I always remember you>>our class was something else>>do not think any of us will forget the moments we shared together for three years
God bless you all
God bless you all
Friday, November 13, 2009
SAUT examination resuls for BAMC three
SAUT EXAMINATION RESULTS
FACULTY OF SOCIAL SCIENCES & COMMUNICATIONS
2ND SEMESTER 2008/2009 BAMC - 3 Consolidated Marks List
Item Exam. BS 311 MC 315 MC 326 MC 321 MC323 MC 327 MC 322 LG 32 MC 324 MK 311 RES. PAP. COMP MC 325 MC 328 MRKS
No No. Marks Gr Marks Gr Marks Gr Marks Gr Marks Gr Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr.
1 ST.MC3/3296 69 B 67 B 67 B 47 D 62 B 75 B+ 76 B+ 77 B+ 72 B+ 69 B
2 ST.MC3/3297 64 B 68 B 69 B 73 B+ 74 B+ 82 A 65 B 73 B+ 68 B 65 B
3 ST.MC3/3298 67 B 69 B 66 B 64 B 73 B+ 80 A 62 B 69 B 76 B+ 63 B
4 ST.MC3/3299 55 C 52 C 65 B 58 C 66 B 69 B 67 B 58 C 34 E 53 C
5 ST.MC3/3300 W(S)
6 ST.MC3/3301 73 B+ 68 B 58 C 54 C 65 B 81 A 64 B 66 B 62 B 58 C
7 ST.MC3/3302 69 B 66 B 59 C 62 B 82 A 73 B+ 71 B+ 61 B 69 B 73 B+
8 ST.MC3/3303 71 B+ 56 C 57 C 59 C 74 B+ 67 B 63 B 58 C 65 B 59 C
9 ST.MC3/3304 W(S)
10 ST.MC3/3305 58 C 78 B+ 64 B 50 C 66 B 70 B+ 74 B+ 66 B 62 B
11 ST.MC3/3306 70 B+ 68 B 69 B 64 B 86 A 79 B+ 76 B+ 74 B+ 64 B 61 B
12 ST.MC3/3308 72 B+ 68 B 69 B 53 C 68 B 73 B+ 69 B 79 B+ 81 A 68 B
13 ST.MC3/3309 W(S)
14 ST.MC3/3310 W(S)
15 ST.MC3/3311 W(S)
16 ST.MC3/3312 67 B 78 B+ 57 C 75 B+ 70 B+ 69 B 65 B 67 B 72 B+ 72 B+
17 ST.MC3/3313 48 D 50 C 62 B 53 C 50 C 69 B I(F) 50 C 49 D
18 ST.MC3/3314 W(S)
19 ST.MC3/3315 62 B 56 C 53 C 53 C 72 B+ 78 B+ 64 B 51 C 64 B 63 B
20 ST.MC3/3316 64 B 71 B+ 72 B+ 57 C 77 B+ 80 A 80 A 88 A 54 C 77 B+
21 ST.MC3/3317 W(S)
22 ST.MC3/3318 53 C 62 B 57 C 72 B+ 54 C 72 B+ 67 B 66 B 60 B 53 C
23 ST.MC3/3319 81 A 81 A 85 A 56 C 69 B 76 B+ 79 B+ 86 A 67 B
24 ST.MC3/3320 70 B+ 70 B+ 50 C 66 B 71 B+ 74 B+ 70 B+ 55 C 75 B+ 69 B
25 ST.MC3/3321 74 B+ 91 A 73 B+ 67 B 69 B 75 B+ 81 A 80 A 65 B
26 ST.MC3/3322 W(S)
27 ST.MC3/3323 64 B 64 B 64 B 58 C 71 B+ 81 A 61 B 60 B 81 A 71 B+
28 ST.MC3/3324 62 B 58 C 52 C 25 E 69 B 73 B+ 74 B+ 55 C 64 B 59 C
29 ST.MC3/3325 65 B 52 C 59 C 72 B+ 26 E 75 B+ 68 B 42 D 71 B+ 61 B
30 ST.MC3/3326 68 B 69 B 41 D 68 B 80 A 83 A 69 B 59 C 61 B 55 C
31 ST.MC3/3327 70 B+ 68 B 55 C 53 C 67 B 76 B+ 68 B 45 D 62 B 72 B+
32 ST.MC3/3328 69 B 74 B+ 67 B 74 B+ 59 C 74 B+ 79 B+ 69 B 80 A 67 B
33 ST.MC3/3329 66 B 84 A 72 B+ 66 B 71 B+ 75 B+ 70 B+ 72 B+ 64 B
34 ST.MC3/3330 W(S)
35 ST.MC3/3331 55 C 67 B 59 C 68 B 74 B+ 82 A 79 B+ 78 B+ 60 B 72 B+
36 ST.MC3/3332 63 B 67 B 70 B+ 21 E 29 E 68 B 40 D 59 C 66 B
37 ST.MC3/3333 72 B+ 70 B+ 80 A 70 B+ 79 B+ 78 B+ 72 B+ 66 B 67 B 69 B
38 ST.MC3/3334 67 B 73 B+ 61 B 69 B 72 B+ 79 B+ 69 B 83 A 75 B+ 67 B
39 ST.MC3/3335 69 B 60 B 59 C 62 B 90 A 70 B+ 61 B 55 C 61 B 60 B
40 ST.MC3/3336 70 B+ 56 C 62 B 60 B 89 A 79 B+ 72 B+ 59 C 57 C 69 B
41 ST.MC3/3337 64 B 53 C 45 D 51 C 64 B 62 B 65 B 65 B 50 C 27 E
42 ST.MC3/3338 58 C 68 B 63 B 64 B 70 B+ 83 A 72 B+ 46 D 58 C 59 C
43 ST.MC3/3339 I(CW) 60 B 68 B 69 B 69 B 70 B+ 69 B 51 C 49 D 57 C
44 ST.MC3/3340 W(S)
45 ST.MC3/3341 69 B 65 B 61 B 73 B+ 64 B 80 A 67 B 45 D 71 B+ 74 B+
46 ST.MC3/3342 51 C 58 C 57 C 63 B 12 E 80 A 66 B 50 C 57 C 51 C
47 ST.MC3/3343 W(S)
48 ST.MC3/3344 61 B 75 B+ 77 B+ 65 B 65 B 69 B 77 B+ 80 A 72 B+ 77 B+
49 ST.MC3/3345 68 B 68 B 62 B 64 B 74 B+ 80 A 73 B+ 69 B 58 C 63 B
50 ST.MC3/3346 62 B 55 C 61 B 71 B+ 72 B+ 78 B+ 70 B+ 60 B 59 C 60 B
51 ST.MC3/3347 63 B 70 B+ 71 B+ 61 B 57 C 80 A 61 B 69 B 83 A 72 B+
52 ST.MC3/3348 80 A 67 B 60 B 81 A 75 B+ 76 B+ 66 B 64 B 78 B+ 66 B
53 ST.MC3/3349 W(S)
54 ST.MC3/3350 W(S)
55 ST.MC3/3351 W(S)
56 ST.MC3/3352 57 C 65 B 74 B+ 61 B 74 B+ I(F) 73 B+ 77 B+ 65 B 75 B+
57 ST.MC3/3353 73 B+ 64 B 66 B 66 B 63 B 70 B+ 68 B 75 B+ 66 B 68 B
58 ST.MC3/3354 62 B 77 B+ 68 B 50 C 73 B+ 87 A 61 B 81 A 80 A 70 B+
59 ST.MC3/3355 66 B 65 B 54 C 61 B 72 B+ 79 B+ 70 B+ 64 B 80 A 65 B
60 ST.MC3/3356 59 C 56 C 63 B 59 C 76 B+ 69 B 78 B+ 61 B 56 C 62 B
61 ST.MC3/3357 59 C 70 B+ 69 B 51 C 56 C 73 B+ 80 A 70 B+ 53 C 55 C
62 ST.MC3/3358 63 B 48 D 48 D 50 C 26 E 78 B+ 57 C 82 A 51 C 60 B
63 ST.MC3/3359 62 B 65 B 62 B 64 B 69 B 66 B 58 C 64 B 61 B 58 C
64 ST.MC3/3360 69 B 62 B 63 B 48 D 31 E 72 B+ 51 C 73 B+ 67 B 62 B
65 ST.MC3/3361 69 B 60 B 78 B+ 74 B+ 67 B 77 B+ 70 B+ 84 A 71 B+ 46 D
66 ST.MC3/3362 W(S)
67 ST.MC3/3363 65 B 67 B 62 B 55 C 55 C 77 B+ 66 B 79 B+ 64 B 61 B
68 ST.MC3/3364 66 B 69 B 55 C 71 B+ 67 B 77 B+ 66 B 80 A 72 B+ 69 B
69 ST.MC3/3365 W(S)
70 ST.MC3/3366 67 B 58 C 63 B 55 C 61 B 78 B+ 71 B+ 76 B+ 73 B+ 70 B+
71 ST.MC3/3367 W(S)
72 ST.MC3/3368 W(S)
73 ST.MC3/3369 W(S)
74 ST.MC3/3370 64 B 63 B 64 B 56 C 69 B 80 A 76 B+ 57 C 60 B 68 B
75 ST.MC3/3371 60 B 84 A 83 A 61 B 59 C 72 B+ 78 B+ 82 A 60 B
76 ST.MC3/3372 60 B 79 B+ 82 A 54 C 72 B+ 80 A 61 B 74 B+ 54 C
77 ST.MC3/3373 72 B+ 75 B+ 71 B+ 57 C 81 A 77 B+ 74 B+ 87 A 75 B+ 64 B
78 ST.MC3/3374 W(S)
79 ST.MC3/3375 W(S)
80 ST.MC3/3376 65 B 71 B+ 60 B 73 B+ 74 B+ 77 B+ 79 B+ 60 B 59 C 64 B
81 ST.MC3/3377 58 C 64 B 59 C 49 D 71 B+ 74 B+ 73 B+ 58 C 68 B 64 B
82 ST.MC3/3378 60 B 63 B 75 B+ 62 B 60 B 62 B 52 C 65 B 64 B
83 ST.MC3/3379 65 B 66 B 50 C 62 B 62 B 73 B+ 68 B 55 C 64 B 61 B
84 ST.MC3/3380 65 B 89 A 74 B+ 62 B 58 C 69 B 82 A 80 A 61 B
85 ST.MC3/3381 66 B 88 A 93 A 84 A 63 B 84 A 87 A 87 A 61 B
86 ST.MC3/3382 W(S)
87 ST.MC3/3383 71 B+ 74 B+ 60 B 63 B 91 A 84 A 81 A 89 A 74 B+ 52 C
88 ST.MC3/3384 74 B+ 65 B 75 B+ 66 B 84 A 78 B+ 69 B 59 C 72 B+ 64 B
89 ST.MC3/3386 79 B+ 68 B 76 B+ 69 B 68 B 78 B+ 85 A 87 A 71 B+
90 ST.MC3/3387 75 B+ 61 B 64 B 74 B+ 64 B 75 B+ 78 B+ 68 B 74 B+ 57 C
91 ST.MC3/3388 W(S)
92 ST.MC3/3389 W(S)
93 ST.MC3/3390 73 B+ 70 B+ 71 B+ 68 B 57 C 79 B+ 73 B+ 83 A 68 B 73 B+
94 ST.MC3/3391 67 B 56 C 52 C 50 C 25 E 63 B 56 C 53 C 49 D 60 B
95 ST.MC3/3392 68 B 72 B+ 62 B 66 B 71 B+ 79 B+ 64 B 60 B 65 B 79 B+
96 ST.MC3/3393 79 B+ 70 B+ 72 B+ 72 B+ 84 A 81 A 71 B+ 85 A 72 B+ 76 B+
97 ST.MC3/3394 W(S)
98 ST.MC3/3395 W(S)
99 ST.MC3/3396 69 B 64 B 54 C 70 B+ 66 B 78 B+ 79 B+ 75 B+ 60 B 57 C
100 ST.MC3/3397 71 B+ 60 B 55 C 51 C 68 B 74 B+ 63 B 58 C 57 C 65 B
101 ST.MC3/3398 W(S)
102 ST.MC3/3399 73 B+ 74 B+ 73 B+ 68 B 70 B+ 76 B+ 71 B+ 86 A 54 C
103 ST.MC3/3400 63 B I(F) 64 B 78 B+ 71 B+ 68 B 78 B+ 67 B 54 C 70 B+
104 ST.MC3/3401 W(S)
105 ST.MC3/3402 W(S)
106 ST.MC3/3403 67 B 65 B 59 C 59 C 79 B+ 66 B 55 C I(F) 61 B
107 ST.MC3/3404 70 B+ 89 A 76 B+ 31 E 60 B 79 B+ 81 A 79 B+ 65 B
108 ST.MC3/3405 W(S)
109 ST.MC3/3406 67 B 33 E 63 B 64 B I(CW) 70 B+ I(F) 64 B I(CW) 43 D
110 ST.MC3/3407 78 B+ 62 B 67 B 51 C 74 B+ 74 B+ 84 A 78 B+ 70 B+ 62 B
111 ST.MC3/3408 W(S)
112 ST.MC3/3409 74 B+ 69 B 67 B 61 B 72 B+ 83 A 69 B+ 52 C 60 B 74 B+
