Editing

April 16

Editing
Two Cuts.. need a bridge of..
action
similarity
expectation
dialogue
audio

but wait, there's more: orientation

180° rule
all camera shots are taken on the same side of the subject

Very important in war scenes...so that way the french don't appear to be attacking themselves.

Make since or break since

Put yourself in the head of the viewer: have you given them enough information for the clips to make since?


IDEA:
Conversation cut together where two ppl sit on the same side of the table, but the 180 rule is broken, so it is edited like they are looking at each other across the table.


"There's probably going to be a commercial...maybe we'll learn something from it!" - E Bowen

A frame matters;

Field Prod: Editing

Feild Prd Grades

Points (missing camera report)
Test Grades: 89.1 x 99.9

Editing is the most unnatural

Editing Theory

Cutting: make a bridge
Expectation, audio, motivation

Make since - 16%
Create impact - 84%

Let's not have a scene that causes your brian to think, "I'm looking at nothing"
Keep your subject in the frame, such as when they are walking out or ...going do the stairs..

Let's break down every peice

Different kinds of Lights

FieldProduction

Putting objects in front of your light..breaks up the light..even a tree limb.

"Everybody at Home Depot knows this" E. Bowen talking about different types of lamps

Tungsten
Halogen
Incandescent
HMI
LED

"I don't want to go the whole semester without be cruel to [chocolate] bunnies" - E Bowen before starting a video

Floodlights & Spotlights

FP Lighting Continued

Lighting

"'I wish I could've gotten them into the basement'" - E. Bowen

Quoting a very creepy interview (that happen to be well lit)

Lighting: the key is controlling the light. Where is it going? What is the light hitting?

Eve Hazelton

Lighting

LIGHT
Intensity
Quality (hard, soft)
Direction (from the front, side, above)
Contrast (distinction between your brightest light and your darkest light)
Temperature (Color)
———————————
Concentration (Spot / Flood)



Not a bulb..it's a lamp.


1. Key Light
The most important light, the anchor light, the light on which the exposure is based.

2. Fill Light
The light used to "fill in" shadows, or reduce the lighting ratio, by definition no brighter than the key.

3. Backlight
A light that illuminates the subject from roughly the opposite side of the subject from the camera. Sometimes referred to as a hair light.

• Kicker
Accent the edge of an object ##

• Background Light

FieldProd: Lighting

COMMENTS FROM OUR CAMERA TESTS
Don't shoot interviews in a swivel chair.

Leaning back and forth? Create a deeper depth of field.

zoom lens at the max length gets darker.

Too much noise and grain? Add more lights!!

==

"It's all light. It's all just this phone"

LIGHT
1. INTENSITY
Intensity (brightness) affects exposure, and is affected by exposure.

Camera settings and physical light sources both effect the intensity of a shot.

Intensity is also effective by DISTANCE and POWER (wattage)

How to maximize existing light:
• Move the subject closer to a light source
• Open up the aperture
• Boost camera gain or select a higher ISO
• Increase the available lighting (turn on some lights, open the curtains)
• Add lighting instruments (reflectors)

How to minimize existing light:
• Move the subject away from the light, or into the shadows
• Close down the aperture
• Add neutral density to the lens or the light source
• Select a lower ISO
• Switch off or block off existing lighting (turn off lights, close curtains or blinds)

How to minimize (control( lighting from professional light sources:
• switch off some lights
• use lower power light sources
• use a dimmer (watch out for effects on color temperature)
• Diffuse the light
• Move the light farther away
• add neutral density to the light
• flood the light (like spreading the light of a flashlight
• bounce the light


2. QUALITY
hard, harsh, and direct, such as sunlight. Light is concentrated, traveling from the light source or the filament of the lamp directly to the subject. Shadows are sharp.

soft and diffused, such as a cloudy day. Light comes from a "broad" source, reflected off or spread out through a transl##

3. CONTRAST
Dynamic Range

Italian Terminology
Chiaro (Light)
Scuro (Dark)

Light one side of the subject and light the background of the dark side of the subject.

4. COLOR
Warm (appears orange)
Cool (appears blue)

Color can have a phycological effect... same image shown in orange and blue tones...note the feeling each can leave.x z

Composition

Field Production

Technology is only the tool. The tools are used to create something...like a story.

