AV News 207 | February 2017
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AV News 207 | February 2017
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AV News 207 | February 2017
In This Issue 3
Chairman’s Chatter
Howard Bagshaw
4
Editors Welcome
Editors
7
AV News Technical Information
Editors
8
‘The Documentary Photographer’
Graham Sergeant
10
AV Hints and Tips
Malcolm Imhoff
12
The Smell of New Print
Andrew N Gagg
14
International Water Competition
Jeff Morriss
16
Rough Cut to Final Cut
Editors
17
Letters to the Editor
19
GNF Judges Re ections
Keith Brown
Editors AV News
21
Howard Gregory Memorial Trophy
Suzanne Gregory
22
Great Northern Highlights
Alastair Taylor Production Editor
24
‘Climb if you will…’
James Hammil
26
A Good Day Had by All
Liam Haines
28
The Wild North
John Harbron
28
IPF National AV Championships
Lillian Webb
30
Around the AV Groups
33
Rode VideoMicro Review
Howard Bagshaw
34
Yorkshire RPD AV Day
Andrew Herson
38
A Pleasant Surprise
Malcolm Imhoff
39
Getting to Know You
Editors
40
Photoshop 2015.5 Improvements
Keith Scott
44
Future Events Diary
AV Group Chairman Howard Bagshaw
Secretary Alan Tyrer
If you are not a Member of the RPS but wish to subscribe to AV News please contact David R Neal 16 Fern Road, St Leonards-on-Sea, East Sussex. TN38 0UH 01424 712394 dgmail22-avg@mybtinternet.co.uk
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Scott Antony Copy Editor
AV News 207 | February 2017
The RPS AV Group Organising Committee Chairman Howard Bagshaw ARPS MPAGB 9 Haywood Heights Little Haywood Stafford ST18 0UR 01889 881503 howard.bagshaw@ntworld.com
Vice Chairman Edgar Gibbs FRPS MPAGB AV-AFIAP 10 Hughs Close Danescourt Llandaff Cardiff CF5 2RT 029 2056 4850 edgar.gibbs@ntworld.com
Secretary
Treasurer/Group Membership
Alan Tyrer ARPS CPAGB/AV 19 Lindum Road Cleethorpes DN35 0BW 01472 504882 abtyrer@gmail.com
David Neal AFIAP DPAGB BPE4* LRPS 16 Fern Road St Leonards-on-Sea TN38 0UH 01424 712394 dgmaill22-avg@mybtinternet.com
Committee Member
Committee Member
Martin Fry FRPS EFIAP AV-AFIAP BPE3* APAGB 7 Chadbournes Churchdown Gloucester GL3 2AE 01472 504882 frycorner@btinternet.com
Andrew N Gagg FRPS Town House Two Fordbank Court Henwick Road Worcester WR2 5PF 07905 748515 gagg@gagg.f2s.com
AV News Production Editor Alastair Taylor LRPS Greendale, 9 Wood Lane Hinstock, Market Drayton Shropshire TF9 2TA 01952 550398 alast.taylor@gmail.com
AV News Copy Editor Scott Antony 1 Greenbank Burleigh, Stroud GL5 2PL Tel: 07771 570272 santony@britfood.org.uk
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AV News 207 | February 2017
Chairman's Chatter by Howard Bagshaw ARPS MPAGB Firstly, a warm welcome to both the New Year and to our new editors. You will see some changes in the layout of AV News, but also very useful articles by our co-editors, setting out their rationale both for the magazine and for AV in the future. By chance you will also see a number of articles in this issue, which comment on the speci cs of AV, particularly what we do about video. We all have our views on the merits of using video in AV. A common view is that it's OK as long as it's used appropriately. But what is appropriate? To me there are two components: the technical/artistic quality needs to be good, and any video clips need to merge effortlessly into the production. The important thing is that if you don't like it, don't make AVs that include video, but please respect those who want to experiment in this area. Which brings me to RPS Distinctions where there is no prohibition to video use. You may have read the article in the December RPS Journal by Roger Reynolds (Multimedia: 'support it or lose it') laying out the concern that, with so few people putting in for Multimedia distinctions, there is a possibility that it may be scrapped (mainly for nancial reasons). Ironically the viability of the Multimedia distinction was raised by including lm production and other multimedia, though the majority of submissions continued to be in AV. Now 'Film' is to be split off again and assessed by a new distinctions panel and I hope it proves to be viable. However, there is a promise of an assessment in Multimedia on October 27th 2017, so can I suggest that if you have any intention of ever going for an RPS Distinction, or going for the next level up, do submit your work this October. It could be the last opportunity. At the last assessment day, I'm delighted to say three workers gained Multimedia distinctions: Megan A'herne LRPS, Alan Tyrer ARPS and Max Robinson FRPS. The Fellowship, only the second in Multimedia, was for a video production so we have yet to see a Fellowship in AV. Picture - Howard Bagshaw demonstrating Multimedia for the crowds
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AV News 207 | February 2017 Chairman's Chatter Continued… To those who were not successful this time (both in RPS and PAGB distinctions), please don't give up but ask advice. The RPS offers such a service. Send work you’re considering to Andy Moore (Distinctions Manager at the RPS) and he will 'farm it out' to members of the assessment panel for written comments on levels and suitability. As a general point, many AVs fall short for distinctions, not on the production values but on the quality of the photography. Look at every picture you use and ditch any that are the slightest bit suspect. So here we are a new year, new editors, new challenges. Enjoy our hobby, go to your club, and the Nationals (details will be at rps.org/NAVC), watch AVs, encourage others, enter competitions and write to AV News. Most importantly don't agonise about what AV is/should be, just make AVs for the fun of it. —————————————————
Editors’ Welcome by Alastair Taylor LRPS — AV News Production Scott Antony — AV News Copy
Aims and Aspirations It would be hard, indeed unwise, to volunteer for the Editor’s role without having some hopes and intents in so doing. First and foremost, as keen practitioners of our collective form of self-expression, we want the magazine to ful l its role as the network platform for our community, continuing the service developed by our excellent forbears! That service we de ne in four parts: advice and encouragement to inspire and develop our joint work/hobby/art form; technical support and insights to enhance skills and better realise our potential; news and information to help us apply, enjoy and promote our endeavours, singly or together; opinion and debate towards a working consensus on the form, appraisal and direction of our shared pursuit. With these measures as a remit and, most importantly, assisted by your contributions and feedback, we hope that together we can maintain and develop the scope and activities of the magazine, as indicated in this our rst issue.
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AV News 207 | February 2017 We happily recognise the AV community as being a broad church considering, for example, the enormous range of styles and topics at both the RPS International AV Festival and also the Great Northern AV Festival. Whilst such activity is and will remain the focus of AV News we aim to explore other aspects of modern media (see the ‘Setting Sails’ article) in order to carry AV and its magazine into the future, albeit impossible without your support as above, plus of course your subscriptions on the ground! Please email all communications, articles and associated images , for the attention of to Alastair Taylor at magazine@avnews.org.uk in the rst instance
Setting Sails Having a quiet drink with Alastair to contemplate our new role and how best to serve the interests of our readership, it isn’t long before the elephants in the room loom around our watering hole: what is AV? Is Multimedia simply a more modern term or distinctly different? Why is the former felt to be in decline whilst the latter, perhaps more suited to new media, has few participants from the established AV community and less still pursuing Multimedia generally? Indeed so much so that there is now a two-year term within which to ‘use or lose’ the RPS Multimedia Distinction, which includes AV submissions. Clearly, we decide, we need to arrive at a working consensus if there is to be a chance of balancing what might otherwise be colliding interests leading to more fragmentation. And if we can achieve that consensus to have it then re ected in both the pages of the magazine and the breadth and number of its subscribers. To that end we make the following proposals for discussion. Firstly, for those creating work for public display, we would like to take a step towards agreeing a norm amongst ourselves and in explaining AV to others. If we can agree a common position we can better accept departures from that norm, taking a relaxed view on the innovation such departures may entail. No need in that case to feel challenged to safeguard established ways but instead be open to new thinking.
Image courtesy Graham Sergeant from his AV ‘The Documentary Maker’
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AV News 207 | February 2017 Setting Sails Continued ... So, mindful of our root in the Royal Photographic Society, we suggest that the AV norm could be outlined thus: “A sequence of imagery displayed on screen and designed to tell a story or create a feeling, artfully conceived and skilfully produced, with the great majority of its running time featuring photographs originated by the producer and having a compatible soundtrack however sourced.” Secondly, on setting the parameters for Multimedia we propose: “Any sequence of imagery however sourced, involving at least two media of any kind; artfully conceived, skilfully produced and presented to its audience on a screen.” This framework encompasses the elements of Multimedia set by the RPS, which cites Multimedia as “work in time-lapse, short lms, three-dimensional imagery, audio visual, material produced for the web or the many other creative venues that have manifested themselves during the rst part of the 21st Century.” More precise de nitions will, of course, continue to be set by the award and competition bodies through their conditions for entry - but at least your Editors could con dently answer the question, “What is an AV?” Thirdly, for ease of reference across the eld, we propose common terms as regards what is made and by whom, the former to be termed a ‘production’ and hence the latter a ‘producer’. Perhaps if the term AV had been as widely interpreted as Multimedia now is then the latter, and the hares it set running, need never have appeared. But the modern term does at least indicate the wider remit AV News could adopt in addressing the immediate priority: to carry forward the established AV community whilst encouraging and integrating new media and the breadth and youth of its proponents, at present camped too far from our collective tent. Clearly these proposals towards setting an AV norm and the parameters for Multimedia are intended as a catch-all. So if any production does not t to one category it will to the other. Meanwhile AV is secure and settled as a sub-section of Multimedia, forming a distinct identity and in no way displaced or diminished. In practice AV promoters will continue to set terms for the particular formats they espouse and perhaps in time we shall see more avowedly Multimedia events, where the organisers elicit all manner of entries. In conclusion, if these proposals nd favour then future issues of AV News will follow the vein, featuring not only the tried and tested but also spotlighting new activities and approaches. And the role of your Editors will be similarly guided as our elephants gently disperse.
