Tuesday, March 17, 2009
WHY MEDIA IS IMPORTANT?
Many community groups and organisations, gaining positive and consistent coverage in the media can have an incredible impact on the work they do.It can have a multiplier effect on the good work that groups are doing. If people know what you have achieved and what you do, they are more likely to support your group. The more support you get, the more likely you are to have a bigger impact.While it is important that groups don't become obsessed about getting media attention as a bigger priority than actually doing the work they do, it can make a difference.So what are some of the reasons why the media should be important for your group?
Why is the Media Important?It gets your message across to a wider audience.The various forms of media – primarily television, newspapers and radio – spread and disseminate information. Getting your information into the media will spread your group's story further than it could be spread without media coverage.It can help you target your message to the people you want to hear it.The media is so varied that a community group or organisation can closely target almost any sector – and through them, almost any section of the public - by looking closely at where it is directing its media focus.For example – a small, locally-based community group would probably look at concentrating on its efforts in local newspapers, radio and (if applicable) television.A bigger event or bigger community organisation could look further afield – to major daily newspapers and commercial radio and television. And then there's the Internet, which continues to emerge as a component of the media.It provides free publicity and exposure for not only your news, announcement, event or request – but for your group or organisation as well.A big benefit when it comes to news media coverage is that it is free – a factor of major importance when it comes to community groups or organisations with tight budgets!And only does your event or news receive free publicity or new coverage, your group is bound to receive a boost through this coverage as well. It is important to remember though that while your group won't have to pay for this coverage, it will have to work for it in other ways – building relationships with the media, preparing information and releases for them, being willing to speak to them or be interviewed by them, etc.Without putting in this type of work, your group will not reap the benefits of "free" media coverage.It can help establish your group as "legitimate", and its activities as important or notable.Gaining coverage in the media is a great way of providing your group and its activities with greater credibility and that has a lot to do with the thought processes of the public which monitor and "consume" the media each day.Readers, listeners and viewers who find out about something or read/hear/see something in the media automatically place a greater level of credibility to it than if they saw it in a paid ad.The attitude of most media consumers is: if the story is gets into the pages of the newspaper, on the air or on TV, then it is "important" and worth taking notice of.So, if your story is among those that make the grade, then it is "important" enough to be on the news and therefore worth taking notice of.It can increase your profile among the general public.Media coverage can build your profile in the community, which means may be able to attract more members, donors, fundraisers, supporters, helpers, etc.Not only this, but a raised profile through media exposure will also shore-up and strengthen the support you already have among existing members, donors, supporters, helpers, etc.It also builds brand definition for you – setting your group apart from other groups operating in the same space.It increases your profile among decision makers and VIPs.Having a media profile not only gets you noticed by the general public, but also among decision makers, VIPs and government.Those decision makers and VIPs can be peak bodies in your area of interest, grant makers and philanthropic organisations, and others with influence or power.Those in government that could notice you can be at a local, State or Federal level – or a combination of all three.Because of this, those decision makers or levels of government could become more likely to ask for your group's input or opinion on matters relevant to you.It can sway opinions. One of the most significant powers the media has is that of being able to shape opinions.For your community group or organisation, this presents great opportunities to get more people thinking positively about you after hearing positive news coverage of your group and what it is doing.Because of this, your group should actively seek out positive publicity through positive media coverage.But your group should also remember that any positive opinions generated from positive media coverage can be blunted or reversed by negative opinions generated through negative media coverage.