Low angle shots:
shot power, expose something in the background.
Low angles indoors..almost seems clostraphobic, hits the cieling..where as outdoors, the actor is almost in the sky.

High angle
sometimes it's just "a cool shot"not intended to make the basketball players inferior

Perspective (Canted/Dutch/Oblique Angle)

Perspective (Point of View)

Composition
Foreground, Middle-ground, Background

You can use the forground to create a new shape of the screen (such as looking out a cave or tree's leaves.


Composition
Leading Lines
(THINK ABOUT THIS AS SETTING UP SHOTS)

Composition
Simplicity

Balance

Symmetry
very formal, controlled
(Kubric One Point Perspective)





Take Home Test was handed out today.
DUE MARCH 28

Sound (cont'd)

Mics that you can mount on top of the camera (simple shotguns) are plugged in via the minijack straight into the camera..which are not shielded enough if you stretch far away from the camera body.. so it will start to pick up interference.

In the video shown, the audio was pointed at the book he was flipping though and his voice was more muffled while we clearly heard every page turn.

Sennheiser has a lot of great video tutorials :)

Boom operatiors follow the scene and know the script.
Boom poles have shock absorbers (unlike your monopod)

Mini-jack issue: the longer the cable..the more interference it can receive!

In a pinch, record the audio with my iPhone and use the headphones as a lav!!
Or even have EVERYONE'S iPhone record in 3,2,1 CLAP! and bam.. you've just synced them all.

Talked about H4ns in class :)






### Idea for video tutorial
Manual Control for Audio
How to install Magic Lantern

Condenser mic > Boom Pole > H4n (recording itself) > minijack to camera (which now has magic lantern)

This makes it even easier to sync in post, or if you're like me and forget to punch Record again on the H4n.. you've at least got a clean unadulterated signal of the mics.

- Which isn't nearly as bad as... (cut to random clips)
   + Shower scene "IT'S SOOO COLD!!"
   + "You're adopted"
   + 

Sound

SOUND

Not just a voice.

Acoustics:
when sounds hits a :
• hard surface (plastic, glass, tile, stone, metal) more sound is REFLECTED - higher frequencies are reinforced - sound is brighter and sharper. LIVE
• Sounds bounce back. The larger the space, the greater the reverberation.

when sound hits a :
• soft surface (curtains, couches, rugs) more sound is ABSORBED in particular higher frequencies - sound is more mellow, even dull or muted. DEAD

Surroundings are too "live"
• Move mic closer to subject
• Pull curtains or drape blankets
• Add thick rugs or cushions
• Use upholstered furniture
• Add acoustic panels

Signal to Noise Ratio (SNR, S/N)

Using a shotgun far away can still pick up the mixed waves from a distance, but up close, it can focus on the subject while blocking out surrounding sounds.

"A shotgun requires aim"

Say you have a bag of microphones and you're getting mugged..."The one you want to use to smash in the head of your mugger is the dynamic microphone"

Microphones - Condenser
• Produces very high audio quality
• Can be small
• Needs battery orr phantom electrical power
• Examples - shotgun, lavaliere, miniature.

ND Filter and White Balance

White Balance

It's ALWAYS better to have the correct white balance IN camera than attempting to fix it in post!!

Neutral Density (ND) Filter
"A pair of sunglasses" meaning it won't effect the colors
Let's say I want a shallow depth of field but the image is still over exposed. Because if you close down the iris..the depth of field expands so everyone is now in focus (not what we want)

So ND filter is great for lowering light sources while maintaining the f2 look (shallow depth).

Dark objects flickering? well, you've messed up your shutter speed.

ISO

"Your limitations should become your style"

"The enemy of art is the absence of limitations"

## TAKE HOME QUIZ ##
DO IT.


TOTAL EXPOSURE TRIANGLE:
+ Shutter Speed (1/60)
affects motion blur
+ F-stop (f2)
affects depth of field
+ ISO
affects noise

ISO is a measurement of the sensor's sensitivity to light, measured in numerals. (100, 200, etc..) We're amplifying the signal so we're going to get noise as the iso gets higher.

The lower the ISO, the larger the aperture.

Professional Video HAS:
Focus, Exposure, Clean Audio
at the bare minimum.



COLOR TEMP

Sunlight is blue (5000K)
Fluorescent is green
incandescent (tungsten) bulbs are orange (3200)

Fstop Depth of Field

Class begun by watching a huge jib demo!!

