DIGITAL PROCESSES LAB GUIDE & PROCEDURES

DIGITAL GLOSSARY OF FREQUENTLY USED TERMS:

ASPECT RATIO: The ratio of the width of an image to its height. Two commonly used in consumer
electronics are old timey 4:3 and the wide screen 16:9.

AUDIO INTERCHANGE FILE FORMAT (or .aiff): An audio file format standard for storing
sound data. The format was developed by Apple in 1988 and is most common to Macs.

BIT/BIT MAP: Raster images made up of pixels (or bits) in a grid. Common bitmap-based formats are
JPEG, GIF, TIFF, PNG, PICT and BMP. One of two major graphic types with the other being Vector.

BIT DEPTH/COLOR DEPTH: The number of bits used to represent the color of a single pixel in a
bit mapped image (bits per pixel (bpp) e.g. 8, 16, 32). Higher color depth gives a broader range of distinct
and accurate colors.

Chromakey (green screen) Method of electronically inserting an image from one video source into
the image of another through areas designated as its "key color." It is frequently used on news programs
to display weather graphics behind talent.

compositing Superimposing multiple layers of video or images. Each layer may move independently.
Titles are a simple and common example of compositing.

crawl Text or graphics, usually special announcements that move across the screen horizontally, typically
from right to left across the bottom of the screen.

cross-fade Simultaneous fade-in of one audio or video source as another fades out so that they overlap
temporarily. Also called a dissolve.

cut Instantaneous change from one shot to another.

cutaway Shot of something other than principal action (but peripherally related), frequently used as
transitional footage or to avoid a jump cut.

DATA BASE: Collection of information organized so it can be easily accessed, managed, and updated.

DEINTERLACING: The process of converting interlaced video, such as common analog television
signals or 1080i format HDTV signals, into a non-interlaced form. Interlacing is a technique of improving
the picture quality of a video signal often used for display on CRT televisions displaying images as rows of
pixels using two fields of odd and even lines.

DIGITAL ARTIFACTS: An undesired alteration in data introduced in a digital process by an involved

technique or technology. In this course, related mostly to the use of lossy compression techniques and
compression algorithms or aliasing resulting in pixelation.

FILE TRANSFER PROTOCOL (or ftp): Is a standard network protocol used to copy a large file
from one personal computer to network/server over the Internet.

filter effect Digital effect added to colorize or otherwise alter a clip in post-production.

GRAPHICAL USER INTERFACE (or GUI): Refers to the ways humans interact with computers
for example through windows, icons, menus, the use of a mouse and keyboard often becoming intuitive.
  1  
high-definition video is video of higher resolution and quality than standard-definition. 4K is
3,840×2,160 pixels.

ISO & IMAGE NOISE: The number reflects camera sensor sensitivity to light. Image noise is caused
by the random variation of brightness or color information in pixels sometimes due to excess
compression. The higher the ISO (400+), the better your camera works in low-light situations, but with
more image noise. The lower the ISO (200 or lower), the smoother and clearer the image.

JPEG (or .jpg): Most common format for storing digital camera images first developed in 1992. It is a
“lossy” compression format: it shrinks files by discarding information we can’t perceive. JPEGs can contain
“artifacts” or “noise” (visible flaws in an image, often as a result of excessive compression). JPEG is an
acronym for the name of the committee, Joint Photographic Experts Group that created the “standard.”

jump cut Unnatural, abrupt switch between shots identical in subject but slightly different in screen
location, so the subject appears to jump from one screen location to another. Can be remedied with a
cutaway or shot from a different angle.

linear editing Tape-based VCR-to-VCR editing. Called "linear" because scenes are recorded in
chronological order on the tape.

lip sync Proper synchronization of video with audio, lip movement with audible speech.