Why is the Media Important?It gets your message across to a wider audience.The various forms of media – primarily television, newspapers and radio – spread and disseminate information. Getting your information into the media will spread your group's story further than it could be spread without media coverage.It can help you target your message to the people you want to hear it.The media is so varied that a community group or organisation can closely target almost any sector – and through them, almost any section of the public - by looking closely at where it is directing its media focus.For example – a small, locally-based community group would probably look at concentrating on its efforts in local newspapers, radio and (if applicable) television.A bigger event or bigger community organisation could look further afield – to major daily newspapers and commercial radio and television. And then there's the Internet, which continues to emerge as a component of the media.It provides free publicity and exposure for not only your news, announcement, event or request – but for your group or organisation as well.A big benefit when it comes to news media coverage is that it is free – a factor of major importance when it comes to community groups or organisations with tight budgets!And only does your event or news receive free publicity or new coverage, your group is bound to receive a boost through this coverage as well. It is important to remember though that while your group won't have to pay for this coverage, it will have to work for it in other ways – building relationships with the media, preparing information and releases for them, being willing to speak to them or be interviewed by them, etc.Without putting in this type of work, your group will not reap the benefits of "free" media coverage.It can help establish your group as "legitimate", and its activities as important or notable.Gaining coverage in the media is a great way of providing your group and its activities with greater credibility and that has a lot to do with the thought processes of the public which monitor and "consume" the media each day.Readers, listeners and viewers who find out about something or read/hear/see something in the media automatically place a greater level of credibility to it than if they saw it in a paid ad.The attitude of most media consumers is: if the story is gets into the pages of the newspaper, on the air or on TV, then it is "important" and worth taking notice of.So, if your story is among those that make the grade, then it is "important" enough to be on the news and therefore worth taking notice of.It can increase your profile among the general public.Media coverage can build your profile in the community, which means may be able to attract more members, donors, fundraisers, supporters, helpers, etc.Not only this, but a raised profile through media exposure will also shore-up and strengthen the support you already have among existing members, donors, supporters, helpers, etc.It also builds brand definition for you – setting your group apart from other groups operating in the same space.It increases your profile among decision makers and VIPs.Having a media profile not only gets you noticed by the general public, but also among decision makers, VIPs and government.Those decision makers and VIPs can be peak bodies in your area of interest, grant makers and philanthropic organisations, and others with influence or power.Those in government that could notice you can be at a local, State or Federal level – or a combination of all three.Because of this, those decision makers or levels of government could become more likely to ask for your group's input or opinion on matters relevant to you.It can sway opinions. One of the most significant powers the media has is that of being able to shape opinions.For your community group or organisation, this presents great opportunities to get more people thinking positively about you after hearing positive news coverage of your group and what it is doing.Because of this, your group should actively seek out positive publicity through positive media coverage.But your group should also remember that any positive opinions generated from positive media coverage can be blunted or reversed by negative opinions generated through negative media coverage.
ACTOR
A.theatrical performer
a person who acts and gets things done; "he's a principal actor in this affair"; "when you want something done get a doer"; "he's a miracle worker"
a person who acts and gets things done; "he's a principal actor in this affair"; "when you want something done get a doer"; "he's a miracle worker"
Designers
Designers are people with a desire to create. They combine practical knowledge with artistic ability to turn abstract ideas into formal designs for the merchandise we buy, the clothes we wear, the Web sites we use, the publications we read, and the living and office space we inhabit. Designers usually specialize in a particular area of design, such as automobiles, industrial or medical equipment, home appliances, clothing and textiles, floral arrangements, publications, Web sites, logos, signage, movie or TV credits, interiors of homes or office buildings, merchandise displays, or movie, television, and theater sets.
The first step in developing a new design or altering an existing one is to determine the needs of the client, the ultimate function for which the design is intended, and its appeal to customers or users. When creating a design, designers often begin by researching the desired design characteristics, such as size, shape, weight, color, materials used, cost, ease of use, fit, and safety.
Designers then prepare sketches or diagrams—by hand or with the aid of a computer—to illustrate the vision for the design. After consulting with the client, a creative director, or a product development team, designers create detailed designs, using drawings, a structural model, computer simulations, or a full-scale prototype. Many designers use computer-aided design (CAD) tools to create and better visualize the final product. Computer models allow ease and flexibility in exploring a greater number of design alternatives, thus reducing design costs and cutting the time it takes to deliver a product to market. Industrial designers use computer-aided industrial design (CAID) tools to create designs and machine-readable instructions that communicate with automated production tools.