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AV News 207 | February 2017
AV News Technical Information Alastair and Scott would like to express thanks to all of those who have submitted articles, photographs and advertisements to this edition of AV News. It has made the task of producing our first edition so much easier. We thought it would be helpful for future contributors to have some technical information and style guidance.
The main font used is the Royal Photographic Society corporate font called ‘Avenir LT Std 35 Light’. This is set at 9 pt. and is very similar to Arial 9pt., but we if need be can convert from any font. Headings are in Arial Narrow set at 20pt.
Credits are in Arial Narrow set at 12pt. and in bold. The page size is A5. Paragraph settings are 0pt. before and 6pt. afterward with a line spacing of 1.15.
Margins are set to Inside 1cm, Outside 1.5 cm, Top 1.25 cm, Bottom 1.25 cm. Articles: please submit articles in ‘Word’ format where possible, using the margins, fonts and sizes above. For a single page allow 4 cm at the top for headings and credits. A page of text for AV News is approximately 400 words. Should articles need to be significantly reduced for space reasons we will consult with the contributor. Photographs: Photographs are welcome. A thumbnail of the author 2.5 cm square will be used where possible. All photographs should be of a high resolution, at least 300 dpi. The editors will attempt to use photographs as supplied but reserve the right to crop if necessary. Advertisements: Your artwork promoting future events is gratefully received. It is best if this comes in a JPEG format. An image 12 cm wide by 6 cm high will fill a third of a page, whilst 12 cm by 4 cm will be a quarter page. For major events a full page will be used. Front and Rear Covers: We may well use a n image(s) from an award-winning AV(s), which would need to be submitted at a minimum of 300 dpi We hope you find this information helpful and thank you for your support.
Audio Visual enthusiasts worldwide are cordially invited to enter the
Adelaide AV Fest International Audio Visual Festival The Festival will be held in Adelaide, South Australia from 20 – 23 April 2017. Details will also be published on www.a-p-s.org.au Fest i val D i rect or: John H odgson - E m ail : j hodgson4@ bi gpond. com Page 9
AV News 207 | February 2017
‘The Documentary Photographer’ by Graham Sergeant FRPS The purpose of this piece is to try to broaden the discussion about modern AV and its place in the world embraced by the newly coined term, Multimedia. Thoughts about the revolution in AV brought about by digital technology and other changes were recently set in train for me when producing ‘The Documentary Photographer - A Tribute to Frank Hurley’. To set the scene: the years 2014-2017 mark the Centenary of one of the last great ‘Heroic Exploits’ - that of Ernest Shackleton’s Antarctic Expedition in the ship ‘Endurance’. It was unsuccessful in that the party of men didn’t reach the South Pole as originally planned. However it was successful in other ways. Their dire circumstances, almost unimaginable today - the loss of their ship crushed by the ice, the cold, the inadequate food and shelter, the lack of modern navigational equipment – were the basis for disaster and yet not a single member of the team was lost, a great tribute to Shackleton’s leadership. We can only marvel at the skill and tenacity of the of cial photographer on the Expedition, the Australian Frank Hurley. Given the relatively early stages in the development of Photography and cine lm a century ago, let alone the circumstances in which they were taken, Hurley’s images are superb. It was entirely through him and his negotiating skills with Shackleton that 150 plates were saved. Like most of us in AV - always on the lookout for ideas, once I had seen Hurley’s surviving Black & White photographs I was struck by the potential for this unique body of work to be produced as an AV. Furthermore, I felt that to do justice to this project and for it to have any veracity, it was essential that I used copies of Hurley’s original photographs. This of course raised the issue of the proportion of ‘third party’ images that can be used according to current thinking in the RPS and PAGB. As we are all aware, this tends to be limited to an arbitrary maximum of around one third. But for an archival project celebrating the work of such a signi cant gure as Frank Hurley, my conviction was that I needed to use his (‘third party’) images as determined by production values rather than arbitrary maxima. (Incidentally, Hurley’s images are now out of Copyright.) .
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AV News 207 | February 2017 Regarding the oft-quoted issue of ‘using other people’s art’ - usually put forward by those with a limited knowledge of the intricacies of AV production - my contribution to this project was the exercise of my skills in interpretation, editing and producing the AV programme. In broad principle, what I am respectfully suggesting is that the use of ‘third party’ images and ‘other people’s art’ are perhaps just a couple of items from a list of traditional ideas and attitudes that need to be revisited. The Rol e Of P hotography In AV Many AV-ers come from a background in Photography. When discussing AV with a number of friends in the eld the consensus seems to be that contrary to some highlyplaced opinion AV is not just about Photography, important as it is. Clearly there are other equally important ingredients: the strength of the idea or theme, the soundtrack and the often-underestimated role of editing. From my time in the documentary lm industry I discovered that the vast majority of lmmakers/directors in the industry as a whole are not former photographers but rather started out as lm editors. They then learnt the basics of shaping the form and structure of a lm, how to develop a story visually and aurally and the importance of establishing pace, rhythm and atmosphere in a production, and this holds good for most branches of Multimedia. The Rise And Rise Of Digital T echnology In AV Production With digital ‘hardware’ has come the ‘software’. Igor Kokarev‘s excellent Pictures to Exe program happily has become the industry norm, at least on PCs! Rather than being restricted to the seemingly endless dissolves/mixes between 35mm slides in the days of analogue, PTE now offer, for example, a wide range of transitions in digital productions, my own favourite being the simple ‘straight cut’ borrowed from the cinema. Furthermore, by carefully observing the WAV-form in PTE soundtracks it is now possible to edit pictures to music ‘on the beat’. The latest technical offering is the ability to shoot movie footage in HD or even 4K on a DSLR and is of such high quality that it is used commercially and in TV programmes. My personal favourite innovation in Movie is ‘lip sync’ or ‘talking heads’, where real, live people can be included in modern AV productions - rather than producers con ning themselves to still images and voice-overs as in the historical documentaries popular with many AV-ers.
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AV News 207 | February 2017 ‘The Documentary P hotogra pher’ Continued… AV As A Distinctive, Modern Genre Some AV-ers argue that now movie footage is available those wishing to use it should join a video club. I would argue that used relevantly and in moderation, the combination of, say, ‘talking heads’ with still images enables the producer to enliven as well as to compress his story telling without all the arm-waving and walking in and out of frame favoured by so many TV producers and presenters. If you don’t believe me have a look at the otherwise excellent ‘Country le’ programmes on a Sunday evening (and there are plenty of other examples!). On balance, it needs to be said that the judicious use of movie footage has added another invaluable tool for us to use. (I am reminded of Colin Balls ‘Flightless Birds of the Falklands’ where the humour in the portrayal of a group of penguins negotiating a precipice relied entirely on movie footage and was hilariously funny.) Movement Who Needs It? Useful as movie footage can be, on the other hand I would like to suggest that movement (and this applies especially to Video Making) can often be time wasting and/or super uous. The use of the still image is something I have come to appreciate more fully since joining the ranks of AV-makers especially in the form of Photo Harmony productions, where still images are combined with simple music soundtracks to very great effect in skilled hands. The Implica tions of New Technology For Programme Maki ng Used advisedly (rather than just because they are available) modern programme makers/producers now have an amazing range of facilities and tools at their disposal. Programmes are limited only by the producer’s ideas. The traditional technical barriers between lmmakers (now videographers) and AV-ers have surely been broken down, at least by the technology, to the point that we can now use the term MULTIMEDIA with conviction. Time To Break Down Traditional Divisions? As we are all aware, the AV community has been shrinking over the past few years. Maybe it’s time for us and our fellow travellers to pool our skills and experiences and to regard ourselves as ‘MULTIMEDIA-ISTS’. (There must be a better collective noun for us all but I’m sure you get the point!) Finally, a cursory glance at many of the offerings on social media, especially YouTube and its manifold, mini programmes, gives cause for thought! All I can say is that if ever our accumulated skills in programme making needed to be shared, it is with the modern generation of YouTube-ers (who tend to be young people but that’s an issue for another day!) All Pictures supplied by Graham Sergeant
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AV News 207 | February 2017
by Malcolm Imhoff FRPS FACI(M) Be organised. When you've got thousands of digital photographs it's easy to lose track of your stuff. With AVs it's even more important to know where you can nd things, especially if you have to revisit a project at a later date. Best practice is to create an "AV" directory on your computer, then make a folder for each AV you do. In there make separate folders for "Music" and "Pictures", with as many sub-folders as you need for the various resolutions of pictures you make.
Figure 1
Figure 2
See Figure 1 for an example, where you can see I have separate folders for my original images, Photoshop les, and the JPEGs which will go in the project It's also a good idea once you have nished your project, to save it as a "template" (see Figure 2). Copy the template back into your AV folder and you have all the components of your AV in one accessible place. I always carry a memory stick with all my AVs and all my templates so I know I can transfer these to any computer. It goes without saying that you should back up all your work regularly in at least one other place such as an external hard drive (or two).