MPEG-1 or MPEG-2 Audio Layer III,[4] more commonly referred to as MP3 (or mp3), is an
audio coding format for digital audio. It uses a form of lossy data compression to encode data using
inexact approximations and partial data discarding to reduce file sizes, typically by a factor of 10, in
comparison with a CD while retaining a sound quality comparable to uncompressed audio. Compared to
CD quality digital audio, MP3 compression commonly achieves 75 to 95% reduction in size.

MPEG-4 (or .mpg4): A patented compression of audio and visual digital data first released in 1999 and
compatible with Final Cut Express and Apple’s Quicktime player and needs to be rendered. In contrast,
files from a mini-DV tape are relatively uncompressed and do not need to be rendered.

montage A sequence of shots assembled in juxtaposition to each other to communicate a particular

idea or mood. Often bridged with cross-fades and set to music.

nonlinear editing (NLE) Digital random access editing that uses a hard drive instead of tape to store
video. Random access allows easy arrangement of scenes in any order. It also eliminates the need for
rewinding.

PHOTOSHOP DOCUMENT (or .psd): A graphics editing program released by Adobe in 1990 able
to be manipulated and adjusted, which can maintain a layered file.

PIXEL: Short for picture element, the smallest building block of an image. Each pixel is a sample of an
original image. They are typically RGB (red, green, blue) or CMYK (cyan, magenta, yellow, and black). The
word pixel is based on a contraction of pix (“pictures”) and el (for “element”).

PIXELATION: Effect caused by displaying a bitmap or a section of a bitmap at large size that individual
pixels, small single-colored square display elements that comprise the bitmap, are visible to the eye.

PORTABLE DOCUMENT FORMAT (or .pdf): A file format created by Adobe in 1993 for
document exchange. Each encapsulates a complete description of a fixed layout 2D document that
includes the text, fonts, images and 2D vector graphics.

QUICKTIME (or .mov): A proprietary multimedia framework developed by Apple in 1991 capable of
handling various forms of digital video, sound, text, animation and music. For the purposes of our courses
all video projects must be archived and saved to DVD as a .MOV. Camera software may make a .mov file,
which will need to be rendered.

RAID: An acronym for Redundant Array of Independent Discs is a technology that provides increased
storage reliability through redundancy, combining multiple low-cost, less-reliable disk drives into a unit
where all drives are interdependent.

2    
RAW FILE/DIGITAL NEGATIVE: The digital camera’s equivalent of the negative in film
photography emerging in 2003. It contains “raw” pixel information straight from the camera sensor. File
extensions .arw (Sony), .raw (Canon), and .DNG (Adobe) indicate types, often proprietary.

raw footage Pre-edited footage, usually direct from the camcorder.

real time Occurring immediately, without delay for rendering. If a transition occurs in real time, there is
no waiting; the computer creates the effect or transition on the fly, showing  it immediately. Real-time
previewing is different from real-time rendering.

render time The time it takes an editing computer to composite source elements and commands into
a single video file so the sequence, including titles and transition effects, can play in full motion.

RESOLUTION: The size of an image, expressed in pixels referring to the number of distinct pixels in
each dimension. ***Hi-Res (for print publication) means 300-600 dpi (most commonly 350) or around
2800x3500 pixels.
Lo-Res (for Web publication) typically means 72 dpi or no larger than 920x1680 pixels.***

roll Text or graphics, usually credits, that move up or down the screen, typically from bottom to top.

rough cut Preliminary edit of footage in the approximate sequence, length and content of finished
program.

safe title area The recommended area that will produce legible titles on most TV screens; 80 percent
of the visible area, measured from the center.

SCREEN SIZE/DISPLAY SIZE: The actual amount of screen size available to display a picture.
Typically between 1024x768 and 920x1680.

SENSOR/ARRAY: Collects and stores photons in a digital camera in order to make the final image.
This fragile part of a digital camera should NOT be touched, except by professionals for cleaning.

sepia Brassy antique color effect characteristic of old photographs.