113 ST.MC3/3410 70 B+ 60 B 53 C 61 B 68 B 78 B+ 74 B+ 85 A 67 B 61 B
114 ST.MC3/3411 62 B 70 B+ 50 C I(F) 51 C 77 B+ 76 B+ 58 C 69 B 54 C
115 ST.MC3/3412 64 B 60 B 80 A 60 B 53 C 79 B+ 75 B+ 68 B 56 C
116 ST.MC3/3413 57 C 52 C 62 B 47 D 59 C 79 B+ 74 B+ 56 C 57 C 65 B
117 ST.MC3/3414 68 B 75 B+ 82 A 65 B 76 B+ 81 A 77 B+ 75 B+ 71 B+
118 ST.MC3/3415 75 B+ 67 B 69 B 79 B+ 75 B+ 79 B+ 78 B+ 69 B 66 B 78 B+
119 ST.MC3/3416 69 B 79 B+ 61 B 76 B+ 68 B 71 B+ 80 A 58 C 67 B 73 B+
120 ST.MC3/3417 52 C 70 B+ 84 A 71 B+ 73 B+ I(F) 70 B+ 81 A 25 E
121 ST.MC3/3418 69 B 74 B+ 69 B 60 B 68 B 81 A 76 B+ 59 C 64 B 55 C
122 ST.MC3/3419 64 B 62 B 69 B 53 C 57 C 72 B+ 75 B+ 51 C 66 B 54 C
123 ST.MC3/3420 W(S)
124 ST.MC3/3421 W(S)
125 ST.MC3/3422 70 B+ 60 B 80 A 80 A 79 B+ 77 B+ 64 B 69 B 67 B
126 ST.MC3/3423 65 B 69 B 62 B 86 A 64 B 79 B+ 79 B+ 70 B+ 67 B
127 ST.MC3/3425 79 B+ 79 B+ 75 B+ 71 B+ 85 A 81 A 80 A 74 B+ 63 B 82 A
128 ST.MC3/3426 74 B+ 76 B+ 76 B+ 67 B 69 B 76 B+ 69 B 84 A 70 B+ 58 C
129 ST.MC3/3427 I(F) 54 C 41 D I(F) 33 E 76 B+ 80 A I(F) 63 B 58 C
130 ST.MC3/3428 67 B 63 B 71 B+ 62 B 77 B+ 79 B+ 65 B 84 A 72 B+ 65 B
131 ST.MC3/3429 70 B+ 83 A 78 B+ 68 B 69 B 76 B+ 83 A 83 A 63 B
132 ST.MC3/3430 56 C 63 B 71 B+ 56 C 87 A 74 B+ 78 B+ 90 A 68 B 69 B
133 ST.MC3/3431 77 B+ 73 B+ 73 B+ 52 C 86 A 74 B+ 85 A 89 A 75 B+ 72 B+
134 ST.MC3/3432 46 D 88 A 83 A 79 B+ 68 B I(F) 61 B 79 B+ 68 B
135 ST.MC3/3433 63 B 67 B 67 B 58 C 72 B+ 78 B+ 69 B 85 A 62 B 73 B+
136 ST.MC3/3434 60 B 58 C 43 D 54 C 23 E 67 B 68 B 41 D 51 C 50 C
137 ST.MC3/3435 I(F) 72 B+ 71 B+ 72 B+ 78 B+ 72 B+ 80 A 65 B 74 B+ 63 B
138 ST.MC3/3436 68 B 67 B 74 B+ 73 B+ 55 C 88 A 75 B+ 81 A 69 B 69 B
139 ST.MC3/3437 70 B+ 66 B 51 C 51 C 30 E 79 B+ 83 A 81 A 67 B 56 B
140 ST.MC3/3438 60 B 57 C 65 B 60 B 64 B 73 B+ 70 B+ 68 B 65 B 62 B
141 ST.MC3/3439 W(S)
142 ST.MC3/3440 59 C 55 C 57 C 28 E 67 B 67 B 78 B+ 76 B+ 32 E 63 B
143 ST.MC3/3441 69 B 74 B+ 84 A 67 B 61 B 75 B+ 73 B+ 79 B+ 74 B+
144 ST.MC3/3443 68 B 64 B 68 B 59 C 67 B 72 B+ 66 B 62 B 58 C
145 ST.MC3/3444 67 B 75 B+ 74 B+ 57 C 80 A 82 A 75 B+ 64 B 61 B 77 B+
146 ST.MC3/3445 70 B+ 70 B+ 60 B 75 B+ 67 B 82 A 69 B 74 B+ 62 B 75 B+
147 ST.MC3/3446 77 B+ 61 B 54 C 73 B+ 65 B 80 A 67 B 55 C 71 B+ 54 C
148 ST.MC3/3447 I(F) I(F) I(F) I(F) I(F) I(F) I(ALL) I(ALL) I(F) I(F)
149 ST.MC3/3448 64 B 59 C 62 B 52 C 74 B+ 81 A 65 B 84 A 72 B+ 58 C
150 ST.MC3/3449 71 B+ 84 A 79 B+ 62 B 83 A 81 A 72 B+ 71 B+ 56 C 69 C
151 ST.MC3/3450 I(F) 90 A 92 A 52 C 64 B 85 A 67 B 87 A 67 B
152 ST.MC3/3451 59 C 81 A 70 B+ 66 B 82 A 75 B+ 70 B+ 79 B+ 68 B 75 B
153 ST.MC3/3452 50 C 27 E 58 C 58 C 58 C 80 A 74 B+ 87 A 64 B 55 C
154 ST.MC3/3453 72 B+ 65 B 50 C 53 C 63 B 75 B+ 73 B+ 73 B+ 64 B 61 B
155 ST.MC3/3454 71 B+ 82 A 82 A 62 B 86 A 78 B+ 75 B+ 70 B+ 72 B+ 70 B+
156 ST.MC3/3455 64 B 71 B+ 59 C 63 B 78 B+ 79 B+ 82 A 70 B+ I(F) 66 B
157 ST.MC3/3456 73 B+ 87 A 81 A 61 B 69 B 69 B 62 B 88 A 56 C
158 ST.MC3/3457 W(S)
159 ST.MC3/3458 70 B+ 76 B+ 67 B 62 B 74 B+ 81 A 77 B+ 62 B 59 C 67 B
160 ST.MC3/3459 69 B 58 C 70 B+ 62 B 70 B+ 80 A 70 B+ 52 C 60 B 66 B
161 ST.MC3/3460 W(S)
162 ST.MC3/3461 W(S)
163 ST.MC3/3462 68 B 66 B 53 C 85 A 71 B+ 76 B+ 76 B+ 53 C 57 C 56 C
164 ST.MC3/3463 74 B+ 75 B+ 73 B+ 67 B 83 A 83 A 72 B+ 72 B+ 79 B+ 80 A
165 ST.MC3/3464 68 B 72 B+ 76 B+ 83 A 89 A 84 A 82 A 77 B+ 69 B
166 ST.MC3/3465 64 B 54 C 55 C 74 B+ 66 B 63 B 75 B+ 67 B 50 C 63 B
167 ST.MC3/3466 56 C 69 B 62 B 51 C 59 C 78 B+ 73 B+ 70 B+ 70 B+ 63 B
168 ST.MC3/3468 W(S)
169 ST.MC3/3469 W(S)
170 ST.MC3/3470 73 B+ 71 B+ 76 B+ 68 B 76 B+ 81 A 76 B+ 77 B+ 69 B 71 B+
171 ST.MC3/3471 66 B 57 C 80 A 54 C 82 A 79 B+ 74 B+ 47 D 56 C
172 ST.MC3/3472
173 ST.MC3/3473 61 B 61 B 62 B 60 B 79 B+ 79 B+ 72 B+ 80 A 57 C 71 B+
174 ST.MC3/3474 65 B 54 C 75 B+ 63 B 73 B+ 81 A 79 B+ 62 B 57 C 55 C
175 ST.MC3/3475 75 B+ 89 A 79 B+ 63 B 69 B 77 B+ 62 B 85 A 62 B
176 ST.MC3/3476 W(S)
177 ST.MC3/3477 71 B+ 58 C 51 C 54 C 57 C 68 B 71 B+ 87 A 65 B 50 C
178 ST.MC3/3478 W(S)
179 ST.MC3/3479 63 B 70 B+ 58 C 61 B 73 B+ 69 B 80 A 62 B 63 B 55 C
180 ST.MC3/3480 69 B 76 B+ 82 A 54 C 67 B 80 A 83 A 76 B+ 70 B+
181 ST.MC3/3481 74 B+ 77 B+ 80 A 71 B+ 71 B+ 78 B+ 70 B+ 83 A 66 B 79 B+
182 ST.MC3/3482 79 B+ 75 B+ 72 B+ 75 B+ 72 B+ 79 B+ 78 B+ 73 B+ 75 B+ 75 B+
183 ST.MC3/3483 70 B+ 65 B 75 B+ 57 C 81 A 81 A 69 B 72 B+ 57 C
184 ST.MC3/3484 68 B 62 B 62 B 66 B 65 B 79 B+ 74 B+ 71 B+ 69 B 60 B
185 ST.MC3/3485 63 B 59 C 65 B 65 B 63 B 68 B 80 A 84 A 63 B 54 C
186 ST.MC3/3486 W(S)
187 ST.MC3/3487 67 B 65 B 70 B+ 75 B+ 82 A 73 B+ 72 B+ 73 B+ 66 B 65 B
188 ST.MC3/3488 W(S)
189 ST.MC3/3489 71 B+ 69 B 63 B 69 B 61 B 74 B+ 76 B+ 58 C 51 C 64 B
190 ST.MC3/3490 58 C 48 D 56 C 67 B 61 B 65 B 67 B 52 C 57 C 48 D
191 ST.MC3/3491 W(S)
192 ST.MC3/3492 74 B+ 65 B 71 B+ 59 C 34 E 80 A 59 C 72 B+ 72 B+ 62 B
193 ST.MC3/3494 60 B 71 B+ 73 B+ 65 B 78 B+ 73 B+ 61 B 59 C 60 B 61 B
194 ST.MC3/3495 63 B 58 C 63 B 74 B+ 70 B+ 83 A 66 B 74 B+ 71 B+ 60 B
195 ST.MC3/3496 60 B 57 C 70 B+ 50 C 69 B 76 B+ 68 B 66 B 69 B 62 B
196 ST.MC3/3497 70 B+ 57 C 75 B+ 53 C 59 C 61 B 65 B 69 B 53 C 56 C
197 ST.MC3/3498 W(S)
198 ST.MC3/3499 53 C 58 C 60 B 28 E 58 C 78 B+ 65 B 68 B 59 C 64 B
199 ST.MC3/3500 W(S)
200 ST.MC3/3502 W(S)
201 ST.MC3/3503 59 C 58 C 45 D 82 A 69 B 77 B+ 67 B 66 B 67 B 69 B
202 ST.MC3/3505 61 B 21 E 61 B 59 C 75 B+ 83 A 67 B 67 B 25 E 58 C
203 ST.MC3/3507 62 B 80 A 72 B+ 71 B+ 23 E 79 B+ 80 A 74 B+ 61 B
204 ST.MC3/3508 W(S)
205 ST.MC3/3509 W(S)
206 ST.MC3/3510 70 B+ 61 B 62 B 58 C 61 B 76 B+ 63 B 58 C 55 C 63 B
207 ST.MC3/3511 64 B 70 B+ 60 B 70 B+ 53 C 80 A 72 B+ 72 B+ 69 B 62 B
208 ST.MC3/3512 W(S)
209 ST.MC3/3513 78 B+ 59 C 63 B 90 A 75 B+ 81 A 76 B+ 80 A 72 B+ 76 B+
210 ST.MC3/3514 71 B+ 72 B+ 66 B 54 C 59 C 71 B+ 51 C 80 A 55 C 64 B
211 ST.MC3/3515 69 B 65 B 66 B 62 B 59 C 78 B+ 73 B+ 65 B 68 B 74 B+
212 ST.MC3/3516 63 B 81 A 82 A 68 B 85 A I(F) 79 B+ 82 A 77 B+ 74 B+
213 ST.MC3/3517 70 B+ 66 B 77 B+ 61 B 72 B+ 79 B+ 74 B+ 80 A 69 B 63 B
214 ST.MC3/3518 72 B+ 83 A 75 B+ 68 B 73 B+ 78 B+ 85 A 81 A 69 B 73 B+
215 ST.MC3/3519 62 B 76 B+ 71 B+ 70 B+ 73 B+ 80 A 81 A 81 A 74 B+ 64 B
216 ST.MC3/3520 W(S)
217 ST.MC3/3521 63 B 76 B+ 80 A 61 B 69 B 79 B+ 82 A 72 B+ 63 B
218 ST.MC3/3522 61 B 64 B 66 B 56 C 69 B 70 B+ 72 B+ 71 B+ 68 B 66 B
219 ST.MC3/3523 69 B 63 B 72 B+ 59 C 64 B 77 B+ 78 B+ 72 B+ 64 B 74 B+
220 ST.MC3/3524 W(S)
221 ST.MC3/3525 W(S)
222 ST.MC3/3526 65 B 72 B+ 54 C 54 C 68 B 74 B+ 74 B+ 70 B+ 69 B 65 B
223 ST.MC3/3527 59 C 79 B+ 76 B+ 60 B 81 A 75 B+ 75 B+ 84 A 70 B+
224 ST.MC3/3528 67 B 55 C 67 B 56 C 54 C 77 B+ 75 B+ 70 B+ 65 B 58 C
225 ST.MC3/3529 58 C 50 C 83 A 63 B 61 B 77 B+ I(F) 82 A 52 C
226 ST.MC3/3530 73 B+ 68 B 73 B+ 60 B 71 B+ 78 B+ 65 B 77 B+ 65 B 63 B