Hints, Tips, Questions & Answers Do you have any unanswered AV questions? Have you got any AV hints and tips you would like to share? Contact the AV News Editors with your ideas and requests. Page 13
AV News 207 | February 2017
The Smell of New Print by Andrew N Gagg FRPS The gate clangs shut. I hear footsteps coming down the long ight to our front door, and a few seconds later a red h/v jacket ashes past our kitchen window. The letterbox clatters, stuff slithers onto the mat, and Christine and I collide in the hallway. “Huh! Just more junk mail!” she says and returns to the kitchen in disgust. I pick up the pile of yers – take-away menus for second-rate Bangladeshi restaurants (plenty of those in Worcester), yers for pizza parlours, funeral parlours, nail bars, sushi bars and the rest. But what’s this? Right at the bottom of the heap there’s a plain white A5 envelope... It’s either my agent’s latest newsletter, telling me annoyingly where everybody else is lecturing on their wonderful sun-soaked cruises, or it’s... Yes! It’s too thick to be the cruise speakers’ newsletter. It is! It’s the latest edition of AV News! With trembling ngers I rip open the ap – no time for the paper-knife – and release that blessed aroma of... fresh printer’s ink! The smell of printing inks has changed over the years – modern inks smell quite different to the ones I knew at college. But somehow they have just the same capacity to excite the senses. Who doesn’t get a buzz out of a new paperback (they have those funny warm, velvety covers now that feel like living skin – I’ve never known quite how I feel about those!) Oh, the unreasonable hatred I feel when a book arrives from Amazon in one of those cardboard envelopes which has failed to protect its corners and they’re all wrinkled and bent. This book will be my bedtime companion for several days, and I’ll keep feeling the damaged, buckled corners – an unwonted distraction while I’m trying sleepily to focus on ‘who-dunnit-this-time’. The crisp, cleanly guillotined edges, the feel of the paper between the ngers, those lovely glossy pages – who doesn’t delight in a new magazine? I mean really new – untouched by any hand except your own – virgin and unsullied! “Get a life Andrew!” I hear you say. But is this really only mine, this obsession with the joy of new print? Well, no. I know Christine shares it at least – she always gets to read the paperbacks rst, and she loves fresh new glossy magazines – and I’m pretty sure I know others who share this thing that I can only describe as a sensual pleasure.
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AV News 207 | February 2017 I now read our Worcester Camera Club newsletter on a screen – and excellent it is too, but I do miss it in its old printed form. I cannot imagine sitting in bed reading from a tablet - it’s not for me my tablets stay on my bedside cabinet! Maybe it’s a generation thing (like AV itself I hear someone darkly mutter). Perhaps our need to chop down forests to make reams of printing paper will slowly diminish. Generations to come will be happy to wave nostalgically at their old computer screen, relishing a comfortingly familiar technology, grumbling, time-honoured, that there was nothing quite like an old-fashioned Kindle for reading in bed, or in the loo or wherever else... But back to the present (and hopefully a different vision of the future): AV News continues on paper, after half a century, and long years more may it do so, although that’s easy enough to say. We owe its birth to Sir George and Lady Pollock all those years ago. It throve under many different editors, until we came so desperately close to losing it after Jill and John’s long and dedicated stint of keeping it alive and lively. Then David stepped in and did the whole thing single-handed (side by side with taking a major role in organising the 2016 Internationals). And now Alastair and Scott have taken over, and we wish them all the luck in the AV world in their joint Editorship. So take a bow, with many curtain calls and to rapturous and undying applause, all those Editors, from the distant past to the present and hopefully long into the future who’ve indulged our taste for the smell of new print (and new ideas). Thank you all for your hard work and dedication!
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AV News 207 | February 2017
International ‘WATER’ Competition by Jeff Morriss LRPS APSSA AFIAP In spite of not having patronage from the Photographic Society of South Africa, a healthy number of excellent entries on the theme of ‘Water’ were entered into the competition, hosted by AV Makers South Africa. About one third were from South Africans and the rest from the UK, Ireland, The Netherlands, Australia and New Zealand, a truly cosmopolitan collection. It is risky to set a theme not knowing how the challenge will be received but we were pleasantly surprised by the interest. We had many positive comments about our idea to host a competition with a speci c theme. Both 1st and 2nd places in the Documentary section went to South Africans and overall South Africans claimed 41% of the awards. This is indicative of the great strides made in Audio Visual in South Africa since the rst salons of the digital era in 2009/2010 when overseas participants dominated the headlines. Judging by our team in Australia and the UK worked well. Ian Bateman, Malcolm Imhoff and Charles Hulse judged independently and then they reviewed their scores to reach amicable consensus. We are grateful to them for their commitment to this task. Plans are in an advanced stage for the third thematic competition running in 2017. Watch this space! web: http://av-makers-south-africa.wikispaces.com/ email:avmakerssouthafrica@gmail.com facebook:http://www.facebook.com/ AVMakersSA All images courtesy the AV Authors, supplied by Jeff Morriss
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AV News 207 | February 2017
Competition Results
With grateful thanks to our jury: Charles Hulse FRPS AV-EFIAP AV-AAPS Ian Bateman FRPS MPAGB AV-AFIAP Malcolm Imhoff FRPS FACI(M)
Documentary Section 1st Tears from Heaven (ZA) Franz Jesche & Anne d’Oliveira (Gold) 2nd Madzi ndi Moyo (ZA) Nico Jacobs (Silver) MERIT Co wch Capel Celyn (UK) Ron Davies MERIT Okavango (Australia) John & Judith Hodgson
Acceptances Grand Trunk (UK) Howard Bagshaw The Flow of the Water (The Netherlands) Jaap Postma Water Crisis (Australia) Ingrid Gane
Photo Harmony Section 1 Water Colours (Norway) William (Bill) Bruce (Gold) 2nd Tranquil Waters (The Netherlands) Marcel Batist (Silver) MERIT and 1st ZA Wild Waves Mary Hunter (Silver) MERIT and 2nd ZA Cool Clear Water Daleen Engelbrecht MERIT Ice Landscape Antarctica (New Zealand) Alistair McAuslan MERIT One Winters Day (New Zealand) Elizabeth Carruthers st
Acceptances Blik op de Slikken (The Netherlands) Cor Lokker The Endless River (ZA) Luana Laubscher & Mike Pienaar The Estuary (ZA) Adri van Oudheusden Water – from Source to Sea (ZA) Bruce Hepburn
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AV News 207 | February 2017
Having attended the Multimedia Panel’s Assessment Day last October one particular comment from a Panel member struck home. The Panel having rejected four of ve AV submissions for the Associate Distinction, the member observed in summary that there was some ne work and much potential but insuf cient to carry more entries over the bar. In short he felt the productions in question were “more rough cuts than nal cuts”. A fair observation perhaps but how, your Editors wondered, could early and friendly feedback be found to bridge that gap? Advisory Days are like hens teeth; the RPS AV Group is small in number. There are enough competitions but they require submissions to have already reached a presentable stage. There are AV groups on the ground of course but not many such, and little AV activity in Camera Clubs. But whereas stills photography is more suited to appraisal in print, AV is well suited to making full use of online media. Properly structured, we felt, there should be suf cient experience, insight and support from our readers to provide the helpful feedback that could help a producer feel more certain their AV was ready for a public showing. Arising from that belief AV News is considering setting up a private, online facility to allow any subscriber to view and comment on AVs uploaded by fellow producers who feel they might bene t from such feedback, gaining con dence from either having their work endorsed as presented or improved by adopting suggestions offered. The aim is not to elicit expert advice for a speci c entry or award (although that could be added later). Rather it’s seen simply as a sounding board to help the producer gauge initial responses to work on the slipway; it would be entirely down to the producer as to whether to act on any suggestion made. And there would be no need for those leaving suggestions to conclude with their name because the idea is that producers should take all suggestions at face value, without any hierarchy of opinion that might be assumed if commentators were identi ed. Indeed not only commentators but producers could be anonymous if they so chose – again, to prevent any assumptions beyond what was seen on the screen. In any event all comments would be viewed by the site's Moderator and would be amended if an observation was counter-productive! The obvious place to house this ‘AVN Online Group’ would be on YouTube, primarily because the IAC copyright licence is applicable to work shown there. So producers with an IAC licence, giving “clearance for private use and/or exhibition to a nonpaying audience”, would also have bene t of IAC’s arrangement with YouTube, whereby the latter has “reached an agreement with the main music copyright agencies that allows most music to be used on lms uploaded to their website”.