SHUTTER SPEED: The faster your shutter speed (1/60+), the less blur from movement or camera
shake. Many video cameras used a 1/30 or slower shutter speed in low light resulting in blurred individual
frames.

sound bite Any short recorded audio segment for use in an edited program usually a highlight taken
from an interview.

sound effects Contrived audio, usually prerecorded, incorporated with a video soundtrack to resemble
a real occurrence. Blowing on a microphone, for example, might simulate wind to accompany hurricane
images. Also known as Foley sound, after its inventor Jack Foley.

soundtrack The audio portion of a video recording, often multifaceted with natural sound, voiceovers,
background music, etc.

superimposition (super) Titles, video or graphics appearing over an existing video picture, partially
or completely hiding areas they cover.

sweetening Post-production process of adding music and sound effects or otherwise enhancing the
existing audio with filters and other effects.

TAGGED IMAGE FILE FORMAT (or .tiff): A lossless file format for storing images and originally
developed by Aldus in 1992 and since 2009 is under the control of Adobe. Preferred format of archives.

timeline editing A computer-based method of editing, in which bars proportional to the length of a
clip represent video and audio clips on a computer screen.

titling Process or result of incorporating on-screen text as credits, captions or any other alphanumeric
communication to video.
  3  
USB: Is a specification to establish communication between devices and a personal computer developed
in 1996. Stands for Universal Serial Bus. USB 2.0 hi-speed was released in 2000. USB 3.0 “superspeed”
consumer products became available in 2010

VECTOR GRAPHICS: Is an object (shape) based bound together by anchor points to form a solid
object (if those anchor points join/connect). These Anchor Points follow each other in a dot-by-dot or
line-by-line formation along a Path

voiceover (VO) Audio from an unseen narrator accompanying video, heard above background sound
or music.

WEB 2.0/WEB 3.0: Web 2.0 (coined in 1999) is commonly associated with web applications that
facilitate interactive information sharing, user-centered design, and collaboration on the World Wide
Web. Web 3.0 (or Semantic Web) is believed to include TV-quality open video, 3D simulations,
augmented reality, mobile devices perhaps not to be in full use until 2020.

wipe Transition from one shot to another, where a moving line or pattern reveals the new shot. In it's
simplest form it simulates a window shade being drawn.

WHITE BALANCE: Different light sources have different color temperatures. Tungsten lights can
look warm lending a yellowish colorcast to the scene while daylight can look cool lending a bluish colorcast
to a scene if the camera white balance is not set correctly. Most cameras do well set on the Automatic
White Balance (AWB) to capture “clean” color

A NOTE ABOUT SAVING: Computers are “fun” and easy in the present but please assume your
computer will crash when you’re on deadline destroying all your work. If you accept this today and begin
forming effective computing skills using good disaster-management habits, you will spare yourself
frustration:
• SAVE OFTEN – especially if you’re doing something extreme.
• SAVE INCREMENTALLY – save your file as follows: myProject01, myProject02,
myProject03, etc. If files are corrupted or vanish, you can reload a previously saved file and
minimize your loss.
• SAVE FILES TO MORE THAN ONE MEDIA – Besides saving to your external drive,
save to cloud storage, especially raw data such as audio, video or stills.

4    
 EDITING IMAGES IN PHOTOSHOP:
Steps to prepare an image in Photoshop to output to the Epson. Most inkjet print resolution is 350 dpi.

1. Open image in Photoshop.

2. Use Zoom Tool from Toolbox to magnify image to examine for imperfections.
3. Use Spot Healing Brush from Toolbox to remove imperfections.
4. Click Create New Snapshot button in the History palette to save work as you make adjustments.
5. Choose Image>Adjustments>

Curves
Decrease the tonal scale/brightness range of your image to match the non-reflective
output with the illuminated image on the screen. Screen appearance often appears
30% too dark in the resulting inkjet print. Consider dimming screen to match out put.