The first step in developing a new design or altering an existing one is to determine the needs of the client, the ultimate function for which the design is intended, and its appeal to customers or users. When creating a design, designers often begin by researching the desired design characteristics, such as size, shape, weight, color, materials used, cost, ease of use, fit, and safety.
Designers then prepare sketches or diagrams—by hand or with the aid of a computer—to illustrate the vision for the design. After consulting with the client, a creative director, or a product development team, designers create detailed designs, using drawings, a structural model, computer simulations, or a full-scale prototype. Many designers use computer-aided design (CAD) tools to create and better visualize the final product. Computer models allow ease and flexibility in exploring a greater number of design alternatives, thus reducing design costs and cutting the time it takes to deliver a product to market. Industrial designers use computer-aided industrial design (CAID) tools to create designs and machine-readable instructions that communicate with automated production tools.
GRAPHIC DESIGN
What is graphic design?
Suppose you want to announce or sell something, amuse or persuade someone, explain a complicated system or demonstrate a process. In other words, you have a message you want to communicate. How do you “send” it? You could tell people one by one or broadcast by radio or loudspeaker. That’s verbal communication. But if you use any visual medium at all—if you make a poster; type a letter; create a business logo, a magazine ad, or an album cover; even make a computer printout—you are using a form of visual communication called graphic design.
Graphic designers work with drawn, painted, photographed, or computer-generated images (pictures), but they also design the letterforms that make up various typefaces found in movie credits and TV ads; in books, magazines, and menus; and even on computer screens. Designers create, choose, and organize these elements—typography, images, and the so-called “white space” around them—to communicate a message. Graphic design is a part of your daily life. From humble things like gum wrappers to huge things like billboards to the T-shirt you’re wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure.
Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. The main tools are image and typography.
Image-based designDesigners develop images to represent the ideas their clients want to communicate. Images can be incredibly powerful and compelling tools of communication, conveying not only information but also moods and emotions. People respond to images instinctively based on their personalities, associations, and previous experience. For example, you know that a chili pepper is hot, and this knowledge in combination with the image creates a visual pun.
In the case of image-based design, the images must carry the entire message; there are few if any words to help. These images may be photographic, painted, drawn, or graphically rendered in many different ways. Image-based design is employed when the designer determines that, in a particular case, a picture is indeed worth a thousand words.
Type-based design In some cases, designers rely on words to convey a message, but they use words differently from the ways writers do. To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the printed word) or handmade lettering, perform many communication functions. They can arrest your attention on a poster, identify the product name on a package or a truck, and present running text as the typography in a book does. Designers are experts at presenting information in a visual form in print or on film, packaging, or signs.
When you look at an “ordinary” printed page of running text, what is involved in designing such a seemingly simple page? Think about what you would do if you were asked to redesign the page. Would you change the typeface or type size? Would you divide the text into two narrower columns? What about the margins and the spacing between the paragraphs and lines? Would you indent the paragraphs or begin them with decorative lettering? What other kinds of treatment might you give the page number? Would you change the boldface terms, perhaps using italic or underlining? What other changes might you consider, and how would they affect the way the reader reacts to the content? Designers evaluate the message and the audience for type-based design in order to make these kinds of decisions.
Image and typeDesigners often combine images and typography to communicate a client’s message to an audience. They explore the creative possibilities presented by words (typography) and images (photography, illustration, and fine art). It is up to the designer not only to find or create appropriate letterforms and images but also to establish the best balance between them.
Designers are the link between the client and the audience. On the one hand, a client is often too close to the message to understand various ways in which it can be presented. The audience, on the other hand, is often too broad to have any direct impact on how a communication is presented. What’s more, it is usually difficult to make the audience a part of the creative process. Unlike client and audience, graphic designers learn how to construct a message and how to present it successfully. They work with the client to understand the content and the purpose of the message. They often collaborate with market researchers and other specialists to understand the nature of the audience. Once a design concept is chosen, the designers work with illustrators and photographers as well as with typesetters and printers or other production specialists to create the final design product.