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AV News 207 | February 2017 At this stage we would simply like to know if the idea appeals and to consider any associated comments. Also, more speci cally, to hear from any producer interested in using the facility. Please just drop us a line at the usual email address below. MidMarch will be the decision point, and if the idea nds favour we shall hope to have at least six AVs to introduce for the test period starting with the May issue of AV News. magazine@avnews.org.uk
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Letters to the Editors "It's an AV, not a lm" A response to Andrew Gagg's letter. I'm in agreement with much of what Andrew says in Issue 206 and I see he invites debate on the validity of introducing video into AV programmes. "There's little difference in the nal effect"? Oh yes there is! We know that a video is simply a series of still images (or frames) replayed fast enough to recreate the illusion of movement. The replay rate is constant, say 24 frames a second, so that the movement is smooth and realistic. I don't have any objection to the inclusion of video clips in AVs. I've done it myself on several occasions, but I maintain it should be done for a reason and with subtlety, so that the audience is almost unaware of the change in medium. I would argue that it is a matter of degree. If there is 100% video it's a lm, not an AV. If the video content dominates it's probably still a video, not an AV. I am passionate about AV and its ability to entertain and move people, largely through the power of the still image. The argument that "if it can be done it should be" doesn't hold water. Just because we can genetically engineer babies doesn't mean we should. I'm all in favour of closer ties with the movie makers and the IAC as we have so much in common. I once sent an AV (saved as a DVD video, an AVI or MP4 le, I can't remember which) to the IAC's British International Amateur Film Festival (BIAFF). It met most of the criteria, told a story, communicated an idea through fairly fast-moving images, the photographic quality was better than a lot of the videos, but all the pictures were still images. The judges at BIAFF provide every entrant with written feedback on their work (something we might consider taking on board in the AV competition world like we do for the Bridgend 5 to 8 competition). I got two stars, but the comments in essence said "this is an AV - not a lm". The moviemakers seem to know which is which. Why don't we? Malcolm Imhoff
FRPS FACI(M)
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AV News 207 | February 2017
Further Thoughts on Animation. In the August issue I described some thoughts that arose as a result of seeing a newcomer’s sequence whilst attending the RPS AV Day in Leeds. My main point was that we need to be careful not to judge an AV simply because it is presented in a different way to what we have seen in the past, in particular the use of what I termed animation. I tried to summarise this by (what I thought was) a clever misquotation “it’s the message not the medium”. In his reply in the November issue, Andrew Gagg suggests that the AV community understands the term animation as ‘movement within a single image frame’, whereas movement that takes us from one image to the next is a transition. I don’t think this distinction is possible anymore and I hope that many people did in fact understand what I meant by animation: all these new-fangled visual effects that weren’t possible in the days of tape-slide. I somewhat regret my introduction of the ‘medium is the message’ misquote. I wasn’t trying to say anything profound and I am happy to bow to Andrew’s obvious deeper understanding of the meaning of the original phrase. Apart from these two issues, I think we are both on the same side. I did not say or intend to imply that animation (my de nition!) on its own necessarily made a sequence good. Would not this be a de nite case of the medium is the message? Simply that we should not have preconceived ideas about what is acceptable or not and should make our judgements on the effectiveness of the communication of the idea. As Andrew says, “Does it enhance the mood and the message…?” My comment that there is a ‘good case for lots of animation and frequently’ was an attempt to describe situations where animation might be used without either adding or detracting signi cantly from the message. As an example, there is no reason why a ‘mosaic’ transition should not be used throughout the sequence instead of the traditional fade between images. Used consistently in this way it becomes a style in the same way that a particular typeface is used in a book. Andrew Chadwick
Challenge 321 International Audio Visual Contest Tell your story in 3 Minutes and 21 Seconds – that’s the challenge! Send your sequences to the organisers in Germany, who distribute them to hosts in various countries for judging. Each host then returns a ranking, which the organisers total to find the overall winners. Closing date for entries: 31st March 2017 ~ Results published 30th June For full information visit: www.challenge321.org Page 20
AV News 207 | February 2017
GNF - Judges Reflections by Keith Brown FRPS MPAGB APAGB EFIAP FIPF. Kate Brown LRPS DPAGB Ashley Franklin ARPS ABPPA APAGB The Great Northern Festival has come and gone and now, after a very busy weekend, we have time to re ect back on the event. The organisation and time keeping was excellent and we were well looked after by the festival committee and the staff of the Hough End Conference Centre. We were delighted that there were a variety of good sequences for us to discuss, which made our job very rewarding. 11 of the 49 entered were in the New Horizons competition and we were sent these in advance enabling us to make written comments which would be sent to the authors. We were also pleased to be able to relay these comments at the festival and we appreciated the positive feedback, from the Committee, authors and the audience. The general standard was good and the winning sequence “The Wild North� by John Harbron would have acquitted itself well in the main competition. Overall this was a very enjoyable, well produced AV with good photography, script and narration. The 38 entries in the main competition lived up to our expectations and we were treated to a variety of subjects with, overall, an excellent production quality. This could have made our job dif cult but we were given plenty of time, in a quiet private room, in which to discuss each sequence thoroughly.
Great Northern Festival Judges Kate Brown, Keith Brown and Ashley Franklin. Photograph courtesy Howard Bagshaw
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AV News 207 | February 2017 GNF Judges Re ections Continued... We do not have space here to give our views on every sequence but we would particularly like to mention the top three. There was a very high percentage of documentaries but sadly few song and music interpretations. However there was an AV which left all three of us very moved. “The Fallen” by Ian Bateman, gave us a very different rendering of well known song “The Sound of Silence” and was memorably creatively interpreted using the poppies at the Tower of London and hundreds of fallen shrouded gures. We were delighted to award this sequence Third place. We were asked to select an AV worthy to be the inaugural winner of The Howard Gregory Memorial Trophy for the most creative sound track. One sequence stood out, “The Land God Made in Anger” by Howard and Carole Bagshaw. The sound quality was superb, but what made this sequence exceptional was the creative blending of voice, music, video sound and especially those chilling and unsettling sound effects adding to the build up of tension during the troubled journey across the desert. The photography and production were also excellent and we were pleased to award the sequence Second Place in the main competition. So, the winning sequence needed to be something really special and it certainly was. Just after lunch on Saturday we saw a sequence which made us sit up and take notice. “Climb If You Will” by James Hamill is one of those special AVs where all the elements work beautifully together. Photography, music, script, seamless dissolves were all excellent but the AV also included those “hair on the back of the neck” moments like the slow pan down the mountain during the tragic story of the deaths of the climbers. James is a master of quality production and has a voice which you could listen to for hours. A very worthy winner which must have had a similar effect on the audience as it also won their vote. We thoroughly enjoyed judging the Festival, it was a privilege, and thank you for inviting us. We had a great time, seeing all the sequences, discussing their merits, and especially mixing with everyone. There was a lovely friendly happy atmosphere and thank you to the Festival Committee for all their hard work in making it such a very special event in the AV calendar. Photograph Courtesy Howard Bagshaw
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AV News 207 | February 2017
Howard Gregory Memorial Trophy Presented at the GNF A Thank You from Suzanne Gregory I wanted to thank you again for introducing the trophy in Howard’s memory. I don’t know who had the idea originally, but all the organizing committee obviously agreed. The trophy itself is lovely and I’m sure any recipient will be pleased to receive it. I was very pleased that it went to Howard and Carole this rst time. I know Howard would be very pleased to know about it, as I said at the time. I was glad I was able to present it, although I knew it would be a bit emotional. Even though I was only able to come on Sunday, I was able to see many of my AV friends who have been so supportive since Howard became ill. In due course I’ll be able to stay on my own I hope, and attend a full event. I hope the event went well from your point-of-view, and I certainly thought it did. From our experience, I expect you were all “paddling furiously” behind the scenes. Please thank all the committee for their hard work. Very best wishes from Suzanne. Howard Bagshaw receives the Howard Gregory Memorial Trophy from Suzanne.
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AV News 207 | February 2017
Great Northern Highlights
All Photograp Howard Ba
Great Northern - 38 Entries Winner
‘Climb If You Will ....' by James Hamill
2nd Place
'The Land God Made in Anger' by H & C Bagshaw
3rd Place
'The Fallen' by Ian Bateman
Highly Commended
‘It All Add’s Up' by Richard Brown 'The Missing Link' by Linda & Edgar Gibbs ' The Stuff of Fairytales' by Malcolm Imhoff
Commended
'Sugar, Slaves & Slate' by Brian Marjoram 'Eric' by Jenny & Malcolm Gee 'The Enigma' by Michael & Lavinia Hardwick
Judges Special Mention
'The Last Cigarette' by John Smith 'William McGulloch' by Keith Leedham 'The Invasion' by Sheila Haycox
Audience Vote
1st - ‘Climb If You Will ...' by James Hamill =2nd - 'The Fallen' by Ian Bateman =2nd - 'Co wch Capel Celyn' by Ron Davies =4th - ‘The Land God Made in Anger’ by H & C Bagshaw =4th - ‘The Documentary Photographer’ by G Sergeant
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phs Courtesy agshaw ARPS
AV News 207 | February 2017
New Horizons - 11 Entries Winner
'The Wild North' by John Harbron
2nd Place
'I Am Not There' by Laura Parker
3rd Place
'Sunday Lunch in Mallorca' by Ken Stables
Highly Commended
‘Vincent’ by Brian Pere
Commended
‘A Sketch of Singapore’ by Scott Antony
Audience Vote
1st - 'The Wild North' by John Harbron 2nd - 'Vincent' by Brian Pere 3rd - 'I Am Not There' by Laura Parker 4th - ‘The Flower of A Generation’ by Eileen Anne Craig
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AV News 207 | February 2017
‘Climb if you will…’ by James Hamill James Hamill explains the background and approach to his winning sequence in the 2016 Great Northern AV Festival. The Matterhorn in Switzerland must be the most photographed mountain in the world. When you are in the Zermatt area your eyes are drawn to its tall, dramatic pyramid, standing apart from surrounding peaks. It has been tempting climbers to its summit for many years, ever since the rst ascent in 1865 by a young Englishman, Edward Whymper. In July 1990 my wife and I were on a camping and walking holiday in Switzerland. Just by chance we were in Zermatt when special events were being held for the 125th anniversary of that rst ascent. I already knew about Whymper so I was thrilled to be part of it all. We walked up to the Hörnli Hut at the foot of the ridge by which the mountain was rst climbed and watched all the trappings of a televised live climb to the summit - cameras, climbers, helicopters, interviews. In the evening there was a parade through Zermatt with specially invited guests including Lord John Hunt of Everest fame. At the time I said we should return in 25 years for the 150th anniversary. And that is what we did, in July 2015. Before we went, I had read an excellent biography of Edward Whymper and I hoped I would be able to make an AV that would tell the story of his rst ascent and the tragic aftermath. There was plenty to see and photograph in and around Zermatt during the week of special events. A religious service was held at the Stellisee with the music of alphorns echoing around the mountains. There was an open-air play - a dramatic tale of the tragic events of 1865 - high up at Riffelberg with the Matterhorn itself as the backdrop. Other events included an unveiling of plaques to the seven climbers, carried out by their descendants, the opening of the refurbished Hörnli Hut and the illumination of the original route up the mountain. This was done by a series of lights that came on one by one, with a red light showing the spot where the accident happened. Our hotel room had a balcony that looked straight at the Matterhorn. After a day's walk we would sit and watch the mountain, sometimes with clouds curling round it, until nightfall when it was just a brooding silhouette against a darkened sky. It was mesmerising.
