Single Camera Shooting and Post-Production Techniques of Color Video Tape

1967 ◽  
Vol 76 (11) ◽  
pp. 1101-1103 ◽  
Author(s):  
Gifford Cummings
Keyword(s):  
Video Tape ◽  
Single Camera ◽  
Production Techniques ◽  
Color Video ◽  
Post Production

Color Video-Tape Recorder for Home Use

1968 ◽  
Vol 77 (7) ◽  
pp. 727-731 ◽  
Author(s):  
Hisao Tajiri ◽  
Shigeo Tanaka ◽  
Itsuzo Sato ◽  
Motoi Yagi ◽  
Norikazu Sawazaki
Keyword(s):  
Tape Recorder ◽  
Video Tape ◽  
Video Tape Recorder ◽  
Color Video

scholarly journals Color Video Tape Recorder

1961 ◽  
Vol 15 (1) ◽  
pp. 45-48
Author(s):  
Masatoshi Okazaki ◽  
Tatsuo Konishi ◽  
Tadashi Mimaki
Keyword(s):  
Tape Recorder ◽  
Video Tape ◽  
Video Tape Recorder ◽  
Color Video

Sustainable Ethnomusicology

2021 ◽  
pp. 138-153
Author(s):  
León F. García Corona
Keyword(s):  
New Media ◽  
Technical Skills ◽  
Image Editing ◽  
Years Of Experience ◽  
Web Development ◽  
Production Techniques ◽  
Database Administration ◽  
Post Production ◽  
Network Administration ◽  
Do So

Most ethnomusicological training requires fieldwork and lab techniques in which students gain technical skills related to the acquisition of data related to fieldwork. Although the work we do as ethnomusicologists sits at the forefront of gathering engaging, relevant content related to musical expressions, most ethnomusicologists are ill equipped in delivering their findings to a broader audience through the use of new media and post-production techniques such as video, sound, and image editing, web development, database administration, and network administration, among many others. Although plenty of literature about developing these skills exists as stand-alone instruction, in this essay I present a bird’s-eye view of content production from an ethnomusicological perspective, providing an understanding of not only content production but how intersects with revenue and ethnomusicological goals. I do so by sharing more than twenty years of experience as an IT specialist and consultant and by exploring some examples of content production at Smithsonian Folkways.

Obladì Obladà e Immagina: sperimentazioni tra video e computer art in tv

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Paola Lagonigro
Keyword(s):  
Computer Graphics ◽  
Personal Computers ◽  
Computer Art ◽  
Production Techniques ◽  
Post Production

During the Eighties, with the spread of personal computers, the image of the Italian television was revolutionised by computer graphics. Broadcasts like Obladì Obladà (1985) and Immagina (1987-88), both directed by Ranuccio Sodi, made extensive use of computer graphics and combined analogue and digital post-production techniques. These programs were dedicated to contemporary audio-visual production: from videoclips to video installations, from advertising to computer art and, more generally, to artistic forms related to electronics. For Obladì Obladà, Massimo Iosa Ghini designed the graphic line and created a futuristic studio that revealed the style of bolidismo. While in Immagina, Fabrizio Plessi’s scenographies dictated the aesthetics of the transmission, dialoguing with Mario Convertino’s graphics. The article aims to analyse the two programs as products of an aesthetical and technological experimentation in which the collaboration between the director and the artists involved represents an attempt to create a “television art”.

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