Symbols, logos and logotypesSymbols and logos are special, highly condensed information forms or identifiers. Symbols are abstract representation of a particular idea or identity. The CBS “eye” and the active “television” are symbolic forms, which we learn to recognize as representing a particular concept or company. Logotypes are corporate identifications based on a special typographical word treatment. Some identifiers are hybrid, or combinations of symbol and logotype. In order to create these identifiers, the designer must have a clear vision of the corporation or idea to be represented and of the audience to which the message is directed
Suppose you want to announce or sell something, amuse or persuade someone, explain a complicated system or demonstrate a process. In other words, you have a message you want to communicate. How do you “send” it? You could tell people one by one or broadcast by radio or loudspeaker. That’s verbal communication. But if you use any visual medium at all—if you make a poster; type a letter; create a business logo, a magazine ad, or an album cover; even make a computer printout—you are using a form of visual communication called graphic design.
Graphic designers work with drawn, painted, photographed, or computer-generated images (pictures), but they also design the letterforms that make up various typefaces found in movie credits and TV ads; in books, magazines, and menus; and even on computer screens. Designers create, choose, and organize these elements—typography, images, and the so-called “white space” around them—to communicate a message. Graphic design is a part of your daily life. From humble things like gum wrappers to huge things like billboards to the T-shirt you’re wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure.
Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. The main tools are image and typography.
Image-based designDesigners develop images to represent the ideas their clients want to communicate. Images can be incredibly powerful and compelling tools of communication, conveying not only information but also moods and emotions. People respond to images instinctively based on their personalities, associations, and previous experience. For example, you know that a chili pepper is hot, and this knowledge in combination with the image creates a visual pun.
In the case of image-based design, the images must carry the entire message; there are few if any words to help. These images may be photographic, painted, drawn, or graphically rendered in many different ways. Image-based design is employed when the designer determines that, in a particular case, a picture is indeed worth a thousand words.
Type-based design In some cases, designers rely on words to convey a message, but they use words differently from the ways writers do. To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the printed word) or handmade lettering, perform many communication functions. They can arrest your attention on a poster, identify the product name on a package or a truck, and present running text as the typography in a book does. Designers are experts at presenting information in a visual form in print or on film, packaging, or signs.
When you look at an “ordinary” printed page of running text, what is involved in designing such a seemingly simple page? Think about what you would do if you were asked to redesign the page. Would you change the typeface or type size? Would you divide the text into two narrower columns? What about the margins and the spacing between the paragraphs and lines? Would you indent the paragraphs or begin them with decorative lettering? What other kinds of treatment might you give the page number? Would you change the boldface terms, perhaps using italic or underlining? What other changes might you consider, and how would they affect the way the reader reacts to the content? Designers evaluate the message and the audience for type-based design in order to make these kinds of decisions.
Image and typeDesigners often combine images and typography to communicate a client’s message to an audience. They explore the creative possibilities presented by words (typography) and images (photography, illustration, and fine art). It is up to the designer not only to find or create appropriate letterforms and images but also to establish the best balance between them.
Designers are the link between the client and the audience. On the one hand, a client is often too close to the message to understand various ways in which it can be presented. The audience, on the other hand, is often too broad to have any direct impact on how a communication is presented. What’s more, it is usually difficult to make the audience a part of the creative process. Unlike client and audience, graphic designers learn how to construct a message and how to present it successfully. They work with the client to understand the content and the purpose of the message. They often collaborate with market researchers and other specialists to understand the nature of the audience. Once a design concept is chosen, the designers work with illustrators and photographers as well as with typesetters and printers or other production specialists to create the final design product.