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AV News 207 | February 2017 With lots of photos, some taken in February during a winter walking holiday, and with so much information on Whymper and the rst ascent, I had to work hard to keep script and images to a concise level. There was so much I wanted to say and show, but an AV sequence is usually the better for being brief and to the point - "If in doubt, leave it out". I had a book of Whymper's own photos - in fact he travelled the country giving his own slide shows about the Alps and beyond - and I wanted to include one or two in my sequence, so I contacted the Alpine Club in London, who have his original images, for permission to use them. They agreed, subject to a small fee, and sent copies of the ones I wanted. I also used some of Whymper's own sketches - he was a wood engraver and book illustrator - from the third edition of his book, ‘Scrambles Amongst the Alps’. I found the whole experience of making this AV very moving. Whymper was only 25 when he made the climb. Two others were 18 and 19. All seven in the party were so thrilled to have reached the top he had tried on seven previous occasions without success - yet just a short time later, as they began their descent, four of them slipped and fell to their deaths. I pondered over how I could show the fall. So much is possible now with animation and I toyed with the idea of revolving, blurred images etc., but I decided in the end just to have three images panning vertically down and fading into each other, keeping the effect fairly simple but hopefully giving an impression of the fall down the vast north face onto the glacier below. Three bodies were recovered, but one has never been found. The Alpine museum in Zermatt has some poignant items from the tragedy, including the prayer book of the Rev. Charles Hudson and the rosary of one of the guides, Michel Croz. There was also a special exhibition about the accident and speculation as to why and how it happened - much more material than I could possibly include in my AV. I spent hours trying to work out how best to demonstrate the sequence of lights being lit at night to show the route up. I know there is a way of moving the line of a route on a map, for example, but it didn’t seem to work for what I wanted. So in the end I made a separate image for each light and spaced them to show them coming on one at a time up the ridge, including the one red light. Photographs Courtesy James Hamill.
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AV News 207 | February 2017 Climb if you will continued ... Near the end of the sequence I included a photo of Whymper aged about 70. He died a year after the photo was taken, but it contrasts with the sketch of the young con dent Whymper earlier in the sequence. There seems little sparkle now in his eyes - he could never forget what had happened - but he still holds an ice axe. I used a quotation from his book to serve as a suitable ending for the AV and includes its title:
“Climb if you will, but remember that courage and strength are nought without prudence, and that a momentary negligence may destroy the happiness of a lifetime. Do nothing in haste; look well to each step; and from the beginning think what may be the end”. The Matterhorn became headline news in the immediate aftermath of the tragedy. Charles Dickens thought the ascent was foolhardy and reckless and others also asked the question, “Why?”. However the mountain still continues to attract and challenge many climbers. My AV can only show part of Edward Whymper’s story, but it’s a story that fascinates me and I hope I have managed to convey something of both the triumph and the tragedy of that day in July 1865.
A Good Time Had By All at GNF by Liam Haines During my working life I have attended many, many meeting and functions in England, and have always being struck by how formal and serious they were. This was my rst visit to an English AV competition and I had no pre-conceived notions of what to expect. However, I was very pleasantly surprised at how friendly and relaxed most of the participants were, in total contrast to my previous experiences! I must admit that most of my business meetings were in London and therefore I can now perfectly understand why John Harbron’s ‘The Wild North’ - apart from being a terri c AV in it’s own right - would come rst in the New Horizons Competition and in the audience vote. You have lots of good things in the North…..don’t let those Southerners in on the secret!
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AV News 207 | February 2017 The Hough End Centre proved an excellent venue for the Festival. It had good carparking facilities, was roomy and warm with rst-rate catering for both lunches. Team Mullarkey did a terri c job, both front of house and back! Ashley Franklin opened the Festival on Friday night with a presentation of his work and life story, and what an interesting story it is! His quick and ready wit was very entertaining and his photography covered an enormous variety of subjects. He also showed an amazing ability at transmogri cation and metamorphosing – making people appear and disappear in his photos at will; a true revisionist in the Orwellian tradition. Saturday kicked off with the Introductory Sequence. which poked fun at the judges and set a jolly atmosphere for the Festival. The Attendee Sequences were then shown, in which audience and the judges gave their opinions and suggestions. I think this is an excellent idea and I found the feedback on my own entry constructive and helpful. The competition proper was broken into two sections – the ‘New Horizons’ section for people who had not won an award previously and the Great Northern Competition proper. These entries were mixed in the rst three sessions and I personally found this quite confusing and hard to differentiate. I do think it would be better for both the audience and the judges if they were kept separate and distinct. The variety of topics covered by the entries ranged from the poignancy of commemorating 1916 to the joy of celebrating nature, and one entry was just pure bananas! We travelled from Singapore to Iceland via Majorca and Las Vegas. And what a journey it was. A journey both entertaining and educational; a journey that brought sorrow and laughter. My overriding feeling was of admiration for the sheer creativity of the authors and their abilities. Saturday evening’s dinner was well attended and offered a great opportunity to meet other attendees and to chat – an enjoyable and relaxed affair. It was “once more into the breach” on Sunday with three more sessions of AVs. Again we were thoroughly entertained, educated and enthralled! In the late afternoon we listened to the deliberations of the judges and the presentation of prizes to the worthy winners. Judges Keith and Kate Brown and Ashley Franklin made the arduous task of judging seem effortless. Proof of their abilities was the general agreement that they had made the right choices in picking the winners. Their comments about all entries were fair, balanced and very well observed. The Great Northern Festival Committee did a terri c job of organisation and special mention should be made of Jill Bunting and John Smith, who brought their unique brand of humour and professionalism to the event. I was so pleased to have participated and a good time was indeed had by all.
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AV News 207 | February 2017
The Wild North by John Harbron - GNF New Horizons Winner 2016 The idea for this sequence came from a number of sources, but initially it was sparked by remarks made by visitors from the Oxford area. Their expectations of the North of England were surprisingly stereotyped, and they were expecting to nd industrial waste and ugly surroundings everywhere. They didn’t expect to nd beauty or culture, so that came as quite a surprise. A particular fact that stuck in my mind was that whilst they loved the cities such as Durham and Newcastle they were unsettled by the vastness and wildness of parts of the upper dales, and, as city dwellers, they felt quite vulnerable and found it dif cult to acclimatize to the open spaces. In the sequence I opened with monochrome images depicting the bleakness I think they expected, and then moved to colour, hopefully showing the range and beauty that is all around if you take time to seek it out. I nd a sequence is never ‘ nal’ and there are always improvements that can be made, often thanks to the opinions of other AV workers. If I revise the sequence in the future I would make changes to the running order, and use the same slide when moving from the monochrome section to colour. ——————————–————————-
The Irish Photographic Federation’s 34th National AV Championships by Lilian Webb AIPF The Championships took place in Dublin on the weekend of 15th & 16th October last, with our judge Keith Leedham FRPS, EFIAP, FIPF arriving fresh from the success of the RPS 22nd International Audio Visual Festival. On the Saturday 27 sequences in Novice, Intermediate, Advanced and Club categories were judged and reviewed, after which there was a Gala dinner. On the previous day in Leeds Malcolm Imhoff FRPS, FACI(M) had judged a AV Showdown between NIPA and IPF, with seven sequences from each. NIPA was the winning Federation with the winner being James Hamill’s ‘Mountains Of The Mind’; joint runners-up were Raymond Hughes with ‘What Might Have Been’ and James Hamill again with ‘To What End?’.
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AV News 207 | February 2017 Finally there was the showing of the prize-winning sequences (listed below) and the presentation of awards by Sheamus O’Donoghue, Vice President of the IPF. In addition, Richard Brown, Chairman of the 22nd International AV Festival, gave awards to Margaret Finlay LIPF, who gained a FIAP Commendation for ‘Sweet Afton’, and to Raymond Hughes ARPS, AIPF, who received the RPS SIG Bronze Medal for his Historical Documentary ‘To What End?’.