227 ST.MC3/3531 64 B 65 B 66 B 68 B 70 B+ 62 B 73 B+ 54 C 74 B+ 60 B
228 ST.MC3/3532 W(S)
CODE NO. SUBJECT
BS 311 INTRODUCTION TO ENTREPRENEURSHIP
MC 315 ADVERTISING - II GRADES:
MC 326 ADVANCED PUBLIC RELATIONS - II
MC 321 ADVANCED TV PRODUCTION A - C = PASS (P)
MC 323 ADVANCED RADIO PRODUCTION D - E = FAIL (S)
MC 327 ENVIRONMENTAL JOURNALISM I(F) = INCOMPLETE FINAL
MC 322 CURRENT AFFAIRS I(CW) = INCOMPLETE COURSE WORK
LG 321 FRENCH I(ALL) INCOMPLETE COURSEWORK & FINAL
MC 324 MEDIA MANAGEMENT W = WITHELD ( EXAM IRRECULARITY)
MK 311 MEDIA MARKETING W(S) = WITHELD (INCOMPLETE SCHOOL FEES)
COMP. COMPREHENSIVE
RES. PAP. RESEARCH PAPER
MC 325 MEDIA LAW
MC 328 GOMPUTER GRAPHICS
REPEATERS
Item Exam. MC 321
No No. Marks Gr
1 ST.MC3/6586 61 B
2 ST.ADJ3/6572 I(CW)
FACULTY OF SOCIAL SCIENCES & COMMUNICATIONS
2ND SEMESTER 2008/2009 BAMC - 3 Consolidated Marks List
Item Exam. BS 311 MC 315 MC 326 MC 321 MC323 MC 327 MC 322 LG 32 MC 324 MK 311 RES. PAP. COMP MC 325 MC 328 MRKS
No No. Marks Gr Marks Gr Marks Gr Marks Gr Marks Gr Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr. Marks Gr.
1 ST.MC3/3296 69 B 67 B 67 B 47 D 62 B 75 B+ 76 B+ 77 B+ 72 B+ 69 B
2 ST.MC3/3297 64 B 68 B 69 B 73 B+ 74 B+ 82 A 65 B 73 B+ 68 B 65 B
3 ST.MC3/3298 67 B 69 B 66 B 64 B 73 B+ 80 A 62 B 69 B 76 B+ 63 B
4 ST.MC3/3299 55 C 52 C 65 B 58 C 66 B 69 B 67 B 58 C 34 E 53 C
5 ST.MC3/3300 W(S)
6 ST.MC3/3301 73 B+ 68 B 58 C 54 C 65 B 81 A 64 B 66 B 62 B 58 C
7 ST.MC3/3302 69 B 66 B 59 C 62 B 82 A 73 B+ 71 B+ 61 B 69 B 73 B+
8 ST.MC3/3303 71 B+ 56 C 57 C 59 C 74 B+ 67 B 63 B 58 C 65 B 59 C
9 ST.MC3/3304 W(S)
10 ST.MC3/3305 58 C 78 B+ 64 B 50 C 66 B 70 B+ 74 B+ 66 B 62 B
11 ST.MC3/3306 70 B+ 68 B 69 B 64 B 86 A 79 B+ 76 B+ 74 B+ 64 B 61 B
12 ST.MC3/3308 72 B+ 68 B 69 B 53 C 68 B 73 B+ 69 B 79 B+ 81 A 68 B
13 ST.MC3/3309 W(S)
14 ST.MC3/3310 W(S)
15 ST.MC3/3311 W(S)
16 ST.MC3/3312 67 B 78 B+ 57 C 75 B+ 70 B+ 69 B 65 B 67 B 72 B+ 72 B+
17 ST.MC3/3313 48 D 50 C 62 B 53 C 50 C 69 B I(F) 50 C 49 D
18 ST.MC3/3314 W(S)
19 ST.MC3/3315 62 B 56 C 53 C 53 C 72 B+ 78 B+ 64 B 51 C 64 B 63 B
20 ST.MC3/3316 64 B 71 B+ 72 B+ 57 C 77 B+ 80 A 80 A 88 A 54 C 77 B+
21 ST.MC3/3317 W(S)
22 ST.MC3/3318 53 C 62 B 57 C 72 B+ 54 C 72 B+ 67 B 66 B 60 B 53 C
23 ST.MC3/3319 81 A 81 A 85 A 56 C 69 B 76 B+ 79 B+ 86 A 67 B
24 ST.MC3/3320 70 B+ 70 B+ 50 C 66 B 71 B+ 74 B+ 70 B+ 55 C 75 B+ 69 B
25 ST.MC3/3321 74 B+ 91 A 73 B+ 67 B 69 B 75 B+ 81 A 80 A 65 B
26 ST.MC3/3322 W(S)
27 ST.MC3/3323 64 B 64 B 64 B 58 C 71 B+ 81 A 61 B 60 B 81 A 71 B+
28 ST.MC3/3324 62 B 58 C 52 C 25 E 69 B 73 B+ 74 B+ 55 C 64 B 59 C
29 ST.MC3/3325 65 B 52 C 59 C 72 B+ 26 E 75 B+ 68 B 42 D 71 B+ 61 B
30 ST.MC3/3326 68 B 69 B 41 D 68 B 80 A 83 A 69 B 59 C 61 B 55 C
31 ST.MC3/3327 70 B+ 68 B 55 C 53 C 67 B 76 B+ 68 B 45 D 62 B 72 B+
32 ST.MC3/3328 69 B 74 B+ 67 B 74 B+ 59 C 74 B+ 79 B+ 69 B 80 A 67 B
33 ST.MC3/3329 66 B 84 A 72 B+ 66 B 71 B+ 75 B+ 70 B+ 72 B+ 64 B
34 ST.MC3/3330 W(S)
35 ST.MC3/3331 55 C 67 B 59 C 68 B 74 B+ 82 A 79 B+ 78 B+ 60 B 72 B+
36 ST.MC3/3332 63 B 67 B 70 B+ 21 E 29 E 68 B 40 D 59 C 66 B
37 ST.MC3/3333 72 B+ 70 B+ 80 A 70 B+ 79 B+ 78 B+ 72 B+ 66 B 67 B 69 B
38 ST.MC3/3334 67 B 73 B+ 61 B 69 B 72 B+ 79 B+ 69 B 83 A 75 B+ 67 B
39 ST.MC3/3335 69 B 60 B 59 C 62 B 90 A 70 B+ 61 B 55 C 61 B 60 B
40 ST.MC3/3336 70 B+ 56 C 62 B 60 B 89 A 79 B+ 72 B+ 59 C 57 C 69 B
41 ST.MC3/3337 64 B 53 C 45 D 51 C 64 B 62 B 65 B 65 B 50 C 27 E
42 ST.MC3/3338 58 C 68 B 63 B 64 B 70 B+ 83 A 72 B+ 46 D 58 C 59 C
43 ST.MC3/3339 I(CW) 60 B 68 B 69 B 69 B 70 B+ 69 B 51 C 49 D 57 C
44 ST.MC3/3340 W(S)
45 ST.MC3/3341 69 B 65 B 61 B 73 B+ 64 B 80 A 67 B 45 D 71 B+ 74 B+
46 ST.MC3/3342 51 C 58 C 57 C 63 B 12 E 80 A 66 B 50 C 57 C 51 C
47 ST.MC3/3343 W(S)
48 ST.MC3/3344 61 B 75 B+ 77 B+ 65 B 65 B 69 B 77 B+ 80 A 72 B+ 77 B+
49 ST.MC3/3345 68 B 68 B 62 B 64 B 74 B+ 80 A 73 B+ 69 B 58 C 63 B
50 ST.MC3/3346 62 B 55 C 61 B 71 B+ 72 B+ 78 B+ 70 B+ 60 B 59 C 60 B
51 ST.MC3/3347 63 B 70 B+ 71 B+ 61 B 57 C 80 A 61 B 69 B 83 A 72 B+
52 ST.MC3/3348 80 A 67 B 60 B 81 A 75 B+ 76 B+ 66 B 64 B 78 B+ 66 B
53 ST.MC3/3349 W(S)
54 ST.MC3/3350 W(S)
55 ST.MC3/3351 W(S)
56 ST.MC3/3352 57 C 65 B 74 B+ 61 B 74 B+ I(F) 73 B+ 77 B+ 65 B 75 B+
57 ST.MC3/3353 73 B+ 64 B 66 B 66 B 63 B 70 B+ 68 B 75 B+ 66 B 68 B
58 ST.MC3/3354 62 B 77 B+ 68 B 50 C 73 B+ 87 A 61 B 81 A 80 A 70 B+
59 ST.MC3/3355 66 B 65 B 54 C 61 B 72 B+ 79 B+ 70 B+ 64 B 80 A 65 B
60 ST.MC3/3356 59 C 56 C 63 B 59 C 76 B+ 69 B 78 B+ 61 B 56 C 62 B
61 ST.MC3/3357 59 C 70 B+ 69 B 51 C 56 C 73 B+ 80 A 70 B+ 53 C 55 C
62 ST.MC3/3358 63 B 48 D 48 D 50 C 26 E 78 B+ 57 C 82 A 51 C 60 B
63 ST.MC3/3359 62 B 65 B 62 B 64 B 69 B 66 B 58 C 64 B 61 B 58 C
64 ST.MC3/3360 69 B 62 B 63 B 48 D 31 E 72 B+ 51 C 73 B+ 67 B 62 B
65 ST.MC3/3361 69 B 60 B 78 B+ 74 B+ 67 B 77 B+ 70 B+ 84 A 71 B+ 46 D
66 ST.MC3/3362 W(S)
67 ST.MC3/3363 65 B 67 B 62 B 55 C 55 C 77 B+ 66 B 79 B+ 64 B 61 B
68 ST.MC3/3364 66 B 69 B 55 C 71 B+ 67 B 77 B+ 66 B 80 A 72 B+ 69 B
69 ST.MC3/3365 W(S)
70 ST.MC3/3366 67 B 58 C 63 B 55 C 61 B 78 B+ 71 B+ 76 B+ 73 B+ 70 B+
71 ST.MC3/3367 W(S)
72 ST.MC3/3368 W(S)
73 ST.MC3/3369 W(S)
74 ST.MC3/3370 64 B 63 B 64 B 56 C 69 B 80 A 76 B+ 57 C 60 B 68 B
75 ST.MC3/3371 60 B 84 A 83 A 61 B 59 C 72 B+ 78 B+ 82 A 60 B
76 ST.MC3/3372 60 B 79 B+ 82 A 54 C 72 B+ 80 A 61 B 74 B+ 54 C
77 ST.MC3/3373 72 B+ 75 B+ 71 B+ 57 C 81 A 77 B+ 74 B+ 87 A 75 B+ 64 B
78 ST.MC3/3374 W(S)
79 ST.MC3/3375 W(S)
80 ST.MC3/3376 65 B 71 B+ 60 B 73 B+ 74 B+ 77 B+ 79 B+ 60 B 59 C 64 B
81 ST.MC3/3377 58 C 64 B 59 C 49 D 71 B+ 74 B+ 73 B+ 58 C 68 B 64 B
82 ST.MC3/3378 60 B 63 B 75 B+ 62 B 60 B 62 B 52 C 65 B 64 B
83 ST.MC3/3379 65 B 66 B 50 C 62 B 62 B 73 B+ 68 B 55 C 64 B 61 B
84 ST.MC3/3380 65 B 89 A 74 B+ 62 B 58 C 69 B 82 A 80 A 61 B
85 ST.MC3/3381 66 B 88 A 93 A 84 A 63 B 84 A 87 A 87 A 61 B
86 ST.MC3/3382 W(S)
87 ST.MC3/3383 71 B+ 74 B+ 60 B 63 B 91 A 84 A 81 A 89 A 74 B+ 52 C
88 ST.MC3/3384 74 B+ 65 B 75 B+ 66 B 84 A 78 B+ 69 B 59 C 72 B+ 64 B
89 ST.MC3/3386 79 B+ 68 B 76 B+ 69 B 68 B 78 B+ 85 A 87 A 71 B+
90 ST.MC3/3387 75 B+ 61 B 64 B 74 B+ 64 B 75 B+ 78 B+ 68 B 74 B+ 57 C
91 ST.MC3/3388 W(S)
92 ST.MC3/3389 W(S)
93 ST.MC3/3390 73 B+ 70 B+ 71 B+ 68 B 57 C 79 B+ 73 B+ 83 A 68 B 73 B+
94 ST.MC3/3391 67 B 56 C 52 C 50 C 25 E 63 B 56 C 53 C 49 D 60 B
95 ST.MC3/3392 68 B 72 B+ 62 B 66 B 71 B+ 79 B+ 64 B 60 B 65 B 79 B+
96 ST.MC3/3393 79 B+ 70 B+ 72 B+ 72 B+ 84 A 81 A 71 B+ 85 A 72 B+ 76 B+
97 ST.MC3/3394 W(S)
98 ST.MC3/3395 W(S)
99 ST.MC3/3396 69 B 64 B 54 C 70 B+ 66 B 78 B+ 79 B+ 75 B+ 60 B 57 C
100 ST.MC3/3397 71 B+ 60 B 55 C 51 C 68 B 74 B+ 63 B 58 C 57 C 65 B
101 ST.MC3/3398 W(S)
102 ST.MC3/3399 73 B+ 74 B+ 73 B+ 68 B 70 B+ 76 B+ 71 B+ 86 A 54 C