Symbols, logos and logotypesSymbols and logos are special, highly condensed information forms or identifiers. Symbols are abstract representation of a particular idea or identity. The CBS “eye” and the active “television” are symbolic forms, which we learn to recognize as representing a particular concept or company. Logotypes are corporate identifications based on a special typographical word treatment. Some identifiers are hybrid, or combinations of symbol and logotype. In order to create these identifiers, the designer must have a clear vision of the corporation or idea to be represented and of the audience to which the message is directed
DIRECTOR
director is responsible for overseeing every creative aspect of a film, from start to finish. From the "look" of the film to trademark lighting or mood, you can recognize the best directors' films by their artistic signatures. Alfred Hitchcock Steven Spielberg and Woody Allen for example, each leave their distinctive mark on every film they make.
When a director reads a script he or she develops a personal vision for how that story should be told. Whether it is a dark tale, a story of triumph, or one of passion, the director's unique vision will be responsible for presenting it in a way that no other director would. A director sees beyond the words on the page to a moving picture with specific shots, lighting, mood, nuance and emotion -- all visually created for the screen.
If the initial script needs work, the director will make suggestions to the writer for improving the script. The director may also bring key crew members to the project that he has successfully worked with in the past. He will be responsible for approving each and every camera angle, lens effect, the lighting, and set design.
The director also works closely with the cast, meeting before each scene to do a run through. Here he gets a feel for how the actor will play the scene. If needed, the director can provide motivational insight, or tweak performances by making suggestions. He will also listen to the suggestion of the actors.
Studio executives or executive producers will visit the set to make sure the project is on schedule and on budget. The director will work with the studio execs to make sure they're happy about how the film is progressing.
At the end of the shooting day, the director, producer and key crew members will screen that day's footage in what are called dailies.Here they can see if scenes will need to be re-shot. The director will also be involved in post-production when the film gets edited into its final form.
Although a director is responsible for the vision behind a film, a good director also listens to his crew and cast and works collaboratively. There are many talented people involved in the making of a film and utilizing each person's talent is what makes a director, and the film, a success.
When a director reads a script he or she develops a personal vision for how that story should be told. Whether it is a dark tale, a story of triumph, or one of passion, the director's unique vision will be responsible for presenting it in a way that no other director would. A director sees beyond the words on the page to a moving picture with specific shots, lighting, mood, nuance and emotion -- all visually created for the screen.
If the initial script needs work, the director will make suggestions to the writer for improving the script. The director may also bring key crew members to the project that he has successfully worked with in the past. He will be responsible for approving each and every camera angle, lens effect, the lighting, and set design.
The director also works closely with the cast, meeting before each scene to do a run through. Here he gets a feel for how the actor will play the scene. If needed, the director can provide motivational insight, or tweak performances by making suggestions. He will also listen to the suggestion of the actors.
Studio executives or executive producers will visit the set to make sure the project is on schedule and on budget. The director will work with the studio execs to make sure they're happy about how the film is progressing.
At the end of the shooting day, the director, producer and key crew members will screen that day's footage in what are called dailies.Here they can see if scenes will need to be re-shot. The director will also be involved in post-production when the film gets edited into its final form.
Although a director is responsible for the vision behind a film, a good director also listens to his crew and cast and works collaboratively. There are many talented people involved in the making of a film and utilizing each person's talent is what makes a director, and the film, a success.
Producer
Producers have a direct hand in generating revenues and profits. In general, their jobs involve sales, the management of specific client relationships, the management of investments and/or the trading of securities. Accordingly, their performance evaluations and compensation plans normally are closely linked to measures of the revenues and profits directly traceable to their efforts. A classic example of a Producer is a Financial Advisor Producers tend to be the most highly compensated persons in Financial Services firms; top Producers can earn more than senior management.
Examples: Producers include, but are not limited to, Financial Advisors, Investment Bankers and Traders; anyone not defined as a Producer is, by contrast, a member of Support staff
Examples: Producers include, but are not limited to, Financial Advisors, Investment Bankers and Traders; anyone not defined as a Producer is, by contrast, a member of Support staff
WRITTER
How to write a Play?
"Plays are not written, they are re-written" is a myth. Once you've written your dialogue, 80% of any help we might have given is eliminated. The major choices, about story and character, have been made and a commitment made. The earlier a play is brought to the table, the more help can be effectively applied. With this sort of pre-dialogue work our aim is: get it right the first time.