The IPF AV Group Committee: Edwin Bailey, Marie McGuiness, Lilian Webb, Christy Doyle, Rita Nolan, Alan Lyons, Brendan O’Sullivan, Margaret Finaly
IPA National AV Championships - Results Best Sound Production
Liam Haines LIPF, Offshoot Photographic Soc. Bloomsday
Best 1st Time Entrant
Caroline Laffan, Limerick Camera Club. Quin Abbey
Best Photography
Edwin Bailey LIPF, Shannon Camera Club. Youthful Reminiscing
Best Humour
Lilian Webb AIPF, Celbridge Camera Club. ‘t All Began With …
Best Script
Maria O’Brien, Shannon Camera Club. Star Of The Sea
Best Overall
Rita Nolan LIPF, Celbridge Camera Club. Father’s Love
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AV News 207 | February 2017
Around the AV GROUPS The Northern Audio Visual Group Autumn Meeting, October 2016 Our autumn meeting was held at the usual Snods Edge venue on 15th October last year. A short AGM preceded the main meeting at which our Chairman, Geoffrey Darling, stepped down after 5 years. There were no nominations for a replacement so for the time being the remaining Committee will try to keep the Group on a steady course. We will miss Geoffrey at the helm as part of his job was to book the speakers for our meetings, and we have enjoyed some good days under his stewardship. The speaker this time was no exception - Malcolm Imhoff. I had, of course, heard of Malcolm (and Maggie) but had not seen his work. I have now! As I said to him at the end, I wish I lived closer to him to see more. The day took roughly the same pattern as usual, with a session for members' own sequences then Malcolm, and after lunch the same again. Sequences are usually analysed and a critique given by a couple of our own members. This time we had invited Barry Beckham to comment from Down Under. He was enthusiastic from the moment he was asked and provided both spoken and written comments for each sequence. We saw seven sequences ranging from 'holiday' photo harmony to informative documentary: ‘Annecy’, ‘Cuba’, ‘Northumberlandia’, ‘The Art of Engineering’ (Falkirk Wheel and metal horse sculptures), ‘Holywell Dene’, ‘Derwent Valley’ (Durham) and ‘Chopin of the North’ (Grieg). The last by Jim McCormick was particularly good with pictures, music and voice all blending together very well. Barry’s informed and thought provoking comments were shared and Malcolm followed with his.
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AV News 207 | February 2017 Malcolm's own presentation was titled 'An Audio Visual Journey'. He started by listing the various types of AV that members might wish to try, photo harmony, narrative, documentary etc. As he said, “They can be easy to do - but not easy to do well�. The rst AV shown was 'Watercolour', photographed over two days in the Lake District. Some of the fades were simply wonderful. We then had a demonstration of how the sequence was put together - changing the images on the beat, then tweaking until absolutely right. 'A Place of Pilgrimage' (Chartres) was more complex and included video. I wrote down one word, 'Magical'. A short sequence, 'Giant Steps', followed using the technique of text moving in and out of the picture to tell the story; simple but different. All the above were interspersed with helpful advice and demos. 'Grand Circle' from the USA had a far more complex soundtrack and Malcolm gave an excellent demonstration of the techniques and methods used. 'Queen of the Hills', based mainly in the Himalayas, was written around the reminiscences of Malcolm's mother, who had lived in India, and incorporated the story of Darjeeling tea and the Darjeeling Himalayan Railway - absolutely wonderful. The story of how it was scripted and the demo of its assembly were just as interesting and showed the intricate soundtrack consisting of a huge number of sound snippets and tracks. Following some questions and answers, Malcolm nished with 'Journey with Angels', a sequence of the late Maggie's. A brave choice in the circumstances but well appreciated by an audience who must have gone home entranced and inspired by Malcolm's whole presentation. Superb. The next meeting of the Group will be at Snods Edge on 18th March 2017, when Jeff Evans of Whitley Bay will be the main speaker. If anyone is interested in joining us please email the Secretary, howard.wilson440@btinternet.com
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AV News 207 | February 2017
The Wilmslow Guild Audio Visual Group What a year we have had - the passing of Howard Gregory followed by a couple of other valued members of the Group made for a sad start to 2016 and we wondered if our now somewhat small group could continue. When Howard became ill, Jeff and Pat Mansell had taken on the task of running the club - Pat as Secretary/Treasurer and Jeff, for Competitions and as Chairman. Then in early Spring we heard that Jeff himself was not well needing a major heart bypass operation and so obviously both of them would have to step down. At the AGM in May members’ were apprehensive again wondering if the Group could continue, but such was the will of the membership that a small group agreed to try and carry on. Being spread out over a wide area the rst problem was to try and get this edgling group together to discuss things. The salubrious location of the M56 Chester Services was the chosen venue for a short meeting – short of necessity in that you are only allowed to park for 2 hours! Monica McCabe was persuaded to be Secretary, Ray Grover the Treasurer and Les Hitchcock would front the meetings as acting Chairman. The other posts were Jack Heathcote as the chief ‘Greeter’, whose role was to look out for and after any visitors or prospective new members. Jill Bunting took on the role of the Competition Secretary and John Smith agreed to continue as the Webmaster. We decided that we needed to try and increase the membership and so we made the rst meeting in September an ‘Invitation Night’. We sent out an invitation to all the members of camera clubs in Lancashire & Cheshire to come along for a free evening and maybe bring along a sequence if they had one for us to enjoy. What a good evening we had with a good number attending. We also felt we needed to ensure that all of our members were able to con dently put together a sequence so our second meeting was a ‘Work in Progress’ practical evening. Again this was a very successful evening during which we all learned something. Since then we have had a ‘How I Made That’ evening with Ray Grover, an informative Scriptwriting talk by Sue Dodd from the Guild Writers and 11 - yes 11 - very entertaining sequences in our fun Christmas competition on the theme ‘I was just going to…..’. So the Group continues. Jeff has had his Op, and things are looking a little better! We have gained some new members and the rest of the season looks good. Coming up in the New Year we have another talk by Sue Dodd, this time on voice overs, a talk by Malcolm Imhoff, Members’ Sequences evenings, our annual competitions, our public event - The Fiesta and a talk by Geoff Harvey of Purple Planet Music. Full details of the Programme can be found on our website www.wilmslowguildav.org.uk
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AV News 207 | February 2017
RØDE VideoMicro Review by Howard Bagshaw ARPS At times I have found it bene cial to incorporate a little video into my AVs. Today all my cameras and my phone will record video of a high image quality, up to 4K standard. However, where they all let me down is in their sound recording, especially outdoors. The cameras have a couple of small, upward facing holes for the microphones, which are incredibly susceptible to any wind noise. So I decided to try a microphone designed for video recording. The Rode VideoMicro is a compact, monophonic microphone, with a cardioid acceptance pattern. It comes with a mount, which attaches rmly to the hot shoe of the camera and has a ingenious suspension mount for the microphone that reduces handling noise. Most importantly it also comes with a 'furry windshield', which seems to reduce the wind noise considerably. From Amazon this currently costs £45. You can also get an additional cable to connect the microphone to an iPhone or iPad for £11. Of course, the camera has to have a microphone input socket, which fortunately my Olympus OMD EM1 and Panasonic GH4 both have. The microphone needs no battery, drawing its tiny bit of power from the camera. And both my cameras seem to provide suf cient power to energise the microphone. So what of the quality? I've found it good for recording ambient sound to add to a soundtrack, though I suspect that if I were doing a 'talking head' interview then I would swap to my Sennheiser. The Rode sits on top of the camera, doesn't get in the way when shooting and makes video shooting that much more user-friendly.
Leeds AV Group Audio Visual Show (The 42nd Annual Colour and Music Spectacular) which takes place on Thur 2nd, Fri 3rd, March 2017 starting at 7.30 pm. and Sat 4th Matinee at 2.00pm. St. Chads Community Centre, Headingley, Leeds, LS16 5JT Tickets are £6.00 for entrance and are available from: Eddie Spence Tel. 0113 2676398 Bryan Stubbs 0113 2661448
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AV News 207 | February 2017
Yorkshire RPS AV Day by Andrew Hersom The programme, as usual, was a morning of AVs, brought in by participants for comment, with the afternoon set aside for a visiting expert, on this occasion Richard Brown from Sutton Cold eld. The morning started with Jim McCormick’s ‘Le Mont St Michel’ - the island town and abbey in Brittany - an AV with dialogue over Allegri’s Miserere. This AV had some very effective dissolves including a series from daylight through to night and a sea re ection of the island – all done in Photoshop. There were a few complaints that some Photoshop effects were too obvious, but overall a very nice AV. Jill K. Bunting’s ‘Spotlight’ was a mixed stills and video sequence of children’s dance from a recent academy performance using music from the event interspersed with short comments from technical staff. Some of the stills were grabs from video and perhaps not as good as the straight photographs, but it was good to have an AV on a subject seldom seen. John Smith’s ‘The Last Cigarette’ was an AV on Rex Whistler’s enormous mural entitled ‘Claudian Fantasy’, painted for the dining room of the Marquess of Anglesey’s home. The stills (and quite a lot of video) were taken on a guided tour of the house and John was able to record the guide’s commentary on camera. This worked well despite some minor outside wind and footstep noise. Overall this was an expert sequence, which I enjoyed very much. ‘Pembroke’ was a sequence on a walking holiday, created by John Harbron on his new Lumix camera and set against singing from a Welsh choir. Although some landscape pictures were stunning, there was criticism that there was too much of the same, the pace was too brisk, dissolves could have been slower and the pictures would be more effective if re-ordered. ‘Beneath the Shadow’ was a new version of Anne Harbron’s rst AV, a sequence on Great Dun Fell and the Valley of Knock Ore Gill. There were some very effective images of the Pennines with a clear and eloquent commentary over a nice mix of music. The message was rather spoiled by the inclusion at the end of a song about the Helm wind, which changed the whole mood of the sequence; most people thought this section would be better removed.