103 ST.MC3/3400 63 B I(F) 64 B 78 B+ 71 B+ 68 B 78 B+ 67 B 54 C 70 B+
104 ST.MC3/3401 W(S)
105 ST.MC3/3402 W(S)
106 ST.MC3/3403 67 B 65 B 59 C 59 C 79 B+ 66 B 55 C I(F) 61 B
107 ST.MC3/3404 70 B+ 89 A 76 B+ 31 E 60 B 79 B+ 81 A 79 B+ 65 B
108 ST.MC3/3405 W(S)
109 ST.MC3/3406 67 B 33 E 63 B 64 B I(CW) 70 B+ I(F) 64 B I(CW) 43 D
110 ST.MC3/3407 78 B+ 62 B 67 B 51 C 74 B+ 74 B+ 84 A 78 B+ 70 B+ 62 B
111 ST.MC3/3408 W(S)
112 ST.MC3/3409 74 B+ 69 B 67 B 61 B 72 B+ 83 A 69 B+ 52 C 60 B 74 B+
113 ST.MC3/3410 70 B+ 60 B 53 C 61 B 68 B 78 B+ 74 B+ 85 A 67 B 61 B
114 ST.MC3/3411 62 B 70 B+ 50 C I(F) 51 C 77 B+ 76 B+ 58 C 69 B 54 C
115 ST.MC3/3412 64 B 60 B 80 A 60 B 53 C 79 B+ 75 B+ 68 B 56 C
116 ST.MC3/3413 57 C 52 C 62 B 47 D 59 C 79 B+ 74 B+ 56 C 57 C 65 B
117 ST.MC3/3414 68 B 75 B+ 82 A 65 B 76 B+ 81 A 77 B+ 75 B+ 71 B+
118 ST.MC3/3415 75 B+ 67 B 69 B 79 B+ 75 B+ 79 B+ 78 B+ 69 B 66 B 78 B+
119 ST.MC3/3416 69 B 79 B+ 61 B 76 B+ 68 B 71 B+ 80 A 58 C 67 B 73 B+
120 ST.MC3/3417 52 C 70 B+ 84 A 71 B+ 73 B+ I(F) 70 B+ 81 A 25 E
121 ST.MC3/3418 69 B 74 B+ 69 B 60 B 68 B 81 A 76 B+ 59 C 64 B 55 C
122 ST.MC3/3419 64 B 62 B 69 B 53 C 57 C 72 B+ 75 B+ 51 C 66 B 54 C
123 ST.MC3/3420 W(S)
124 ST.MC3/3421 W(S)
125 ST.MC3/3422 70 B+ 60 B 80 A 80 A 79 B+ 77 B+ 64 B 69 B 67 B
126 ST.MC3/3423 65 B 69 B 62 B 86 A 64 B 79 B+ 79 B+ 70 B+ 67 B
127 ST.MC3/3425 79 B+ 79 B+ 75 B+ 71 B+ 85 A 81 A 80 A 74 B+ 63 B 82 A
128 ST.MC3/3426 74 B+ 76 B+ 76 B+ 67 B 69 B 76 B+ 69 B 84 A 70 B+ 58 C
129 ST.MC3/3427 I(F) 54 C 41 D I(F) 33 E 76 B+ 80 A I(F) 63 B 58 C
130 ST.MC3/3428 67 B 63 B 71 B+ 62 B 77 B+ 79 B+ 65 B 84 A 72 B+ 65 B
131 ST.MC3/3429 70 B+ 83 A 78 B+ 68 B 69 B 76 B+ 83 A 83 A 63 B
132 ST.MC3/3430 56 C 63 B 71 B+ 56 C 87 A 74 B+ 78 B+ 90 A 68 B 69 B
133 ST.MC3/3431 77 B+ 73 B+ 73 B+ 52 C 86 A 74 B+ 85 A 89 A 75 B+ 72 B+
134 ST.MC3/3432 46 D 88 A 83 A 79 B+ 68 B I(F) 61 B 79 B+ 68 B
135 ST.MC3/3433 63 B 67 B 67 B 58 C 72 B+ 78 B+ 69 B 85 A 62 B 73 B+
136 ST.MC3/3434 60 B 58 C 43 D 54 C 23 E 67 B 68 B 41 D 51 C 50 C
137 ST.MC3/3435 I(F) 72 B+ 71 B+ 72 B+ 78 B+ 72 B+ 80 A 65 B 74 B+ 63 B
138 ST.MC3/3436 68 B 67 B 74 B+ 73 B+ 55 C 88 A 75 B+ 81 A 69 B 69 B
139 ST.MC3/3437 70 B+ 66 B 51 C 51 C 30 E 79 B+ 83 A 81 A 67 B 56 B
140 ST.MC3/3438 60 B 57 C 65 B 60 B 64 B 73 B+ 70 B+ 68 B 65 B 62 B
141 ST.MC3/3439 W(S)
142 ST.MC3/3440 59 C 55 C 57 C 28 E 67 B 67 B 78 B+ 76 B+ 32 E 63 B
143 ST.MC3/3441 69 B 74 B+ 84 A 67 B 61 B 75 B+ 73 B+ 79 B+ 74 B+
144 ST.MC3/3443 68 B 64 B 68 B 59 C 67 B 72 B+ 66 B 62 B 58 C
145 ST.MC3/3444 67 B 75 B+ 74 B+ 57 C 80 A 82 A 75 B+ 64 B 61 B 77 B+
146 ST.MC3/3445 70 B+ 70 B+ 60 B 75 B+ 67 B 82 A 69 B 74 B+ 62 B 75 B+
147 ST.MC3/3446 77 B+ 61 B 54 C 73 B+ 65 B 80 A 67 B 55 C 71 B+ 54 C
148 ST.MC3/3447 I(F) I(F) I(F) I(F) I(F) I(F) I(ALL) I(ALL) I(F) I(F)
149 ST.MC3/3448 64 B 59 C 62 B 52 C 74 B+ 81 A 65 B 84 A 72 B+ 58 C
150 ST.MC3/3449 71 B+ 84 A 79 B+ 62 B 83 A 81 A 72 B+ 71 B+ 56 C 69 C
151 ST.MC3/3450 I(F) 90 A 92 A 52 C 64 B 85 A 67 B 87 A 67 B
152 ST.MC3/3451 59 C 81 A 70 B+ 66 B 82 A 75 B+ 70 B+ 79 B+ 68 B 75 B
153 ST.MC3/3452 50 C 27 E 58 C 58 C 58 C 80 A 74 B+ 87 A 64 B 55 C
154 ST.MC3/3453 72 B+ 65 B 50 C 53 C 63 B 75 B+ 73 B+ 73 B+ 64 B 61 B
155 ST.MC3/3454 71 B+ 82 A 82 A 62 B 86 A 78 B+ 75 B+ 70 B+ 72 B+ 70 B+
156 ST.MC3/3455 64 B 71 B+ 59 C 63 B 78 B+ 79 B+ 82 A 70 B+ I(F) 66 B
157 ST.MC3/3456 73 B+ 87 A 81 A 61 B 69 B 69 B 62 B 88 A 56 C
158 ST.MC3/3457 W(S)
159 ST.MC3/3458 70 B+ 76 B+ 67 B 62 B 74 B+ 81 A 77 B+ 62 B 59 C 67 B
160 ST.MC3/3459 69 B 58 C 70 B+ 62 B 70 B+ 80 A 70 B+ 52 C 60 B 66 B
161 ST.MC3/3460 W(S)
162 ST.MC3/3461 W(S)
163 ST.MC3/3462 68 B 66 B 53 C 85 A 71 B+ 76 B+ 76 B+ 53 C 57 C 56 C
164 ST.MC3/3463 74 B+ 75 B+ 73 B+ 67 B 83 A 83 A 72 B+ 72 B+ 79 B+ 80 A
165 ST.MC3/3464 68 B 72 B+ 76 B+ 83 A 89 A 84 A 82 A 77 B+ 69 B
166 ST.MC3/3465 64 B 54 C 55 C 74 B+ 66 B 63 B 75 B+ 67 B 50 C 63 B
167 ST.MC3/3466 56 C 69 B 62 B 51 C 59 C 78 B+ 73 B+ 70 B+ 70 B+ 63 B
168 ST.MC3/3468 W(S)
169 ST.MC3/3469 W(S)
170 ST.MC3/3470 73 B+ 71 B+ 76 B+ 68 B 76 B+ 81 A 76 B+ 77 B+ 69 B 71 B+
171 ST.MC3/3471 66 B 57 C 80 A 54 C 82 A 79 B+ 74 B+ 47 D 56 C
172 ST.MC3/3472
173 ST.MC3/3473 61 B 61 B 62 B 60 B 79 B+ 79 B+ 72 B+ 80 A 57 C 71 B+
174 ST.MC3/3474 65 B 54 C 75 B+ 63 B 73 B+ 81 A 79 B+ 62 B 57 C 55 C
175 ST.MC3/3475 75 B+ 89 A 79 B+ 63 B 69 B 77 B+ 62 B 85 A 62 B
176 ST.MC3/3476 W(S)
177 ST.MC3/3477 71 B+ 58 C 51 C 54 C 57 C 68 B 71 B+ 87 A 65 B 50 C
178 ST.MC3/3478 W(S)
179 ST.MC3/3479 63 B 70 B+ 58 C 61 B 73 B+ 69 B 80 A 62 B 63 B 55 C
180 ST.MC3/3480 69 B 76 B+ 82 A 54 C 67 B 80 A 83 A 76 B+ 70 B+
181 ST.MC3/3481 74 B+ 77 B+ 80 A 71 B+ 71 B+ 78 B+ 70 B+ 83 A 66 B 79 B+
182 ST.MC3/3482 79 B+ 75 B+ 72 B+ 75 B+ 72 B+ 79 B+ 78 B+ 73 B+ 75 B+ 75 B+
183 ST.MC3/3483 70 B+ 65 B 75 B+ 57 C 81 A 81 A 69 B 72 B+ 57 C
184 ST.MC3/3484 68 B 62 B 62 B 66 B 65 B 79 B+ 74 B+ 71 B+ 69 B 60 B
185 ST.MC3/3485 63 B 59 C 65 B 65 B 63 B 68 B 80 A 84 A 63 B 54 C
186 ST.MC3/3486 W(S)
187 ST.MC3/3487 67 B 65 B 70 B+ 75 B+ 82 A 73 B+ 72 B+ 73 B+ 66 B 65 B
188 ST.MC3/3488 W(S)
189 ST.MC3/3489 71 B+ 69 B 63 B 69 B 61 B 74 B+ 76 B+ 58 C 51 C 64 B
190 ST.MC3/3490 58 C 48 D 56 C 67 B 61 B 65 B 67 B 52 C 57 C 48 D
191 ST.MC3/3491 W(S)
192 ST.MC3/3492 74 B+ 65 B 71 B+ 59 C 34 E 80 A 59 C 72 B+ 72 B+ 62 B
193 ST.MC3/3494 60 B 71 B+ 73 B+ 65 B 78 B+ 73 B+ 61 B 59 C 60 B 61 B
194 ST.MC3/3495 63 B 58 C 63 B 74 B+ 70 B+ 83 A 66 B 74 B+ 71 B+ 60 B
195 ST.MC3/3496 60 B 57 C 70 B+ 50 C 69 B 76 B+ 68 B 66 B 69 B 62 B
196 ST.MC3/3497 70 B+ 57 C 75 B+ 53 C 59 C 61 B 65 B 69 B 53 C 56 C
197 ST.MC3/3498 W(S)
198 ST.MC3/3499 53 C 58 C 60 B 28 E 58 C 78 B+ 65 B 68 B 59 C 64 B
199 ST.MC3/3500 W(S)
200 ST.MC3/3502 W(S)
201 ST.MC3/3503 59 C 58 C 45 D 82 A 69 B 77 B+ 67 B 66 B 67 B 69 B
202 ST.MC3/3505 61 B 21 E 61 B 59 C 75 B+ 83 A 67 B 67 B 25 E 58 C
203 ST.MC3/3507 62 B 80 A 72 B+ 71 B+ 23 E 79 B+ 80 A 74 B+ 61 B
204 ST.MC3/3508 W(S)
205 ST.MC3/3509 W(S)
206 ST.MC3/3510 70 B+ 61 B 62 B 58 C 61 B 76 B+ 63 B 58 C 55 C 63 B
207 ST.MC3/3511 64 B 70 B+ 60 B 70 B+ 53 C 80 A 72 B+ 72 B+ 69 B 62 B
208 ST.MC3/3512 W(S)
209 ST.MC3/3513 78 B+ 59 C 63 B 90 A 75 B+ 81 A 76 B+ 80 A 72 B+ 76 B+
210 ST.MC3/3514 71 B+ 72 B+ 66 B 54 C 59 C 71 B+ 51 C 80 A 55 C 64 B
211 ST.MC3/3515 69 B 65 B 66 B 62 B 59 C 78 B+ 73 B+ 65 B 68 B 74 B+
212 ST.MC3/3516 63 B 81 A 82 A 68 B 85 A I(F) 79 B+ 82 A 77 B+ 74 B+
213 ST.MC3/3517 70 B+ 66 B 77 B+ 61 B 72 B+ 79 B+ 74 B+ 80 A 69 B 63 B
214 ST.MC3/3518 72 B+ 83 A 75 B+ 68 B 73 B+ 78 B+ 85 A 81 A 69 B 73 B+
215 ST.MC3/3519 62 B 76 B+ 71 B+ 70 B+ 73 B+ 80 A 81 A 81 A 74 B+ 64 B
216 ST.MC3/3520 W(S)
217 ST.MC3/3521 63 B 76 B+ 80 A 61 B 69 B 79 B+ 82 A 72 B+ 63 B
