excited to be a part of your experience here at Mystic Seaport.
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