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AV News 207 | February 2017 Edmund Spavin’s ‘Florilegium’ used some “unloved pictures from his hard drive gathering digital dust” to make a sequence of pictures from the annual Spalding ower festival. It was suggested there were too many ‘samey’ church interiors and stained glass windows, when the emphasis should really have been on the owers. Some also disliked the counter-rotating dissolves on some of the ower images. And the choices of music could have been better. But a nice idea to revisit old images in this way. ‘A Town Like Alice’ was an AV for home consumption put together by Alan Tyrer, who has family in Alice Springs, Australia. There were interesting pictures combined with a good, clear voice-over, but it was suggested that pictures of static trains were not enhanced by locomotive noises. Also, that perhaps there were too many threads in this AV - shopping, ying doctor, aborigines, Ghan trains. However all were interesting and I think people forget that AVs don’t have to be put together just for competitions. ‘Bert's Begonias’ was an AV by Bill Barr on begonias grown by a keen amateur gardener friend. There was a long scrolling text introduction at the beginning, which might have been better as a commentary. The AV was also spoiled by having two white stripes on either side of the screen due to a mistake during setting up the project in P2E. There was also criticism of the suitability of the background music - perhaps something less brash might have been better. Keith Scott had a work-in-progress AV, ‘This Timeless Land’, put together in haste after a recent illness. The pictures were very good scans of Fujicolor negatives, taken during a trip to Egypt several years ago. It included local people on the Nile and selling produce in markets, as well as the more touristy pictures of the ruins at Thebes and Luxor. There were a few issues with dissolves and perhaps the picture order, but I look forward to the end result. Finally, Fred Wells showed ‘East Africa 1952’, an AV made up of scans of Kodachrome slides taken in Kenya at the time. The voice-over was very clear but the scan quality of the images was rather poor, which is a pity on an AV of historic interest - different scanning would bring much improvement. Some of the above AVs were nearly nished, others work in progress or simply for the family, but it was good of all producers to bring in their work for comments. Three was interest throughout, and I certainly discovered more parts of Britain I than I knew. AV Guru Richard Brown (All Photographs Courtesy Howard Bagshaw)
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AV News 207 | February 2017 Yorkshi re AV Day Continued ... The afternoon Richard Brown gave a talk, with AV examples, covering hierarchy of ideas, story boarding and scripts. Hierarchy of Ideas Richard proposed that there are ve levels of ‘sophistication’ of ideas with 5 being entry-level. 1. 2. 3. 4. 5.
Totally original structure and content - the hardest to achieve; Music illustration or interpretation – structure exists but not content; images are in the mind then taken for the AV; Documentary – content clearly exists but needs reworking or editing; Song or Poem Illustration - images taken to suit the words so the structure is prescribed; Photo harmony – images not directly related to the soundtrack.
Ideas can come from a variety of sources including, for example, Reader’s Digest or Evergreen-type publications, TV or Radio, newspapers, other people’s sequences and personal anecdotes. Always make notes of ideas and think of practical considerations – what needs to be done. Some ideas may be impossible. Also, be aware that others may not share your interest in a topic and plan accordingly. Storyboarding and Plans Richard does not like ‘post-production justi cation’. Ideally everything should be planned. Have the idea and then develop a wish list of pictures, with a scripted outline from which to work. Clive Atkins, his co-worker, goes further: he writes his script, makes the sound track and only then takes the pictures and amalgamates them into the AV. He believes that not thinking like a photographer when making an AV broadens his horizons. Consider photo impact; there is a danger of getting funnelled into just thinking one photo at a time. Better to think in terms of multiple images, which may not be so good as single images but work as a series.
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AV News 207 | February 2017 Script Writing Why write a script? It provides discipline within sequences, which is particularly important in time-limited AVs. For example, those in the Pechakucha project (www.pechakucha.org/watch) which requires 20 images each visible for exactly 20 seconds. Another example requiring discipline is a ‘cartoon sequence’ - a series of perhaps seven slides telling a short story. Problems can arise if the author is ‘too expert’ i.e. knows more than the audience and assumes too much prior knowledge. Similarly there is the ‘been there’ syndrome – travellers with the bene t of visiting a place the audience hasn’t. Here authors must recreate the experience for their viewers very carefully to ensure their interest is engaged and maintained. With written text an audience can read at their own speed so one can use longer sentences. But with a spoken commentary the audience has one chance to comprehend, so better to use shorter sentences. One can infer things, and indeed it helps to give the audience some work. A script can be written third person or rst person, ‘he’ versus ‘I’. First person is more engaging with the audience. Scripts should have beginning, middle and end, with the beginning needing to get the audience’s attention. One can use questions, make an unlikely statement or use a challenging title to ‘lead the audience by the nose’. The middle is the body of the AV so remember the old slide editing advice – “aim at the top of the light box”. What you are trying to achieve? Don’t get off the point; keep to the straight and narrow. The ending is the hardest to write and needs to wrap everything up for the audience to take away. Common mistakes include sentences that read well but don’t speak well, describing what can be readily seen in the pictures, including too many super uous words, including a list of items in a sentence and using clichés. These tips and the ve different levels of sophistication were illustrated by AVs from Richard’s collection. This was a thought-provoking lecture with over 60 people attending and lots of ideas to think about. Our thanks to Bryan Stubbs and his team for organising such a successful event.
Richard Brown shows how he was enthralled and inspired to get involved in AV through a child's toy. The next Yorkshire RPS AV Day is Sunday 9 April 2017
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AV News 207 | February 2017
A Pleasant Surprise by Malcolm Imhoff FRPS FACI(M) I was thrilled and extremely proud to have been awarded the major award for Best Sound at the last RPS International Audio Visual Festival. In addition to the handsome ‘Jean Thévenot’ Bronze Medal from the Federation Internationale des Chasseurs de Sons, I received an AKM CD of copyright free music, ‘Photographic Themes Vol. 3’. Now I have bought and used AKM CDs in the past and they are very good indeed. The main advantage is that they come with the right to use the music in any way you want without additional licensing fees. So you can mix the music into your productions, and show them to any audience including publishing them on YouTube or Vimeo. Another advantage is that the compositions often include ‘alternative’ versions, one-minute versions and 10-second ‘stings’, all of which can be very useful. You won't be surprised that I was keen to listen to my new CD, so I played it on the way home. I have to say I was rather disappointed. Quite a number of the tracks, especially the ones that would be most useful to me, I had already got on another AKM CD. It doesn't make this clear on the front of the CD although it does mention "compilation" in the sleeve notes. As a professional complainant I thought I would get in touch with AKM to let them know how my initial pleasure had been disillusioned. The response could not have been more wonderful. An alternative CD was posted me immediately, and "please keep the rst one. Well done AKM! ( www.akmmusic.co.uk) Photograph Courtesy Malcolm Imhoff
Mid Thames AV Group Annual AV Day 30th April 2017 at Woosehill near Wokingham Berkshire.
Speaker will be Malcolm Imhoff. Further details can be found on the club website www.midthamesavgroup.org.uk or from the secretary – Jean Hoyle mtavsec@virginmedia.com Page 40
AV News 207 | February 2017
Getting to Know You ... A Message from AV News Editors Being the rst of an occasional survey to help your Editors guide the content of the magazine. The questions below are duplicated online – please provide your answers online (sorry it’s so unavoidably long) at:
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2.
Why, in a sentence, do you create AVs?
3.
What software do you use?
4.
How would you categorise your preferred subject matter(s)?
5.
Do you create your AVs alone, as a duo or in a group?
6.
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7.
How much time do you estimate you spend on AV as a weekly average?
8.
Do you belong to a Camera Club? If so which?
9.
If you do, does your Club have an evident AV contingent, formal or informal? Of how many participants?
10.
Are you an RPS member?
11.
Are you interested in pursuing RPS Distinctions in AV or Multimedia?
12.
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13.
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14.
It would be most helpful to identify a team of contributors, occasional or regular. If you are open to a chat on that score please leave your telephone number below together with your area of interest (e.g. event reports, technical advice, opinion, review). Telephone:
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Closing date for survey is 24 March 2017. Thank you for your support Page 41
AV News 207 | February 2017
Photoshop – 2015.5 Improvements by Keith Scott FRPS Just when you think Photoshop couldn’t get much better it does. In June 2016 whilst in the middle of writing the Photoshop article for November’s issue of AV News, Adobe Corporation released their latest Creative Cloud Photoshop version named CC 2015.5 (v 17). In the nal paragraph of that article I stated that we would take a look at the new Photoshop in a later issue, so in this article some of the many changes or improvements in the l2015.5 version will be outlined. No doubt those amongst you who already subscribe to Creative Cloud will have updated and tried out this version for yourselves, and will appreciate the changes. For those of you who don’t yet subscribe but are considering doing so then be advised: Adobe offer an annual ‘Photography’ package that can be paid monthly and consists of the latest versions of Adobe Photoshop Lightroom and Adobe Photoshop for £8.57 p/m (at time of writing - November), and that price includes VAT. As always with any new Photoshop release it has a new opening splash screen, this one is entitled ‘Impossible Sea’ and is designed by Jack Usephot of Sorocaba, Brazil. Jack is a ‘Creative Retouching Freelancer’; you can see his Adobe Photoshop design and some of his other stunning work at www.behance.net/jackusephot. It’s worth taking a look to appreciate the creative content in a leisurely manner, whereas the actual splash screen you only see for a few seconds whilst Photoshop loads on start-up. There is also a one-minute HD video showing the editing make-up of this splash screen. For copyright reasons I’m not reproducing the splash screen image in this article but please do take a look at the behance website. You can also access Jack’s portfolio at www.jackusephot.46graus.com/ where you will see some astonishing Photoshop imagery. A word of caution if you’re thinking of upgrading to the latest version, and especially if your computer is a little long in the tooth: before downloading and installing CC2015.5 ensure your equipment meets or exceeds the minimum requirements stipulated by Adobe regarding CPU and graphic cards. Visit www.helpx.adobe.com/ photoshop/system-requirements.html to nd out exactly what these requirements are. Photoshop CC2015.5 is available in 32 bit and 64 bit versions. Be aware if installing on an elderly 32 bit laptop with ‘motherboard graphics’ and very little video memory. This may inhibit full utilization of the graphics functions this software contains. If your graphics processor is unsupported or its driver defective some features won't work. You could experience performance issues, errors, or crashes if your graphics card or driver is incompatible. However if you’re computer is currently running Photoshop CC2013, CC2014 or CC2015 without any issues then you should also be able to run CC2015.5 successfully.