Color balance
For color negative film: Add red and yellow in the color balance area with the mid-tones
selected under Tone Balance.
For other formats: Experiment with subtle changes.

Brightness/Contrast
Adjust Brightness and Contrast keeping in mind that your print will appear about 20% darker
than the screen image due to the screen illumination.

6. Choose Filter>Sharpen>Unsharp Mask and adjust as follows as a starting point:

Amount: slide to about 120%
Radius: set to about 2 pixels
Threshold: set to 10 levels
NOTE: Many images benefit from sharpening.
Select Preview to see sharpening in the dialog box.

Examine the most important part of image to see how it looks sharpened.
Find a sharp, dark area that borders a light area (e.g. where a roof top meets the
sky). If “ghosting” is evident in those areas, image has been sharpened too much.
• Sharpening should be done after tonal adjustments are made.
• Noisy or pixelated images (highly enlarged) should not be sharpened.

SIZING DIGITAL IMAGES FOR THE WEB AND PPTs (SMALLER):

Making images smaller for faster uploading to Flickr, Blogger, and use in PowerPoints.

1. Open .jpg or .psd file in Photoshop

2. Go to Image>image Size
3. Under pixel dimensions, set to 1680 on the longer side. The shorter dimension will reset
automatically if link is locked.
4. Click “OK”.
5. Go to File>Save As and add “Web” to name (e.g. StreetWeb.jpg). Make sure the
format is JPEG. Click “save”. Image options should be set on Maximum or the slider
should be all the way to the right for maximum JPEG resolution. Click “OK”

NOTE: Flickr limits uploads per month with the free account so resizing is necessary to complete larger
projects (unlimited with the pro account)

SIZING DIGITAL IMAGES FOR INKJET PRINTING (LARGER):

Making images larger or keeping them large for inkjet printing

1. Open .jpg, or .psd file in Photoshop

2. Go to Image>Adjustments and make any modifications to Color Balance, Hue/Saturation.
3. Go to Image>Adjustments>Curves and start at bottom left corner of graph and pull the
beginning point of the diagonal line straight to the right to cut off shadow detail. Typically you’ll
  5  
 see a number in the “input” box between 5 and 70. The mid-tones of image will now look
darker than they should be. Your print will be about 30% darker than it looks on screen. Make
sure you keep the image on the bright/light side. Mark a point on the diagonal line 1/4 of the way
up and pull that point to the left to lighten mid-tones. To avoid washed out highlights, click on
the line 1/4 of the way down and pull to the right until it comes closer to a straight diagonal
again. Image will now show more detail in the highlights. Click “OK”. The “tonal scale” has been
shortened so it will better translate to ink on paper.
4. Go to Image>Image Size> and change document size to print size (e.g. 16x22 image on
18x24 sheet, change width to 22 and the height automatically changes if link is locked.
5. Set resolution to 350 pixels/inch (for full resolution required for inkjet print).
6. Check that Bicubic (best for smooth gradients) appears in bottom box of dialog. Click “OK”
7. Go to File>Save As and add “Print” to name (e.g. StreetPrint.jpg). Make sure the
format is JPEG. Click “save”. Image options should be set on Maximum or the slider
should be all the way to the right for maximum JPEG resolution. Click “OK”

SIZING BLOW UP TEST SECTION FOR BIG INKJET EXHIBITION PRINTS:

Steps for printing a cropped section of an image to the Epson 3880.
This method is useful as a “test” before outputting to the Epson 9800.

1. Open saved final .psd or .jpg image file

2. Go to IMAGE > IMAGE SIZE > set to 32x40” @ 350 dpi
3. Go to VIEW > RULERS (rulers need to be visible)
4. Go to CROPPING TOOL in palette
5. Select 8x10 section > crop, save as .jpg or .psd on desktop
6. Output on Epson 3880
7. Inspect color balance, hue saturation and overall appearance. Make necessary adjustments to
original .psd or .jpg file and re-output until desired results are achieved.