F stop: speed of the lens
Pick an f-stop that appears normal to the eye

on zoom lenses, the apurture changes as you zoom.. your image gets darker. That's a problem (as you well know)

f2 has a shallower depth of field than f22

The aperture effects EXPOSURE, the relative brightness or darkness of the image. Other factors are the sensitivity of the image sensor (ISO), and the shutter speed.

Factors for balancing for a proper exposure.
F/stop
Shutter Speed
ISO


Practice: Shoot in AV mode, so you can change the aperture, but the exposure is maintained.


Watch TV/Movies
- determine whether they used a wide angle lens or a telephoto lens
- are they using a shallow depth of field or long/deep depth of field.

The Lens (cont'd)

Pro Video
a. Subject is in focus
b. Exposed properly
c. Sound is crisp, clear, and present


Still dealing with focus
There is a person dedicated to pulling focus..the Focus Puller.

Large depth of field (small aperture) means everything is in focus. Deep Focus

Shallow depth of field (large aperture)

"It's in your control!"

Lenses are defined by focal length (measured in millimeters) and by speed (measured in f/stops).

Distortions:
Linear distortion
Perspective distortion

Lenses less than 50 mm (35, 28, 24, 21, 18, 14 mm are considered short lenses or WIDE ANGLE LENSES.

The wider the lens, the greater the linear distortion...and perspective distortion..and the greater the depth of field.

Wide Angle Lenses less than 10mm are considered Fish Eye lenses..because, apparently, that's what we think the world would look like to fish.

Lenses that are more than 75mm (85,135,300) are considered long lenses or TELEPHOTO LENSES

Frame Rate and Illusion

The Illusion of Motion

What's needed for apparent motion - creating the illusion of motion

• Flicker Fusion or Frequency - the number of flashes of light per second to merge or fuse the images so that the flicker itself is invisible. At least 50 to 60 flashes per second. (Hertz, ehh close..)

• Frame Rate 



=====


"Friday 101 Interlaced and Progressive ...Explained!"
http://www.youtube.com/watch?v=xKMWjRlIvrY

Defining Video (cont'd)

Frame Rates (frames per second)
Shutter Speed (fraction of a second)


Frame Rate as in slow motion
when the frame rate is increased the shutter speed also increases. Thus each image is crisper.

"We have the power to control time."

Field Production:

Digital Video - How Does This Work?
Pixels to Scenes

VIDEO IS
+ sequential still images (frames)
There are no "moving" parts or pieces on the screen.
Movement blurs (like a sword swung)

Primary colors? not really but for video it is RED, BLUE, and GREEN.

Interlacing (was limited by our technology...50 years ago) Two fields comprise a frame. All the odd lines are one field and all the even lines are one frame and bam.

Gradually replacing Interlacing is PROGRESSIVE scanning. Used now in Computers and most digital video.

!! Make sure settings match from camera's setting to editing settings 1080p is preferred)

+electronically stored, decimated

Analog copies are like the telephone game, but digital is like sending that message via text.


Compression can work many ways:
Frame (remove frames)
Picture (remove redundant frames)
Color (reduce variety of colors)
Sound (reduce frequencies)


===

afp://janis4.mtsu.edu > (guest account) > people > ebowen > Public > Handouts > EMC 3130

===

Field Production: Due Dates

Due Dates

MTSU College of Mass Communications / Dept. of Electronic Media Communications

EMC 3130 001 (11571) and 002 (11572) - Video Field Production, Spring 2013

Faculty: Edward Bowen, (Comm 231b)