218 ST.MC3/3522 61 B 64 B 66 B 56 C 69 B 70 B+ 72 B+ 71 B+ 68 B 66 B
219 ST.MC3/3523 69 B 63 B 72 B+ 59 C 64 B 77 B+ 78 B+ 72 B+ 64 B 74 B+
220 ST.MC3/3524 W(S)
221 ST.MC3/3525 W(S)
222 ST.MC3/3526 65 B 72 B+ 54 C 54 C 68 B 74 B+ 74 B+ 70 B+ 69 B 65 B
223 ST.MC3/3527 59 C 79 B+ 76 B+ 60 B 81 A 75 B+ 75 B+ 84 A 70 B+
224 ST.MC3/3528 67 B 55 C 67 B 56 C 54 C 77 B+ 75 B+ 70 B+ 65 B 58 C
225 ST.MC3/3529 58 C 50 C 83 A 63 B 61 B 77 B+ I(F) 82 A 52 C
226 ST.MC3/3530 73 B+ 68 B 73 B+ 60 B 71 B+ 78 B+ 65 B 77 B+ 65 B 63 B
227 ST.MC3/3531 64 B 65 B 66 B 68 B 70 B+ 62 B 73 B+ 54 C 74 B+ 60 B
228 ST.MC3/3532 W(S)
CODE NO. SUBJECT
BS 311 INTRODUCTION TO ENTREPRENEURSHIP
MC 315 ADVERTISING - II GRADES:
MC 326 ADVANCED PUBLIC RELATIONS - II
MC 321 ADVANCED TV PRODUCTION A - C = PASS (P)
MC 323 ADVANCED RADIO PRODUCTION D - E = FAIL (S)
MC 327 ENVIRONMENTAL JOURNALISM I(F) = INCOMPLETE FINAL
MC 322 CURRENT AFFAIRS I(CW) = INCOMPLETE COURSE WORK
LG 321 FRENCH I(ALL) INCOMPLETE COURSEWORK & FINAL
MC 324 MEDIA MANAGEMENT W = WITHELD ( EXAM IRRECULARITY)
MK 311 MEDIA MARKETING W(S) = WITHELD (INCOMPLETE SCHOOL FEES)
COMP. COMPREHENSIVE
RES. PAP. RESEARCH PAPER
MC 325 MEDIA LAW
MC 328 GOMPUTER GRAPHICS
REPEATERS
Item Exam. MC 321
No No. Marks Gr
1 ST.MC3/6586 61 B
2 ST.ADJ3/6572 I(CW)
The Secrets of Professional Video Editing
The Secrets of Professional Video Editing
Professional Video Editing Tips For Your Movies
Professional video editing can make the difference between a cheesy home movie and an emotional family film. But what exactly is professional video editing?
Professional video editing is hard to define, because usually it's something that you hardly notice. It's only when things go bad that you'll notice a lack of professional video editing. Of course, you don't need to hire a professional video production company to get professional video editing. Instead, you just need to follow this guide.
Learn the basics. There are some simple rules of video editing that you should learn, and follow (and even break sometimes).
Easy on the effects. iMovie and Movie Maker each offer an array of special effects and transitions. You should avoid most of these if you want a professional video editing look.
Start with good video footage. Professional video editing is easy if you have good footage to begin with. Good audio recording also makes a big difference in professional video editing.
Practice, practice, practice. Whether you're using a simple, free program like iMovie or Movie Maker, or a complex program like Final Cut or Adobe Premiere, you need practice with your editing system. Professional video editing requires you to take the time to learn the ins and outs of your editing software so that you can make the most of it.
Top 10 Rules for Video Editing
By Gretchen Siegchrist, About.com
See More About:
video editing
b-roll
jump cuts
focal length
video wipe
By following some simple rules for video editing you can make your movies flow together smoothly, in a classic style, without resorting to multiple transitions.
Of course, rules were made to be broken and creative editors take extreme artistic license. But, if you are new to the craft of video editing, learn these rules and consider them a foundation from which to develop your skills.
1. B-Roll
B-roll refers to video footage that sets the scene, reveals details, or generally enhances the story. For example, at a school play, besides shooting the play, you could get b-roll of the outside of the school, the program, faces of audience members, cast members hiding in the wings, or costume details.
These clips can be used to cover any cuts, or smooth trasitions from one scene to another.
zSB(3,3)
Sponsored Links
Personal Statement Panic?Know where you stand. Every order gets a free proof.www.waitlistwonk.com
Shutterstock® FootageDownload royalty-free stock video at Shutterstock®. $10- $50 per clipfootage.Shutterstock.com
MICRODOLLY HOLLYWOODCool Tools! Jibs, Dollies & Mounts Ultra-Light Pro Camera Supportwww.microdolly.com
2. Don't Jump
A jump cut occurs when you have two consecutive shots with the exact same camera set up, but a difference in the subject. It happens most often when editing interviews, and you want to cut out some words or phrases that the subject says.
If you leave the remaining shots side-by-side, the audience will be jarred by the slight repositioning of the subject. Instead, cover the cut with some b-roll, or use a fade.
3. Stay on Your Plane
When shooting, imagine that there is a horizontal line between you and your subjects. Now, stay on your side of the line. By observing a 180-degree plane, you keep a perspective that is more natural for the audience.
If you’re editing footage that disobeys this rule, try using b-roll between cuts. This way, the change in perspective won’t be as abrupt, if it’s noticeable at all.
More Info
4. 45 Degrees
When editing together a scene shot from multiple camera angles, always try to use shots that are looking at the subject from at least a difference of 45 degrees. Otherwise, the shots are too similar and appear almost like a jump cut to the audience.
5. Cut on Motion
Motion distracts the eye from noticing editing cuts. So, when cutting from one image to another, always try to do it when the subject is in motion. For example, cutting from a turning head to an opening door, is much smoother than cutting from a still head to a door about to be opened.
6. Change Focal Lengths
When you have two shots of the same subject, it’s easy to cut between close and wide angles. So, when shooting an interview, or a lengthy event such as a wedding, it’s a good idea to occasionally change focal lengths. A wide shot and a medium close up can be cut together, allowing you to edit parts out and change the order of shots without obvious jump cuts.
7. Cut on Similar Elements
There’s a cut in Apocalypse Now from a rotating ceiling fan to a helicopter. The scenes change dramatically, but the visually similar elements make for a smooth, creative cut.
You can do the same thing in your videos. Cut from a flower on a wedding cake to the groom’s boutenier, or tilt up to the blue sky from one scene and then down from the sky to a different scene.
8. Wipe
At weddings, I love it when people walk in front of the camera. They are apologetic, but unless it happened during the vows or the first dance, I am grateful for the wipe they gave me to use during editing.
When the frame fills up with one element (such as the back of a black suit jacket), it makes it easy to cut to a completely different scene without jarring the audience. You can set wipes up yourself during shooting, or just take advantage when they happen naturally.