INKJET PRINTING WITH EPSON (WRISTON DIGITAL LAB):

Steps to output images on InkPress Photo Chrome Luster Paper. The Epson printer can output to 8x10, 11x14 or
17x22. Please use only provided paper (unless arranged with Professors Shimon & Lindemann). Record all the
prints you make on provided sheet! Print Tracker software is also used.

NOTE: The printer is a photo quality archival inkjet printer and is not to be used for other purposes.

1. LOGIN - cost of actual ink and paper used will be tracked and verified with the prints you
recorded on provided yellow sheets (kept near printer).
2. Insert 1 sheet luster paper in printer COATED SIDE UP
3. Turn power ON (green light appears) NOTE: red flashing light indicates low ink supply or
paper jam (call assistant if help is needed).
4. Open .jpg (or .psd) in PhotoShop.
5. Go to File>Print
6. Go to Position>Center Image (to center on sheet)
7. Scaled Print Size>Scale to Fit Media (or set dimensions for % of enlargement by height or
width in inches or default to file size.
8. Go to Page Setup to change orientation or paper size.
9. Click Print and the following in print dialog box
10. Click on blue triangle to expand dialog:
• Select Printer>Stylus Photo 3880
• Change Layout to PRINTER SETTINGS
• Change Paper to Premium Luster Photo
• Change Mode from Automatic to Advanced and super photo resolution 2880 dpi
• Unclick High Speed
11. Click Print (NOTE: takes several minutes to spool to printer)
12. Click OK PostScript warning
13. Outgas/dry glycol fumes from prints 1-3 days between sheets of plain paper to avoid greasy
glass on framed pieces and to best preserve your work.
14. Record prints on supply sheet if not for class (Print Tracker Software also used)

6    
 DESIGNING POD BOOKS:
Basic start up steps for designing a book using print-on-demand publishers (e.g. MagCloud, MyPublisher, Blurb,
Lulu, iUniverse, CreateSpace or BookSurge). Sizes range from a 7x7 either perfect bound or saddle stitched soft
covers ($10-$35) to 12x12 case wrapped hard covers ($50-$100) depending on number of pages and vendor.
Always check latest specifications of online publisher’s site as they change continually!

1. Hand drawn thumb nails on paper to begin planning/mapping the number of pages and book size.
Artist books typically have: front/back cover, title page, table of contents, copyright page plus
pages with artist statement, pertinent essays, images, titles of works, and acknowledgments in
addition to main content.

2. Create a new project folder on your external drive for

-- .indd file
-- picture folder of .jpgs sized specifically for reproduction at 300 dpi RGB (for Blurb
-- front/back cover .jpgs (300 dpi minimum, sometimes up to 600 dpi)

3. Open Adobe InDesign>Document:

--Designate number of pages (must be even number, often divisible by 4)
--Select page/book size (typically 8x10 or 8.5x11/letter size (defaults to picas)
--Add .25” (e.g. 8.75x11.25) (or 1/8” or .125 all around) to layout for FULL BLEED
--Click OK (and save to project folder)

4. Set Preferences: 1.) Change from picas to inches by going to:

A. InDesign>Preferences>Units & Increments>set horizontal/vertical to inches (rather than picas)
B. InDesign>object>Display Performance>set to high quality (rather than typical)

5. Use Tools Panel to add text/images (e.g. selection, direct selection, type, rectangle frame)

6. Place a photo/object, make a box using rectangle frame tool>selection tool>command D to get to
picture folder >open and place. Check that you are viewing images at highest possible quality.