Structure - a play's story and the way of placing it onstage - is the key element in determining effective character and dialogue.
Characters are known not by what they say, but rather, by what they do. Dialogue is most effective as a reflection of intent, in communicating dramatic movement. Primary attention to structure, therefore, insures a proper perspective on developing a play's other elements
"Plays are not written, they are re-written" is a myth. Once you've written your dialogue, 80% of any help we might have given is eliminated. The major choices, about story and character, have been made and a commitment made. The earlier a play is brought to the table, the more help can be effectively applied. With this sort of pre-dialogue work our aim is: get it right the first time.
Structure - a play's story and the way of placing it onstage - is the key element in determining effective character and dialogue.
Characters are known not by what they say, but rather, by what they do. Dialogue is most effective as a reflection of intent, in communicating dramatic movement. Primary attention to structure, therefore, insures a proper perspective on developing a play's other elements
Monday, March 16, 2009
DRAMA
What is DRAMA?
Drama comes from Greek words meaning "to do" or "to act." A play is a story acted out. It shows people going through some eventful period in their lives, seriously or humorously. The speech and action of a play recreate the flow of human life. A play comes fully to life only on the stage. On the stage it combines many arts those of the author, director, actor, designer, and others. Dramatic performance involves an intricate process of rehearsal based upon imagery inherent in the dramatic text. A playwright first invents a drama out of mental imagery. The dramatic text presents the drama as a range of verbal imagery. The language of drama can range between great extremes: on the one hand, an intensely theatrical and ritualistic manner; and on the other, an almost exact reproduction of real life. A dramatic monologue is a type of lyrical poem or narrative piece that has a person speaking to a select listener and revealing his character in a dramatic situation
News
News
News has two priorities: it must be current, and it must mean something to people. A story about the environment and a story about the Oscars can both be newsworthy, for different reasons.
On the surface at least, the objective of news is to inform the audience. It's the job of all the news media to tell people what's going on in their community - locally, nationally or globally. In this sense, the news media provide a valuable public service.
But the media are also businesses - and like all businesses they have to make money to keep going. Audiences today can get news and information from many different sources. This increased competition is putting pressure on media outlets to attract advertising dollars to keep them running. This is especially true for privately owned media, but it's also a concern for publicly owned media (such as CBC) that need to attract audiences and ad revenues to survive.
Media outlets have to cater to their audiences, and they compete with one another to provide what they think their "customers" want. This can certainly mean honest and factual news reporting. But it can also mean shorter, more exciting stories; flashy, sexy, or shocking images; crime, death, disaster, tragedy; confrontation, violence, controversy; or anything else that might attract viewers or readers. When taken to extremes (as in the "tabloid" newspapers or television shows), "news" can become just another type of sensational entertainment.
For more information on the differences between mainstream, community, and youth media, see Accessing the Media.
NON LINEAR EDITING
This tutorial provides an introdution to the world of computer-based digital video editing, known as non-linear editing. You will learn how to set up a computer editing system, record footage from a camera or VCR onto your hard drive, edit the footage and record it back to tape or disk.
Editing with a computer can be a complex process. This tutorial provides an overview and general instructions — you may need to consult your manuals or support forums for some specific tasks related to your software and hardware.
To edit video on a computer you will need:
A source device to play the original tape or disk. Typically a VCR or camera.
A computer with at least these specs: 200 MHz processor / 64 MB RAM / Fast hard drive with 1 GB or more free space.Note: If you want decent results, you'll need much higher specs. Some editing software requires a high-performance computer to even work properly.
A video capture device. To capture video from an analogue source (such as VHS or Video8) you need a device to convert the video into a digital format. This can be a standalone device which plugs into the computer or a video capture card which becomes part of the computer.If you are using a source device which outputs a digital signal (such as Firewire or USB) you don't need a capture device, but you do need to make sure your computer has the appropriate input available.
Connecting leads to plug the source device into the capture device or computer.