9. Match the Scene
The beauty of editing is that you can take footage shots out of order or at separate times, and cut them together so that they appear as one continuous scene. To do this effectively, though, the elements in the shots should match up.
For example, a subject who exits frame right should enter the next shot frame left. Otherwise, it appears they turned around and are walking in the other direction. Or, if the subject is holding something in one shot, don't cut directly to a shot of them empty-handed.
If you don't have the right shots to make matched edits, insert some b-roll in between.
10. Motivate Yourself
Ultimately, every cut should be motivated. There should be a reason that you want to switch from one shot or camera angle to another. Sometimes that motivation is a simple as, “the camera shook,” or “someone walked in front of the camera.”
Ideally, though, your motivations for cutting should be to advance the narrative storytelling of your video.
How to burn AVI to DVD?
With the powerful AVI to DVD creator, you can burn many AVI files to DVD in batches, even if you are a novice. The AVI to DVD conversion is very simple and fast, so you can master it easily.
The bellowed tips will show you how to convert and burn AVI to DVD:
1. Download Xilisoft DVD Creator and install to your computer. Insert a DVD+R (DVD-R, DVD+RW or DVD-RW). Run the DVD Creator and add the AVI files you want to convert by clicking "Add Files" button under the "File" menu.
2. You can customize the output aspect resize method by selecting the file's title and clicking the "Resize Method" combo-box, and then you will find 3 choices for you to set it at will.There are 3 choices for you:Letterbox: add black stripes to fit the output aspect ratio.Pan and Scan: crop frame to fit the output aspect ratio.Full Screen: stretch and compress frame to fit the output aspect ratio.
3. Optional: Before burning the files, you can choose the background of the DVD menu at will by selecting one from the right part of the interface.
4. You can start to burn the AVI video file by clicking "Start Burn" button. Or you can click "start burn" button in the main interface.
After the file is burned, you will be able to enjoy your beloved AVI files on any DVD player!
The AVI to DVD creator is a powerful and easy-to-use video to DVD converter and burner which supports converting AVI to DVD, MPEG to DVD, WMV to DVD, etc. You can know mo
Transcript: Final Cut Pro Settings
Hi, I'm Isaac Brody for About.com Computing. Today I'll teach you to manage settings in Final Cut Pro. Each time you run Final Cut Pro you need to check most of these settings for your project.
How to Change Settings in Final Cut Pro
First go to the Final Cut Pro menu, and click System Settings. This is where we tell Final Cut where to save our video clips captured from our camera.
Media Storage Settings in Final Cut Pro
For each project or movie you make you should create a new folder for all your media. If you fail to do so and keep each project set to one folder, you might lose or forget where files are down the road. So click on the top, Set button. I'll click on the, New Folder button and call it New Movie Files, and hit Create. There's my new folder, and I'll hit Choose. The Cache folders and autosave vault need to be set to the folder I just created. I'll click the set button for each, find the folder, and hit choose. And now I'll click OK.
Capture Settings in Final Cut Pro
Now well select our Audio/Video settings for our project. This tells Final Cut how to recognize and capture from our camera. I'll click the Final Cut Pro menu and select Audio/Video Settings. If I'm capturing from a MiniDV camera, I'll click on the drop down menu under sequence preset and choose the DV NTSC 48kHZ setting. And make sure the capture preset is the same. My camera connects to the computer with firewire, so I'll select Firewire NTSC under Device Control Preset. I'll make sure that Video Playback is set to Apple Firewire NTSC. It's listed but says it's missing because my camera is not plugged in yet. I'll just click OK.
User Preference Settings in Final Cut Pro
Finally, I'll click on Final Cut Pro and click User Preferences. Here we can adjust personal preferences. For instance, I can change the number of undo levels, or decide to save a copy every ten minutes. Once youre done click OK.
Save Setting Template in Final Cut Pro
And last well save our project. Go to File, Save Project as, and I'll select the project folder. I'll name it New Movie, and hit save. Now we've set up our project to properly capture and manage video. Thanks for watching. For more information, please visit us online at Computing.About.com
B
The 180 Degree Rule
It is important to maintain interest in an interview by having a variety of shots that show different perspectives or angles. However, it is essential to maintain “consistency of screen direction.” This means that you should not cross the “Axis of Action” or the imaginary line that follows the main subject’s action or direction of focus.
The 180 Degree Rule states that you can place the camera anywhere along the 180 Degrees of one side of the axis of action and maintain consistency of screen direction.
You should not cross the axis of action without:
The use of a moving shot that shows the crossing of the axis of action.
Indicate on screen that a shot is a “Reverse Angle” as is done in sporting events.
Professional Video Editing Tips For Your Movies
Professional video editing can make the difference between a cheesy home movie and an emotional family film. But what exactly is professional video editing?
Professional video editing is hard to define, because usually it's something that you hardly notice. It's only when things go bad that you'll notice a lack of professional video editing. Of course, you don't need to hire a professional video production company to get professional video editing. Instead, you just need to follow this guide.
Learn the basics. There are some simple rules of video editing that you should learn, and follow (and even break sometimes).
Easy on the effects. iMovie and Movie Maker each offer an array of special effects and transitions. You should avoid most of these if you want a professional video editing look.
Start with good video footage. Professional video editing is easy if you have good footage to begin with. Good audio recording also makes a big difference in professional video editing.
Practice, practice, practice. Whether you're using a simple, free program like iMovie or Movie Maker, or a complex program like Final Cut or Adobe Premiere, you need practice with your editing system. Professional video editing requires you to take the time to learn the ins and outs of your editing software so that you can make the most of it.
Top 10 Rules for Video Editing
By Gretchen Siegchrist, About.com
See More About:
video editing
b-roll
jump cuts
focal length
video wipe
By following some simple rules for video editing you can make your movies flow together smoothly, in a classic style, without resorting to multiple transitions.
Of course, rules were made to be broken and creative editors take extreme artistic license. But, if you are new to the craft of video editing, learn these rules and consider them a foundation from which to develop your skills.
1. B-Roll
B-roll refers to video footage that sets the scene, reveals details, or generally enhances the story. For example, at a school play, besides shooting the play, you could get b-roll of the outside of the school, the program, faces of audience members, cast members hiding in the wings, or costume details.
These clips can be used to cover any cuts, or smooth trasitions from one scene to another.
zSB(3,3)
Sponsored Links
Personal Statement Panic?Know where you stand. Every order gets a free proof.www.waitlistwonk.com
Shutterstock® FootageDownload royalty-free stock video at Shutterstock®. $10- $50 per clipfootage.Shutterstock.com
MICRODOLLY HOLLYWOODCool Tools! Jibs, Dollies & Mounts Ultra-Light Pro Camera Supportwww.microdolly.com
2. Don't Jump
A jump cut occurs when you have two consecutive shots with the exact same camera set up, but a difference in the subject. It happens most often when editing interviews, and you want to cut out some words or phrases that the subject says.
If you leave the remaining shots side-by-side, the audience will be jarred by the slight repositioning of the subject. Instead, cover the cut with some b-roll, or use a fade.
3. Stay on Your Plane
When shooting, imagine that there is a horizontal line between you and your subjects. Now, stay on your side of the line. By observing a 180-degree plane, you keep a perspective that is more natural for the audience.
If you’re editing footage that disobeys this rule, try using b-roll between cuts. This way, the change in perspective won’t be as abrupt, if it’s noticeable at all.
More Info
4. 45 Degrees
When editing together a scene shot from multiple camera angles, always try to use shots that are looking at the subject from at least a difference of 45 degrees. Otherwise, the shots are too similar and appear almost like a jump cut to the audience.
5. Cut on Motion
Motion distracts the eye from noticing editing cuts. So, when cutting from one image to another, always try to do it when the subject is in motion. For example, cutting from a turning head to an opening door, is much smoother than cutting from a still head to a door about to be opened.
6. Change Focal Lengths
When you have two shots of the same subject, it’s easy to cut between close and wide angles. So, when shooting an interview, or a lengthy event such as a wedding, it’s a good idea to occasionally change focal lengths. A wide shot and a medium close up can be cut together, allowing you to edit parts out and change the order of shots without obvious jump cuts.
7. Cut on Similar Elements
There’s a cut in Apocalypse Now from a rotating ceiling fan to a helicopter. The scenes change dramatically, but the visually similar elements make for a smooth, creative cut.
You can do the same thing in your videos. Cut from a flower on a wedding cake to the groom’s boutenier, or tilt up to the blue sky from one scene and then down from the sky to a different scene.
8. Wipe
At weddings, I love it when people walk in front of the camera. They are apologetic, but unless it happened during the vows or the first dance, I am grateful for the wipe they gave me to use during editing.
When the frame fills up with one element (such as the back of a black suit jacket), it makes it easy to cut to a completely different scene without jarring the audience. You can set wipes up yourself during shooting, or just take advantage when they happen naturally.
9. Match the Scene
The beauty of editing is that you can take footage shots out of order or at separate times, and cut them together so that they appear as one continuous scene. To do this effectively, though, the elements in the shots should match up.
For example, a subject who exits frame right should enter the next shot frame left. Otherwise, it appears they turned around and are walking in the other direction. Or, if the subject is holding something in one shot, don't cut directly to a shot of them empty-handed.
If you don't have the right shots to make matched edits, insert some b-roll in between.
10. Motivate Yourself
Ultimately, every cut should be motivated. There should be a reason that you want to switch from one shot or camera angle to another. Sometimes that motivation is a simple as, “the camera shook,” or “someone walked in front of the camera.”
Ideally, though, your motivations for cutting should be to advance the narrative storytelling of your video.
How to burn AVI to DVD?
With the powerful AVI to DVD creator, you can burn many AVI files to DVD in batches, even if you are a novice. The AVI to DVD conversion is very simple and fast, so you can master it easily.
The bellowed tips will show you how to convert and burn AVI to DVD:
1. Download Xilisoft DVD Creator and install to your computer. Insert a DVD+R (DVD-R, DVD+RW or DVD-RW). Run the DVD Creator and add the AVI files you want to convert by clicking "Add Files" button under the "File" menu.
2. You can customize the output aspect resize method by selecting the file's title and clicking the "Resize Method" combo-box, and then you will find 3 choices for you to set it at will.There are 3 choices for you:Letterbox: add black stripes to fit the output aspect ratio.Pan and Scan: crop frame to fit the output aspect ratio.Full Screen: stretch and compress frame to fit the output aspect ratio.
3. Optional: Before burning the files, you can choose the background of the DVD menu at will by selecting one from the right part of the interface.
4. You can start to burn the AVI video file by clicking "Start Burn" button. Or you can click "start burn" button in the main interface.
After the file is burned, you will be able to enjoy your beloved AVI files on any DVD player!
The AVI to DVD creator is a powerful and easy-to-use video to DVD converter and burner which supports converting AVI to DVD, MPEG to DVD, WMV to DVD, etc. You can know mo
Transcript: Final Cut Pro Settings
Hi, I'm Isaac Brody for About.com Computing. Today I'll teach you to manage settings in Final Cut Pro. Each time you run Final Cut Pro you need to check most of these settings for your project.
How to Change Settings in Final Cut Pro
First go to the Final Cut Pro menu, and click System Settings. This is where we tell Final Cut where to save our video clips captured from our camera.
Media Storage Settings in Final Cut Pro
For each project or movie you make you should create a new folder for all your media. If you fail to do so and keep each project set to one folder, you might lose or forget where files are down the road. So click on the top, Set button. I'll click on the, New Folder button and call it New Movie Files, and hit Create. There's my new folder, and I'll hit Choose. The Cache folders and autosave vault need to be set to the folder I just created. I'll click the set button for each, find the folder, and hit choose. And now I'll click OK.
Capture Settings in Final Cut Pro
Now well select our Audio/Video settings for our project. This tells Final Cut how to recognize and capture from our camera. I'll click the Final Cut Pro menu and select Audio/Video Settings. If I'm capturing from a MiniDV camera, I'll click on the drop down menu under sequence preset and choose the DV NTSC 48kHZ setting. And make sure the capture preset is the same. My camera connects to the computer with firewire, so I'll select Firewire NTSC under Device Control Preset. I'll make sure that Video Playback is set to Apple Firewire NTSC. It's listed but says it's missing because my camera is not plugged in yet. I'll just click OK.