Graduate Assistant and Lab Supervisor: Lauren Levins

TUE 1/29

THU 1/31 EXTERNAL HARD DRIVE FOR LAB

TUE 2/19 TAKE HOME TEST ONE DUE

THU 2/21 CAMERA REPORT DUE

TUE 2/19

THU 2/21 Edit Exercise One: Jellyfish 5X5 DUE

THU 2/28 CAMERA TEST DUE

TUE 3/5

THU 3/7   Edit Exercise Two: Jellyfish Dance DUE

TUE 3/19 TAKE HOME TEST TWO DUE

TUE 3/19

THU 3/21 Edit Exercise Three: The First Jellyfish Said to the Second

Jellyfish… DUE

TUE 3/26

THU 3/28 TEAM FLASH SHOOTING EXERCISE DURING LAB

TUE 4/2

THU 4/4 Edit Exercise Four: Conversation DUE

MON 4/22 PERSONAL PROJECT DUE 6PM

TUE 4/23 REQUIRED ATTENDANCE - PERSONAL PROJECT SCREENINGS AND EVALUATIONS

THU 4/25 REQUIRED ATTENDANCE - PERSONAL PROJECT SCREENINGS AND EVALUATIONS

TUE 4/30 REQUIRED ATTENDANCE - PERSONAL PROJECT SCREENINGS AND EVALUATIONS

THU 5/9 FINAL TAKE-HOME QUIZ DUE, ROOM 150, 10:00-10:30 AM

Field Production: Assignments and Projects

ASSIGNMENTS AND PROJECTS

THREE VERY IMPORTANT POINTS:

• STUDENTS MUST HAVE THEIR EXTERNAL HARD DRIVE IN HAND FOR LAB ON JANUARY 29 AND 31!
• STUDENTS MUST HAVE THEIR CAMERA AVAILABLE TO THEM FROM FEBRUARY 19 ON.
• YOU ARE ALL ADULTS, AND You are expected to budget your own time to meet your deadlines.

Assignments/Projects:
Class assignments will include:

1. Use Lynda.com to take and complete training in at least one non-linear editing system.  A certificate of completion is required for credit.  As you go, complete specific non-linear editing exercises. 20% of final grade.
2. Three take-home exams.  10% of final grade each.
3. A camera report detailing specific functions of the camera you will be using for the class. 5% of final grade.
4. A camera test, involving demonstrations of specifically assigned techniques and camera functions. 10% of final grade
5. Flash Exercise: A shooting exercise created by an assigned team. 10% of final grade
6. A personal production project. 25% of final grade

The instructor reserves the option to add or delete assignments as deemed necessary.

Individual Projects:

Non-Linear Editing Training and Exercises:

You will complete one non-linear editing tutorial from Lynda.com.  A Lynda.com subscription will be provided.  Credit will require a certificate of completion from Lynda.com.

You will complete a series of four non-linear editing tutorials demonstrating your progress.  These are worth 20 percent of your final grade.  Upon the completion of specified exercises you will be expected to save your timeline to the instructor’s dropbox and export a movie, also to the instructor’s dropbox.

Departmental computers include non-linear editing systems Final Cut Pro 7, Final Cut Pro X, and Adobe Premiere.

See attachment for directions on delivering editing exercises to the instructors.

STUDENTS MAY ELECT TO WORK ON AN ALTERNATE EDITING PLATFORM THAT THEY OWN OR HAVE ACCESS TO (AVID, VEGAS, ETC.), PROVIDED LYNDA.COM HAS TUTORIALS AVAILABLE.  Email me or come see me and we will discuss options.  

THOSE WHO CAN DEMONSTRATE TO THE INSTRUCTOR AT THE BEGINNING OF CLASS A PROFICIENCY WITH A NON-LINEAR EDITING SYSTEN MAY ELECT TO SUBSTITUTE ASSIGNMENTS FOR THE EDIT EXERCISES.  POSSIBLE SUBSTITUTIONS INCLUDE MUSIC EDITING WITH VIDEO, AN AUDIO ESSAY, A VISUAL ESSAY, OR A DEMONSTRATION ON VIDEO OF A PARTICULAR PRODUCTION TECHNIQUE, SUCH AS LIGHTING APPROACHES, CAMERA MOVEMENTS, OR EDIT STYLES.  Email me or come see me and we will discuss options.

Camera Report – Each student will secure or download a manual for the camera they intend to use for class, then complete a form provided by the instructor on specifcations of their camera and how specific functions of the camera are controlled. (5 percent of final grade)

Camera Test - Each student will shoot specific footage, illustrating one or more of several techniques or technologies, and will import this footage into a non-linear editing system.  This will serve as a test of your camera and its compatibility with your chosen editing platform, as well as an exercise in understanding certain video concepts.  The instructor will provide a detailed list of shots and content. (10 percent of final grade)

Flash Team Shooting Exercise – Students will be alligned into teams of three or four and assigned a specific shooting exercise to complete during a lab session.  Possible assignments include movement, lighting, stand-up and audio scenarios. (10 percent of final grade)

Personal Project - A video production of your own choosing, hopefully reflecting your goals as a filmmaker or broadcaster.  It may be a short dramatic film, reality program, documentary, a news story, a personally told story with inserted reenactment, a music video, a commercial or psa, an instuctional video, or a visual essay. It is recommended that the project be no more than 10 minutes.  The personal project does NOT necessarily need to be edited on Final Cut Pro. (25 percent of final grade)

The project will be judged on technical and aesthetic proficiency and creativity, and should evidence the use and understanding of the techniques examined in class. The class as a whole will review and evaluate each project.