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AV News 207 | February 2017 Adobe Photoshop 2015.5 ships with Camera Raw version 9.6 (at time of writing). This version includes compatibility with many newer cameras and lenses. It also has some clever improvements including ‘Guided Upright’ used to correct distorted perspective. The ‘Upright’ feature in Camera Raw now contains a new option to correct tilted or skewed perspectives in your image. The new ‘Transform’ panel allows you to draw up to four guidelines directly onto an image indicating features to be aligned with horizontal or vertical axis. As you draw the guides, your image transforms interactively. This feature can be used to correct converging verticals of buildings and/or horizons, useful for both architectural and landscape photography. Upright mode control sliders for Vertical, Horizontal, Rotate, Scale, and Aspect have been moved from the Lens Corrections panel as in previous versions to the new ‘Transform’ panel. I’ve tested this function on several images with strong distortion of perspective, and the correction of verticals and horizontal perspectives is delightfully quick and very simple to achieve. To see the control panel first select the ‘Transform Tool’ from the row of icons at the top of Camera Raw (8th icon from left). The ‘Transform’ control panel will open at the right side of your workspace and the red arrow on this adjacent image indicates the icon to click for drawing the guidelines. After completing adjustments in Camera Raw click the ‘Open Image’ button at the bottom right of the Camera Raw screen to take you back into Photoshop where the other major changes are to be found. Several years ago, with much earlier releases of Photoshop, the task of selecting, masking, or cutting out of very fine detail in complex images was much less refined. Although Photoshop has always provided several ways around such intricate issues these methods consumed both time and patience. Many photographers resorted to buying third party software to specifically undertake such tasks e.g. Topaz Remask or Vertus Fluid Mask. These worked from within Photoshop as plug-ins or as stand alone software. Although such programs are very good and generally simple to use some are ‘destructive’ in their nature i.e. they remove pixels by cutting out and don’t produce editable masks. Fortunately with each new release of Photoshop the program writers at Adobe have introduced constant improvements. They’ve added and refined functionality to selecting and masking to such a degree that third party programs, whilst still useful, are needed less often. The CS3 version of Photoshop introduced the basic ‘Refine Edge’ to selections, but CC 2015.5 takes this function to a new level and is now re-named ‘Select and Mask’.
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AV News 207 | February 2017 Because I regularly make lots of finely detailed masks (not cut-outs, which are destructive) the new ‘Select and Mask’ function is my favourite improvement. This function brings all the selection tools into one convenient place within a new workspace layout. Click on any of the existing selection tools within the tool palette and a new button named ‘Select and Mask’ appears at the top of your workspace, click on this button whereby the newly introduced ‘Select and Mask’ work space appears. This can also be accessed via the main menu i.e. click on ‘Select’ then from the drop down menu click on ‘Select and Mask’. There is also a shortcut (Alt+Ctrl+R). At the top left side of the new workspace sits a small toolbox containing six icons, see image below left. From top to bottom these are Quick Selection Tool (W), Refine Edge Brush Tool (R), Brush Tool (B), Lasso Tool (L) Hand Tool (H), and Magnify Tool (Z). At the right hand side sits a new ‘Properties’ and ‘Control’ panel, which at first sight may look somewhat familiar. However the drop down menu next to the ‘View Mode’ opens up to reveal a new viewing mode named ‘Onion Skin’. The opacity of ‘Onion Skin’ can be controlled with a slider bar. This is a great new feature that adds ‘Visible’ convenience to selecting intricate edges such as hair and fur. ‘Match Font’ is a brand new feature of CC2015.5. This enables identification of the font or fonts used in an image. Of course if you are working on an image created by yourself on your own computer then you should already know and have access to the fonts used. But if you are editing a third party image, or perhaps sharing project files, and need to know which fonts have been used then this feature can identify either the same or very similar fonts available on your system. What’s really remarkable is this function can detect a font type even on a flattened image i.e. an image of only one layer. It doesn’t need to have an image containing text layers to be able to detect the fonts used. This feature is accessed via the main menu: click ‘Type’, and then click on the sub menu named ‘Match Font’. There’s no shortcut key of which I’m aware.
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AV News 207 | February 2017 At the bottom left of the ‘Match Font’ panel (bottom image previous page) sits a small checkbox entitled ’Show fonts available to sync from Typekit’. Place a tick into this checkbox to access Adobe Typekit. Here you can find and download fonts from a vast range of font types. However to use Typekit you must be signed in to both your Adobe Creative Cloud account and also signed into Typekit. Fonts are arranged as you would expect, in alphabetical order with clear examples of each font in both upper and lower case. Each font carries a name and description or reference to its original supplier, see example image of Typekit left. Note: many of the fonts offered in Typekit are available to purchase and are not free. If you can’t find a font in Typekit then it probably doesn’t exist! ‘Match Font’ generally makes a good job of identifying fonts and offering same or similar fonts from within your system. However it isn’t fool proof. On test this feature offered me several similar fonts all of which were the correct font family, however it also offered a couple of fonts that were not even remotely similar! Photoshop’s Liquify filter now contains automatic face recognition named Face-Aware Liquify, which can recognize a single face or multiple faces. Facial features such as mouths, noses, eyes and other features can all be modified. This could be useful to the occasional portrait photographer for retouching or for making glaring changes to facial features or expressions i.e. caricatures. It does not work with profiles or faces that are leaning more than 30 degrees. Face-Aware Liquify can be used as a smart filter for non-destructive editing. Select Filter, Liquify (Shift+Ctrl+X) and then choose the Face Icon from Liquify tools. Remarkably this feature also works with videos. 3D printing isn’t something that’s going to be much use to Audio-Visual or print workers, but for those making models or working on art or design projects then it may prove very useful. With version 2015.5 you can now print 3D models as 3D Manufacturing Format (3MF) files. It’s interesting to note that as soon as you think that you are getting used to all the improvements Photoshop has to offer, those nice people at Adobe release yet another version. Literally as I wrote the previous paragraph about 3D printing, Adobe released Photoshop version CC 2017 (November 2016). I jest not. This newest of the CC versions comes with another long list of changes, additions, and improvements. However, information regarding these will have to wait for another occasion. Better still, download the 2017 update and try it. I’ve only just got used to version 2015.5! All Images Courtesy Keith Scott
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AV News 207 | February 2017
Future Events Diary For full details and contacts always visit the AV-LINKS Website Date
Organiser
Event
Location
1st February 2017 Open to members of L&CPU clubs only 42nd Colour & Music Spectacular
Courtyard Theatre, Ballyearl, 585 Doagh Road, Newtownabbey Wilmslow Guild, 1 Bourne Street, Wilmslow, Cheshire St Chad's Parish Centre Headingly
Hailsham Photographic Society
Colour Show AV Extravaganza
Civic Community Hall Hailsham
Mar 3
Wilmslow Guild AV Group
Fiesta 7:30 pm Tickets ÂŁ5
Mar 4 Mar 11, 12
East Midlands AV Group & Leicester Moviemakers
Kaleidoscope
Feb 17,18
Northern Ireland Photographic Association
Feb 18
Annual AV Competition Judge Malcolm Imhoff
Mar 2,3,4
Leeds AV Group
Mar 3,4
Mar 18 Mar 20 Apr 2
North Wales & Wirral AV Group Essex Audio Visual Group - 25th East Anglian AV Competition Bridgend & District Camera Club
National Championships
IAC Peter Coles International AV Competition Judges Ian Bateman & Malcolm Imhoff 5 to 8 Photo Harmony AV Competition
Worcestershire AV Group
Guest Speaker Eddie Spence
Apr 8
Horncastle & District Photographic Society
Annual Exhibition - Prints, Print Essays, DPI & AV's
Apr 9
Yorkshire AV Day
Apr 21
IAC BIAFF
Guest Speakers Tony Collinson & Bryan Stubbs Showing of IAC Peter Coles International. Winners 8:30 pm
Wilmslow Guild, 1 Bourne Street, Wilmslow, Cheshire Braunstone Civic Centre, Leicester Capel Curig, North Wales Margaretting Village Hall, Wantz Road, Ingatestone, Essex Bridgend & District Camera Club Perdiswel Youth Centre Worcester. The Old Schoolhouse, Watson's Yard, West Street, Horncastle Leeds Trinity University Three Swans Hotel, Market Harborough.
The latest information on future AV activities, events, competitions and results, at home and overseas, can be found online at our companion website: www.avnews.org.uk
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AV News 207 | February 2017
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AV News 207 | February 2017
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