User Preference Settings in Final Cut Pro
Finally, I'll click on Final Cut Pro and click User Preferences. Here we can adjust personal preferences. For instance, I can change the number of undo levels, or decide to save a copy every ten minutes. Once youre done click OK.
Save Setting Template in Final Cut Pro
And last well save our project. Go to File, Save Project as, and I'll select the project folder. I'll name it New Movie, and hit save. Now we've set up our project to properly capture and manage video. Thanks for watching. For more information, please visit us online at Computing.About.com
B
The 180 Degree Rule
It is important to maintain interest in an interview by having a variety of shots that show different perspectives or angles. However, it is essential to maintain “consistency of screen direction.” This means that you should not cross the “Axis of Action” or the imaginary line that follows the main subject’s action or direction of focus.
The 180 Degree Rule states that you can place the camera anywhere along the 180 Degrees of one side of the axis of action and maintain consistency of screen direction.
You should not cross the axis of action without:
The use of a moving shot that shows the crossing of the axis of action.
Indicate on screen that a shot is a “Reverse Angle” as is done in sporting events.
MORE ON PRODUCTION
technofile
Simple tips for taking the best camcorder videos
My friend Gary carted his camcorder to my 50th birthday party and ended up with some priceless videos of the big event. He also learned a valuable lesson about taking video shots in a crowd: You can't trust the auto-focus. In all the scenes, Gary did his best to hold the camera steady, but the camera had its own idea of what part of the picture it wanted to show clearly. And that also means, of course, that the camera also used its own judgment on what parts it wanted to show out of focus. Sometimes, the camera and Gary were in agreement. But at other moments, just as Gary moved in for that big shot, the camcorder latched onto an object in the foreground and made everything else a blur. Sometimes it took the coward's way out and refused to focus on anything recognizable. Luckily, scenes like that lasted only a second or two, and the tape turned out great in every other way. But what Gary did to shoot the best scenes is worth repeating here. His most successful technique was to use the auto-focus only as a way of setting up the scene. With the camcorder on but not recording anything, he aimed the camera, allowed the auto-focus mechanism to settle in on the right part of the scene, and then switched the auto-focus off. Most camcorders have the same kind of switch that Gary's has -- you just tap it, and the auto-focus switches either on or off. Once the focus was set and locked into place, Gary started shooting the scene. As long as the camcorder kept the same relative distance from the party-goers, everything stayed in focus. This isn't as simple as it seems, because both the subjects and the camcorder have to be thought of as moving objects when you are taking home videos. If the people in front of you are moving away from or closer to the camcorder, you have the choice of adjusting the focus while they are moving $-$ something that takes a lot of practice -- or moving with them, which is a lot easier. In many of my own home videos, I've become adept at treating the camcorder as if it were just another person in the crowd. When the crowd is moving, I keep the camcorder on the go, too. This technique is risky, since the worst punishment you can inflict on the guests you invite to view your home videos is jerky camera action. You'll make them dizzy, and you might not be able to entice them back for next year's show. Keep in mind that camcorders, like movie cameras, don't really take moving pictures. They take a lot of still pictures in rapid succession. Our brains are easily fooled by these rapidly displayed still pictures most of the time, and so we usually see them as actual motion pictures. But our brains are savvy enough to spot two flaws in this method. One occurs when the scenes change too much between the stills -- in other words, when the camera is panning too fast or when something is moving too quickly within the camera's field of view. The other happens when the camera is shaking. None of the individual still pictures is clear, but instead of a general fuzziness, as you might get when the lens is out of focus, you see varying amounts of blur in each still frame. This is the kind of motion picture in which the motion is all in the camera, and viewers usually find that more annoying than an overall fuzziness. So, if you choose, like Gary, to lock in the focus on your best shots, be careful when you move that camcorder. Make most of your motions in the same plane as the forward field of view, by moving the camera toward or away from objects. Moving it from side to side will nearly always cause blurring, unless you do it very slowly. And that means to avoid panning whenever possible. To help fool the eye, the best pans are done while zooming the lens in or out. This keeps objects from jerking from frame to frame, and it also helps you bring the viewer's attention to the main part of the scene. And, finally, don't be afraid to edit out those flubs when you make a copy of a camcorder tape on your VCR. Everyone remembers the bad parts, but they won't complain about scenes they never get to see.
Simple tips for taking the best camcorder videos
My friend Gary carted his camcorder to my 50th birthday party and ended up with some priceless videos of the big event. He also learned a valuable lesson about taking video shots in a crowd: You can't trust the auto-focus. In all the scenes, Gary did his best to hold the camera steady, but the camera had its own idea of what part of the picture it wanted to show clearly. And that also means, of course, that the camera also used its own judgment on what parts it wanted to show out of focus. Sometimes, the camera and Gary were in agreement. But at other moments, just as Gary moved in for that big shot, the camcorder latched onto an object in the foreground and made everything else a blur. Sometimes it took the coward's way out and refused to focus on anything recognizable. Luckily, scenes like that lasted only a second or two, and the tape turned out great in every other way. But what Gary did to shoot the best scenes is worth repeating here. His most successful technique was to use the auto-focus only as a way of setting up the scene. With the camcorder on but not recording anything, he aimed the camera, allowed the auto-focus mechanism to settle in on the right part of the scene, and then switched the auto-focus off. Most camcorders have the same kind of switch that Gary's has -- you just tap it, and the auto-focus switches either on or off. Once the focus was set and locked into place, Gary started shooting the scene. As long as the camcorder kept the same relative distance from the party-goers, everything stayed in focus. This isn't as simple as it seems, because both the subjects and the camcorder have to be thought of as moving objects when you are taking home videos. If the people in front of you are moving away from or closer to the camcorder, you have the choice of adjusting the focus while they are moving $-$ something that takes a lot of practice -- or moving with them, which is a lot easier. In many of my own home videos, I've become adept at treating the camcorder as if it were just another person in the crowd. When the crowd is moving, I keep the camcorder on the go, too. This technique is risky, since the worst punishment you can inflict on the guests you invite to view your home videos is jerky camera action. You'll make them dizzy, and you might not be able to entice them back for next year's show. Keep in mind that camcorders, like movie cameras, don't really take moving pictures. They take a lot of still pictures in rapid succession. Our brains are easily fooled by these rapidly displayed still pictures most of the time, and so we usually see them as actual motion pictures. But our brains are savvy enough to spot two flaws in this method. One occurs when the scenes change too much between the stills -- in other words, when the camera is panning too fast or when something is moving too quickly within the camera's field of view. The other happens when the camera is shaking. None of the individual still pictures is clear, but instead of a general fuzziness, as you might get when the lens is out of focus, you see varying amounts of blur in each still frame. This is the kind of motion picture in which the motion is all in the camera, and viewers usually find that more annoying than an overall fuzziness. So, if you choose, like Gary, to lock in the focus on your best shots, be careful when you move that camcorder. Make most of your motions in the same plane as the forward field of view, by moving the camera toward or away from objects. Moving it from side to side will nearly always cause blurring, unless you do it very slowly. And that means to avoid panning whenever possible. To help fool the eye, the best pans are done while zooming the lens in or out. This keeps objects from jerking from frame to frame, and it also helps you bring the viewer's attention to the main part of the scene. And, finally, don't be afraid to edit out those flubs when you make a copy of a camcorder tape on your VCR. Everyone remembers the bad parts, but they won't complain about scenes they never get to see.
Are you interested in TV Production? Read this!
Racking focus
Racking focus is the practice of shifting the attention of a viewer of a film or video by changing the focus of the lens from a subject in the foreground to a subject in the background, or vice versa. It dated back to the time when cameras did not have reflex lenses so the operator would have to "rack focus" the camera by looking through the viewfinder, then sliding the camera over so that the shot would be in focus.[1] American director Richard Rush claims that he and cinematographer Laszlo Kovacs invented the technique, first used in the 1968 motorcycle film The Savage Seven. (Rush even owns the patent on a special lens used in the technique.)
The Savage Seven(1968)
Director: Richard Rush Cast: Adam Roarke, Robert Walker Jr., Billy Green Bush
The biker genre dates back to Stanley Kramer’s production of The Wild One in 1953. Marlon Brando and Lee Marvin would influence thousands of teenagers (including Bob Dylan and gonzo journalist Hunter S. Thompson) with their disregard for authority, their style of dress, and their basic overall devil-may-care attitude – riding around and caring only for the moment.
The next big success in the genre, despite minor cult classics such as Russ Meyer’s Motor Psycho in 1965, was Roger Corman's (or should I say, Peter Bogdanovich's?) The Wild Angels in 1966, starring the son of Tom Joad in leather, Peter Fonda. Fonda exudes a certain sadness in his performance as the lead of a motorcycle gang. It could have something to do with the fact that Fonda’s gloomy personal life was too much for him at the time. Three years later, his melancholy would turn into a longing for the real America and it would create a major film – Easy Rider.
But a year earlier, there is a forgotten motorcycle movie that used great rock music as Easy Rider did, pioneered the use of a major camera technique, and featured a lead performance full of conniving wit and double-crosses. That movie is The Savage Seven.
American Bandstand's Dick Clark produced the film which is about a white men-corrupted Indian Reservation where a motorcycle gang up to no good shows up to stir up trouble for everybody. The film opens up with a dashing pan over vast desert territory. Suddenly, an Indian appears out of nowhere. He starts screeching a battle cry. Another Native American jumps on top of the other, they fight to the ground. What is going on? Is this a Western?
“Quit fooling around,” yells Robert Walker Jr. as the two men get up and hop back into the back of a pick-up truck. It’s just a group of hardworking modern Native Americans going home for the day. What director Richard Rush does in this opening is wonderful. He downplays and modernizes the way Indians were previously portrayed in past cinematic outings. Sure, most of the Natives in the film were white or black pretending, but many of the lesser roles and extras were filled up with real Indians.
Robert Walker Jr. is good-hearted Johnny Blue Eyes. His comrades are played by John ‘Bud’ Cardos, Larry Bishop and the Mack himself, Max Julien. Johnny has a younger brother and sister (Joanna Frank, who is actually Steven Bochco’s sister). This makes up the essential group of Native Americans that are one element to the movie. Billy Green Bush (Jack Nicholson’s hick friend in Five Easy Pieces), Richard Rush regular Chuck Bail, and big Mel Berger as Fillmore make up the white men who corrupt and misuse the Indians.
Adam Roarke as Kisum, the leader of the gang, is the only worthy member to mention. The rest of the gang are clichés piled up on clichés. It’s the combination of Roarke, the beautiful cinematography of Laszlo Kovacs, and the rock music that make this one to watch. But more on all of that a bit later. The movie is an epic of three different levels of society vying for their own sense of freedom. The white men want the Indians gone or just less visible to them, the Indians want to be left alone and to be treated more fairly, and the gang want the freedom to do whatever the hell they want to do. There is plenty of manipulation by everyone in the movie, as they all try to trick one another with varying degrees of success.
Adam Roarke’s performance is nuanced with the right amount of stylized coolness, stoic wit, and conniving tendency. He’s as cool as Peter Fonda here (in fact, he plays second fiddle to Fonda in Dirty Mary, Crazy Larry in 1974). You never really know if Kisum genuinely likes the Indians or is just pretending to be nice to get Joanna Frank in the sack. He uses the town for his own personal garbage can, conning everyone – even some of his own gang.
Roarke played a similar leader in Rush’s inferior Hell's Angels On Wheels where he out-acted Jack Nicholson. He did two other motorcycle pictures (Hell's Belles and The Losers) before retiring to mediocre roles in the 1970s. He shined in a brief role in Rush’s excellent The Stunt Man, but sadly went largely unnoticed until the day he died (April 27, 1996). He’s got some of the qualities that Ryan O’Neal had to get famous, but he mixes that with Marlon Brando sensibilities that make him very compelling to watch.The other acting is mediocre, except for the always underused Billy Green Bush. I’ve never liked Robert Walker Jr. much and Larry Bishop acts like his rat pack dad – which is a living tree stump. Joanna Frank, as Johnny Blue Eyes’ quiet and cute waitress sister, does ok but never really has much to do except act silently to Roarke’s machismo advances. Mel Berger is a worthy, fat greedy bastard so affluent in these kind of exploitation movies. Richard Rush regulars Max Julien and Chuck Bail deliver their sparse dialogue cleverly. Twangy guitarist Duane Eddy even pops up in a short role, and there’s an appearance by Penny Marshall as she gets puked-on by one of the motorcycle gang. But it’s Adam Roarke who steals the show.