7. When finished, make a print-quality PDF for uploading your interior (verify specifications). Some
sites provide specific settings for PDFs (such as Blurb and MagCloud). Some users have gotten fine results
by simply selecting “high quality
File>Export (name file and save to Project Folder as .pdf).
In Export Adobe PDF window customize Adobe PDF Preset Compression as indicated
below
Color Images: Do Not Down sample 300 pixels per inch
• Compression: Automatic (JPEG)
• Image Quality: Maximum
• Grayscale Images: Do Not Down sample 300 pixels per inch
• Compression: Automatic (JPEG)
• Monochrome Images: Do Not Down sample 1200 pixels per inch
• Compression: Zip
• NOTE: Files 200 MB+ may require FTP server to upload (e.g. sendspace.com or yousendit.com)

8. Design front/back cover using Photoshop and save as a .jpg @ book size @ 300-600 dpi to be uploade
separately when prompted. Spine is often designed separately using a canned design.

ARCHIVING DIGITAL PROJECTS:

Always archive projects and related files on cloud storage, external drive or RAID. These include .jpg (stills), .mov
(video), .aiff (sound) or .pdf (page layout). files should be labeled to help easily find them.

EXAMPLE CONTENT
Your Name
Title of video
Date (example: © June 2011)
Run Time: 05:30 (e.g. 5 minutes, 20 seconds)
Format (NTSC)
Your web site or email address

  7  
 SCANNING NEGATIVES AND REFLECTIVE ART:
Steps for making a scan with the Epson 4990 scanners.

1. Turn scanner power ON (green light appears).

2. Clean glass thoroughly using orange antistatic cloth.
3. Dust film making sure it is as clean as possible.
4. Place film in plastic film holders or custom mask.
5. Open Epson Scan
6. Set scan dialog box settings as follows:
o Mode: Professional
o Document Type: Either Reflective or Film (for full-frame direct on glass) or film with
holder.
o Film Type: select between Positive Film, Color Negative Film or B&W Negative Film
o Image Type: 24 bit (for printing to Epson 3880)
o Resolution: 300+ dpi (dots per inch) at output size (Example: 35 mm Negative: To print
a 1x1.5” neg. to 8.5x11 is an 8x enlargement. Scanning resolution should be set at 2400 dpi
o Adjustments: Click Unsharp mask filter, Click Dust Removal when working with film
at lower resolutions
7. Click Preview.
8. Make these adjustments after previewing image:
Decrease brightness and Increase contrast. Add a significant amount of red and yellow to
achieve color balance in color negs. NOTE: Work to improve the preview but don’t worry
about getting it perfect yet. Scans from color negatives often have too much shadow detail and
not enough highlight detail. Manipulate the Histogram and tone correction to adjust for this.
Your preview may have less contrast in order to record the most detail from negatives

9. Click Scan and scanning progress bar will show on screen.

10. Choose File>Save As

Name and save to appropriate place such as your network sharefolder
Save as .tiff or .jpg (compressed) when you’ve completed your work on the image

EDITING WITH FINAL CUT PRO X OR PREMIERE

First you must create a project. Go to File>New Project.

Basic editing includes:
• BLADE TOOL for editing clips
• TRANSITIONS TOOL for adding transitions between clips
• CROSS DISOLVE
• FADE TO BLACK
• TITLE TOOL
• CROPPING FRAMES

EDITING DV ON AN SD CARD WITH FINAL CUT X or Premiere

1. Insert SD card in computer.

2. Open iPhoto.

3. Import files.

4. Drag .MOV or .mp4 to your external drive. Re-name to reflect content.

5. .mov or .mp4 files can be dragged into your Final Cut browser and played in the viewer. To play in the
timeline, they will need to be rendered: Go to sequence>render all. This may be a real time x10
operation (i.e. 10 minutes for a one minute clip). Make sure to keep all movie file and Final Cut projects
on your external drive. Do not move files once you’ve begun editing!