ALL PROJECTS SHOULD BE SUBMITTED THROUGH THE INSTRUCTORS DROPBOX.  INSTRUCTIONS WILL BE PROVIDED.

Field Production: Schedule

SCHEDULE

SCHEDULE SUBJECT AND LIKELY TO CHANGE.

WEEK 0
THU 1/17 In which some students lose their slots, and others scramble in to take them
LECTURE: Class Intro, Genre Examples, The Humble Interview

LABS: None

WEEK 1
TUE 1/22 LECTURE: Inspiration; Intorduction to Non-Linear Editing

THU 1/24 LECTURE: Digital Video – How Does This Work? Fields to Scenes
How Important is a Frame?
READ: Millerson Chapter 14 prior to class

LABS: Introduction to MTSU Labs and Non-Linear Editing.  Demonstration of drive formating.  Lynda.com introduction

WEEK 2
TUE 1/29 LECTURE: Digital Video – How Does This Work? Fields to Scenes
How Important is a Frame? (CONTINUED)

THU 1/31 LECTURE: The Video Camera – The Lens
READ: Millerson Chapter 6 prior to class

EXTERNAL HARD DRIVE DUE
LABS: Drive Formating
Final Cut Pro 7 (67 minutes)

Lynda.com Introduction

Lynda.com Chapter 1: Using the Interface (35 min)

Lynda.com Chapter 14: Importing (32 min)

Final Cut Pro X (47 minutes)

Lynda.com Introduction (6 min)

Lynda.com Chapter 1: Preparing Your Machine and the Program (15 min)

Lynda.com Chapter 2: Importing, Capturing, and Analyzing Media (26 min)

Adobe Premiere (72 min)
Introduction (4 min)
Lynda.com Chapter 1: Touring the Interface (28 min)
Lynda.com Chapter 2: Importing (40 min)

WEEK 3
TUE 2/5 LECTURE: The Video Camera – The Lens (CONTINUED)

THU  2/7 LECTURE: The Video Camera – The Lens (CONTINUED)

LABS: Final Cut Pro 7 (62 minutes)
Lynda.com Chapter 2: Working with Clips (14 min)

Lynda.com Chapter 3: Building the Story (48 min)

Final Cut Pro X (42 minutes)

Lynda.com Chapter 3: Getting Organized and Preparing to Edit (42 min)

Adobe Premiere (51 min)
Lynda.com Chapter 3: Marking and Selecting Clips (21 min)
Lynda.com Chapter 4: Basic Video Editing (34 min)

WEEK 4
TUE 2/12 LECTURE: The Video Camera – The Body
FIRST TAKE-HOME TEST DISTRIBUTED

THU 2/14 LECTURE: The Video Camera – The Body (Continued)

LABS: Final Cut Pro 7 (54 minutes)

Lynda.com Chapter 15: Exporting  (9 min)

Lynda.com Chapter 4: Advanced Editing Techniques (45 min)

Lynda.com Chapter 5: Mastering the Interface

Final Cut Pro X (70 min)

Lynda.com Chapter 4: Beginning the Edit (52 min)

Lynda.com Chapter 9: Exporting and Sharing (18 min)

Adobe Premiere (54 min)
Lynda.com Chapter 15: Exporting (10 min)
Lynda.com Chapter 5: Advanced Editing Techniques (44 min)

WEEK 5
TUE 2/19 LECTURE: Audio – What Did They Say?
READ: Millerson Chapter 10 prior to class
FIRST TAKE-HOME TEST DUE

THU 2/21 LECTURE: Audio – What Did They Say? (CONTINUED)
CAMERA REPORT DUE

LABS: Final Cut Pro 7 (47 minutes)

Lynda.com Chapter 5: Mastering the Interface  (15 min)

Lynda.com Chapter 9: Transitions (32 min)

Final Cut Pro X (74 min)

Lynda.com Chapter 6: Advanced Editing Tehcniques (74 min)