Software to control the capturing, editing and outputting.
A video monitor (or television).
We'll come back to the software on the next page. First, let's have a look at the hardware and physical connections. There are various options depending on your equipment.
Camera and Computer
The most common system in non-professional situations is to plug your video camera directly into your computer via a Firewire or USB connection. These are digital connections and allow you to "dump" footage straight from the camera to the hard drive. This is a convenient and inexpensive way to operate. Consult your camera manual for details.
If your camera doesn't have a digital output, but does have analogue AV outputs, you can use a capture device. Follow the next example, using your camera in place of the VCR.
If your camera doesn't have any video outputs at all, you will need to use a VCR as the source device.
Computer and VCR
The example below shows a VCR used as the source device, connected to a computer with capture card. A video monitor (or television) is used to monitor the pictures. Audio can be monitored with the TV speakers, a separate sound system or headphones.
Editing with a computer can be a complex process. This tutorial provides an overview and general instructions — you may need to consult your manuals or support forums for some specific tasks related to your software and hardware.
To edit video on a computer you will need:
A source device to play the original tape or disk. Typically a VCR or camera.
A computer with at least these specs: 200 MHz processor / 64 MB RAM / Fast hard drive with 1 GB or more free space.Note: If you want decent results, you'll need much higher specs. Some editing software requires a high-performance computer to even work properly.
A video capture device. To capture video from an analogue source (such as VHS or Video8) you need a device to convert the video into a digital format. This can be a standalone device which plugs into the computer or a video capture card which becomes part of the computer.If you are using a source device which outputs a digital signal (such as Firewire or USB) you don't need a capture device, but you do need to make sure your computer has the appropriate input available.
Connecting leads to plug the source device into the capture device or computer.
Software to control the capturing, editing and outputting.
A video monitor (or television).
We'll come back to the software on the next page. First, let's have a look at the hardware and physical connections. There are various options depending on your equipment.
Camera and Computer
The most common system in non-professional situations is to plug your video camera directly into your computer via a Firewire or USB connection. These are digital connections and allow you to "dump" footage straight from the camera to the hard drive. This is a convenient and inexpensive way to operate. Consult your camera manual for details.
If your camera doesn't have a digital output, but does have analogue AV outputs, you can use a capture device. Follow the next example, using your camera in place of the VCR.
If your camera doesn't have any video outputs at all, you will need to use a VCR as the source device.
Computer and VCR
The example below shows a VCR used as the source device, connected to a computer with capture card. A video monitor (or television) is used to monitor the pictures. Audio can be monitored with the TV speakers, a separate sound system or headphones.
(1) If the VCR has two or more AV outputs, use one of them to plug into the AV input of the monitor. If you have only one AV output, use the RF (aerial) output instead, and use the AV output for the next step.(2) The second AV output of the VCR plugs into the AV input of the computer's capture card.(3) The AV output of the capture card plugs into the AV input of the VCR.
In this system, footage is played from the VCR to the computer, edited, then played back from the computer to the VCR (for recording).
Computer and Two VCRs
This system is slightly more elaborate, and has advantages such as the ability to record directly from one VCR to the other (linear editing) Also, if the computer has the appropriate hardware, you can use it to overlay graphics in real time as you record from one VCR to the other. The top VCR is the source device; the bottom VCR is the recorder.
(1) The AV output of the record VCR plugs into the AV input of the monitor.(2) The AV output of the source VCR plugs into the AV input of the computer's capture card.(3) The AV output of the capture card plugs into the AV input of the record VCR.(4) The second AV (or RF) output of the source VCR plugs into the second AV (or RF) input of the record VCR.
On the record VCR, select the appropriate input to record from either the computer or the source VCR.
Note: You could also use the second (or third) AV output of the source deck to feed another video monitor.
Example of a home-based edit suite
If you want to be adventurous, the possibilities are endless. The edit suite below incorporates both consumer-level and professional equipment. It can be used for editing home movies, DVDs, television-quality productions, and authoring internet material
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