8    
To edit digital video clips, use effects, trim, crop in Final Cut or Premiere:

1. Drag clip from browser window to timeline to further modify or sequence it.
2. Click on filter tab to use effects (see menu list of options, some listed below
--Color Corrections: Video Filters>Color>Color Corrector
--Transitions: Click on location>effects>video transitions>dissolve
(e.g. additive dissolve, cross dissolve etc.). Sequence must be rendered.
--Cropping: Click on clip in view, go to motion tab>click on scale
(note: low end cameras may not have resolution and will show pixelation)
--Scaling, rotating, centering, changing shape, opacity, creating double exposures
can be adjusted in motion tab.

3. Click on razor blade tool then marking clip with pointer, highlighting part to keep and
hitting deleting to remove unwanted frames.
--Use caution when deleting!. Do not delete “clips”.

4. Export edited video as a Quicktime .mov file. File>Export>Save As (insert name)>Save

5. Save as> type title>save in “Movies” folder on local hard drive.

Click on “make movie self-contained”

6. Final Cut export .mov can be dropped into iDVD and burned to DVD-R.

OPENING MULTIPLE CLIPS/STILLS TO BATCH COLOR CORRECT:

Steps to open multiple clips (stills) in the Final Cut Express viewer

1. Drag folder, Command - click the clips in the Browser (not timeline)

2. Drag the clips in the viewer

3. Only the first clip opens in the viewer, but the cropping, color correction or other effects
should be applied to all highlighted clips

4. The recent clips button (second from right at bottom of viewer window) should list all clips affected.
Clicking on them here should bring them up in the window where you can visually check if your changes
were applied, The recent clips list may not be set up to include a large number of clips. In Final Cut
preferences, you can go to List Recent Clips and set the number as high as you need it.

5. To see the results (such as cross dissolves) of your changes, put clips in timeline then do
a Sequence>Render All>Both to get them to play.

6. To arrange desktop: go to window>arrange>standard

SAVING FOUND VIDEO CLIPS:

Copying found clips from YouTube or Vimeo to use in student projects

SAVING FOUND VIDEO CLIPS using Downloader: Copying clips from YouTube to use in art
projects
• Go to YouTube and find the video you you want to grab
• Click “download”
•
• Click on “download in MP4 High Quality” (NOTE: the FLV (a Flash format) is not compatible with
Final Cut or iMovie)
• Click “OK”. In a minute or two, the video will download and show up in your LU computer dock as
an icon (or possibly downloads folder)
• Go to Premiere>file>import>movies
• Select file and click import
• Edit footage
• Click “Fix mismatched frame rates”
• Share>export using QuickTime

  9  
 ADDING TITLES & CREDITS TO VIDEOS:

1. TITLES: At a minimum include: video title, your name at the beginning and production credits,
copyright date and contact information at the end. Plan/write them out on paper ahead of time an credit
anyone who helped. White text on a black background is standard.

EXAMPLE CONTENT
Me and Rubyfruit
A video by Sadie Benning

2. CLOSING CREDITS: Include appropriate closing credits at the end to acknowledge those who
contributed. Again, white text with a black background is standard.

EXAMPLE CONTENT
Written, produced and directed by Bill Morrison
Music composed by Michael Gordon
Music performed by Michael Gordon
Produced at Lawrence University, Appleton, Wisconsin
© 2011 Bill Morrison

Alternately, it is appropriate to credit the following contributors on video projects:

(Title of video as a "header")
Writer
Director or Producer
Cast (name of character or role then name)
Videographer/Cinematographer
Editor
Music composer
Musicians (list name and instrument)
Production assistants
Acknowledgments and thanks to funding sources, supporters, etc.

3. GRAPHICS/LOGOS: In Final Cut Express, drag logo (as .jpg) into bin, then open in viewer, then set
duration. For accurate proportions, pixel shape should be modified in Photoshop (.psd file).

EXPORTING .mov from Premiere

1. Click on timeline to highlight finished sequence.

2. Share>Export Media>Next
3. NOTE: your .mov will be a large uncompressed file. Use ‘ForYouTube’ resize for uploading.

updated 9/7/2017

10