Adobe Premiere (53 min)

Lynda.com Chapter 6: Improving Efficiency and Editing Workflow (43 min)

Lynda.com Chapter 8: Markers (10 min)

Edit Exercise One: Jellyfish 5X5

WEEK 6
TUE 2/26 LECTURE: Compositional Concerns

THU 2/28 LECTURE: Compositional Concerns  (Continued)
CAMERA TEST DUE

LABS: Final Cut Pro 7 (55 minutes)

Lynda.com Chapter 6: Basic Audio Mixing (28 min)

Lynda.com Chapter 10: Filters (27 min)

Final Cut Pro X (61 min)

Lynda.com Chapter 5: Working With Sound (21 min)

Lynda.com Chapter 8: Color Correction (19 min)

Lynda.com Chapter 10: Managing Project and Media Files (19 min)

Adobe Premiere (54 minutes)
Lynda.com Chapter 7: Basic Audio Editing (24 min)
Lynda.com Chapter 9: Working with Stills and Graphics (30 min)
Lynda.com Chapter 10: Modifying Speed (21 min)

WEEK 7
TUE 3/5 LECTURE:  Light
READ: Millerson Chapter 12 prior to class
SECOND TAKE-HOME TEST DISTRIBUTED

THU 3/7 LECTURE:  Lights

LABS: Final Cut Pro 7 (40 minutes)

Lynda.com Chapter 12: Creating Titles (19 min)

Lynda.com Chapter 7: Markers (21 min)

Final Cut Pro X

Lynda.com Chapter 7: Effects, Transitions and Generators (67 min)

Adobe Premiere (50 minutes)
Lynda.com Chapter 10: Modifying Speed (21 min)
Lynda.com Chapter 11: Transitions (29 min)
Edit Exercise Two: Jellyfish Dance

SPRING BREAK

WEEK 8
TUE 3/19 LECTURE: Lighting
SECOND TAKE-HOME TEST DUE

THU 3/21 LECTURE: Platforms

LABS: Final Cut Pro 7 (21 minutes)

Lynda.com Chapter 8: Modifying Speed (21 min)

Lynda.com: Conclusion (1 min)

Final Cut Pro X (10 minutes)

Lynda.com Chapter 11: Customizing (6 min)
Lynda.com Chapter 12: Conclusion (4 min)
Adobe Premiere (67 min)
Lynda.com Chapter 12: Effects (37 min)
Lynda.com Chapter 13 Creating Titles (28 min)
Lynda.com Conclusion (2 min)

Edit Exercise Three: The First Jellyfish Said to the Second Jellyfish…

WEEK 9
TUE 3/26 LECTURE: Editing

THU 3/28 LECTURE: Editing (Continued)

LABS:  Team Shooting Exercise (All Hands on Deck)

WEEK 10
TUE 4/2 LECTURE:  Editing (Continued)

THU 4/4 LECTURE: Post-Production, Editing Technology
READ: Millerson Chapter 15 prior to class

LABS: Edit Exercise Four: Conversation

WEEK 11
TUE 4/9 LECTURE: Catch-Up

THU 4/11 LECTURE:  Mine, Mine, Mine: Intellectual Property and Copyright
READ:  Millerson, Chapter 4 prior to class

LABS: Optional Lighting Exercise, Work on Personal Projects

WEEK 12
TUE 4/16 LECTURE: Production Processes
READ:  Millerson, Chapters 3 and 4 prior to class

THU 4/18 LECTURE: Talent
READ: Millerson Chapter 9 prior to class
DISTRIBUTE THIRD AND FINAL TAKE HOME TEST

LABS: Work on Personal Projects

WEEK 13
MON 4/22 PERSONAL PROJECT DUE 6PM

TUE 4/23 PERSONAL PROJECT SCREENINGS AND EVALUATIONS
ATTENDANCE REQUIRED!

THU 4/25 PERSONAL PROJECT SCREENINGS AND EVALUATIONS
ATTENDANCE REQUIRED!

LABS:  Free Exploration

WEEK 14

TUE 4/30 PERSONAL PROJECT SCREENINGS AND EVALUATIONS
ATTENDANCE REQUIRED!

LABS: Free Exploration

EXAM PERIOD
THU 5/9 FINAL TAKE-HOME QUIZ DUE, ROOM 150, 10:00-10:30 AM