Richard Rush was 38 at the time of directing the movie, but was no stranger to motorcycle movies, having directed Hell's Angels On Wheels. His greatest triumph was The Stunt Man in 1980. After that, he became disillusioned with Hollywood and dropped off the map only to return to directing the Bruce Willis erotic thriller Color Of Night in the mid 1990s. Rush, with cinematographer Laszlo Kovacs, invented the rack focus camera technique (the focusing in on different areas in a single composition) in this film. He even owns the patent on some sort of lens for the trick. Rush directs with more grandeur here than he did with Hell's Angels On Wheels. It’s filmed in beautiful color and the camera captures many fine set pieces that moralize some of the characters. Example: Billy Green Bush’s hand caught in the cookie jar signifying how greedy he is, not letting go of the cookie to get his hand out.
The Savage Seven doesn’t have many action sequences and can’t really be considered an action movie. At the end, there’s a fight sequence in the town between everyone but the movie is fleshed out of characterizations. The production value is cheap but made to look grandiose.
The bikers streaming down the road while “the theme of Iron Butterfly” plays looks as good as Lawrence Of Arabia. They make the best of their Southern Californian locations but the look becomes tiresome if you watch enough of these films.
The movie plays like a con man movie with Roarke as the leading con. The plot twists are sharp and if you’re not paying attention you may miss it. Kisum makes a deal with the white townsfolk to get rid of the Indians. Yet, Kisum manages to raid the local grocery store and feed many of the same people he’s hired to kill. If the movie shares anything with the often compared Seven Samurai other than the similar title, it’s this twisted plot. Instead of the samurai (motorcycle gang) being hired to kill the bad guy, they’re hired to kill the good guys by the bad. It’s a convoluted take on Kurosawa’s classic.
The soundtrack, like Hell's Angels On Wheels, is full up on rock and roll. The main theme is by Cream. “Anyone for Tennis?” is a melodic little number that lingers on for a few scenes as Roarke and company gaze at the town as they try to get their kicks. It’s got more of a twangy rock meets hard rock soundtrack but it’s the Cream track that makes it appealing. The Cream and Iron Butterfly are taken out of the VHS versions due to a rights issue. These VHS versions also cut out 10 minutes of the more somber scenes, which have some of Roarke’s best work.
The movie is in dire need of a re-release and, for one night a couple years ago, it sort of did: showing at Quentin Tarantino’s first Austin, Texas film festival in 1997. Other than showing up on television uncut a few years ago, I’d of never have seen the unquestionable greatness of this film. It’s an unbridled attempt at making something better than what should have been which is a silly exploitation movie to only play at drive-ins during the time it was made and to whither away, totally forgotten about.
Instead, Richard Rush played up to the genre and made a great addition to movies that are usually only reserved for motorcycle enthusiasts. It also contains, for my money, one of the most interesting acting roles in exploitation movie history in the form of Adam Roarke as Kisum.
For fans of Roarke, also check out Howard Hawks’ El Dorado (in a weird twist of fate, Roarke would wind up playing Hawks in Hughes And Harlow: Angels In Hell in 1977). Also see Rush’s Hell's Angels On Wheels and Psych-Out; all three make a great triple bill.
Check for availability on Amazon (VHS)
See also: Lone Hero, The Peace Killers, Run, Angel, Run
Which filter should I use on my underwater camcorder and when (what depth)?
Without a filter or lights on your underwater camcorder all your video will look washed out and blue or green in color.
In blue water a UR-Pro red filter is used. This filter works well from about 20 to 60 feet. There is no magic depth. I use mine all the time except very close to the surface or on the surface or when using lights. There is no solution for depth except using lights with no filter or correcting for color and contrast when you are editing your video on your computer. Many editing software have color correction.
Frequently Asked QuestionsAbout Underwater Video and Equipment
Do you have questions? Then read on....
PRACTICE, PRACTICE, PRACTICE...will give you great underwater Video.
Got a question about video? Send questions to Sheryl Brakey at sjbproductions@sjbproductions.com. We will try to answer them or give another opinion.
Should I buy a housing with a view finder or a LCD screen?
The answer to this depends on how much money you have to spend. If you need some correction for your eyes, the viewfinder does have a magnifier and works pretty well with no other correction in your mask (unless you need a lot of correction). The view is small and you have to have the housing closer to your mask.
The LCD screen is a bigger view, but there is no magnifier and unless you have a shade for it (some housings come with one- like the Light and Motion housings), it is hard to see in sunlight (just like on land). A LCD screen cost a lot more money too. For more information on this topic....
I have a Canon ZR70 mini dv camcorder and can't find a housing for it. Most housings are made for Sony camcorder, what can I do?
You are right, most underwater housings seem to be for Sony Camcorders. The choice of housings for other brands of camcorders depends on how much money you want to spend on either manual or electronic housings.
Ikelite is a good place to start. They can custom build a housing for most camcorders. It is one of the least expensive housing and has manual controls. For an explanation of the difference in housings and controls click here.
Other manufacturers may be able to custom fit your camcorder too. You need to decide first which features are important to you.
How much wattage do I need in my underwater lights?
If you are using your lights for night, macro, close-ups and dark recesses, then you don't need a lot of wattage. The halogen lights available for many housings are from 20 to 100 watts. I use two 20 watt halogen lights for night, macro and close-ups. This works fine and there are number of options. See my article on Underwater lights for more information.
What are the new high density lights?
The new high density lights give off a lot of light with little wattage or power. But they are expensive. A good inexpensive solution is the Underwater Kinetics Canon 100 light. There is more information on this in my article on Underwater lights.
I have a Panasonic GS400 Camcorder and am looking at three housings: Equinox Pro-Pak 6, Sealux DS40 and Ocean Images GS400. How important is electronic controls versus manual and how important is white balance control on the housing?
First of all, on my website, I talk about manual vs. electronic controls. It comes down to budget and convenience of use. I started with manual controls housing before switching to an electronic controlled housing. With electronic controls, more things can go wrong, such as leaking around controls. You have to carry extra batteries for the control handles on your dive trips.
As to White Balance. Your camera has three modes, indoor-outdoor-manual. I talk about when white balance matters in using colored filters. In blue water with a UR Pro filter (which is a must to have--you will film with this on almost always) the automatic white balance works fine. In green water (which sometimes you encounter) you have two options. Change the white balance to indoor which should give a blue cast and use your UR Pro Filter which then gives a magenta cast. This corrects for green water. Or you can do everything the same as blue water and correct in editing in color correction by adding blue. I do both. So white balance control is not as important because there are ways around it.
What you need to consider on the three housings is whether you can turn off the automatic focus and lock the focus. This feature usually comes with the manual focus controls. The reason you want this is when in murky water or low light water, especially when trying to capture video of larger animals which aren't close, your automatic focus may go in and out of focus. I usually point at something close to me that is in focus--like my fin if I I am away from the reef and lock the focus. Then I point at the animal and continue to shoot.
This article gives you a general idea of what you need to edit video and where to start. There are a number of manufacturers with editing equipment and software available. If you have more questions on where to start with editing your own video or have a problem with editing that I may be able to answer, send your emails to sjbproductions@sjbproducitons.com.
I wear glasses, what works underwater?
The best solution for glasses underwater is a Sea Vision Mask corrected to your eye prescription. You can get just for distance or with bifocals. Sea Vision is noted for their color corrected mask but they do an excellent job with clear glass too. They take into consideration water magnification. But there are other problems with filters like the color of the water. The UR-Pro red filter is designed for blue water.
Racking focus is the practice of shifting the attention of a viewer of a film or video by changing the focus of the lens from a subject in the foreground to a subject in the background, or vice versa. It dated back to the time when cameras did not have reflex lenses so the operator would have to "rack focus" the camera by looking through the viewfinder, then sliding the camera over so that the shot would be in focus.[1] American director Richard Rush claims that he and cinematographer Laszlo Kovacs invented the technique, first used in the 1968 motorcycle film The Savage Seven. (Rush even owns the patent on a special lens used in the technique.)
The Savage Seven(1968)
Director: Richard Rush Cast: Adam Roarke, Robert Walker Jr., Billy Green Bush
The biker genre dates back to Stanley Kramer’s production of The Wild One in 1953. Marlon Brando and Lee Marvin would influence thousands of teenagers (including Bob Dylan and gonzo journalist Hunter S. Thompson) with their disregard for authority, their style of dress, and their basic overall devil-may-care attitude – riding around and caring only for the moment.
The next big success in the genre, despite minor cult classics such as Russ Meyer’s Motor Psycho in 1965, was Roger Corman's (or should I say, Peter Bogdanovich's?) The Wild Angels in 1966, starring the son of Tom Joad in leather, Peter Fonda. Fonda exudes a certain sadness in his performance as the lead of a motorcycle gang. It could have something to do with the fact that Fonda’s gloomy personal life was too much for him at the time. Three years later, his melancholy would turn into a longing for the real America and it would create a major film – Easy Rider.
But a year earlier, there is a forgotten motorcycle movie that used great rock music as Easy Rider did, pioneered the use of a major camera technique, and featured a lead performance full of conniving wit and double-crosses. That movie is The Savage Seven.
American Bandstand's Dick Clark produced the film which is about a white men-corrupted Indian Reservation where a motorcycle gang up to no good shows up to stir up trouble for everybody. The film opens up with a dashing pan over vast desert territory. Suddenly, an Indian appears out of nowhere. He starts screeching a battle cry. Another Native American jumps on top of the other, they fight to the ground. What is going on? Is this a Western?
“Quit fooling around,” yells Robert Walker Jr. as the two men get up and hop back into the back of a pick-up truck. It’s just a group of hardworking modern Native Americans going home for the day. What director Richard Rush does in this opening is wonderful. He downplays and modernizes the way Indians were previously portrayed in past cinematic outings. Sure, most of the Natives in the film were white or black pretending, but many of the lesser roles and extras were filled up with real Indians.
Robert Walker Jr. is good-hearted Johnny Blue Eyes. His comrades are played by John ‘Bud’ Cardos, Larry Bishop and the Mack himself, Max Julien. Johnny has a younger brother and sister (Joanna Frank, who is actually Steven Bochco’s sister). This makes up the essential group of Native Americans that are one element to the movie. Billy Green Bush (Jack Nicholson’s hick friend in Five Easy Pieces), Richard Rush regular Chuck Bail, and big Mel Berger as Fillmore make up the white men who corrupt and misuse the Indians.
Adam Roarke as Kisum, the leader of the gang, is the only worthy member to mention. The rest of the gang are clichés piled up on clichés. It’s the combination of Roarke, the beautiful cinematography of Laszlo Kovacs, and the rock music that make this one to watch. But more on all of that a bit later. The movie is an epic of three different levels of society vying for their own sense of freedom. The white men want the Indians gone or just less visible to them, the Indians want to be left alone and to be treated more fairly, and the gang want the freedom to do whatever the hell they want to do. There is plenty of manipulation by everyone in the movie, as they all try to trick one another with varying degrees of success.
Adam Roarke’s performance is nuanced with the right amount of stylized coolness, stoic wit, and conniving tendency. He’s as cool as Peter Fonda here (in fact, he plays second fiddle to Fonda in Dirty Mary, Crazy Larry in 1974). You never really know if Kisum genuinely likes the Indians or is just pretending to be nice to get Joanna Frank in the sack. He uses the town for his own personal garbage can, conning everyone – even some of his own gang.
Roarke played a similar leader in Rush’s inferior Hell's Angels On Wheels where he out-acted Jack Nicholson. He did two other motorcycle pictures (Hell's Belles and The Losers) before retiring to mediocre roles in the 1970s. He shined in a brief role in Rush’s excellent The Stunt Man, but sadly went largely unnoticed until the day he died (April 27, 1996). He’s got some of the qualities that Ryan O’Neal had to get famous, but he mixes that with Marlon Brando sensibilities that make him very compelling to watch.The other acting is mediocre, except for the always underused Billy Green Bush. I’ve never liked Robert Walker Jr. much and Larry Bishop acts like his rat pack dad – which is a living tree stump. Joanna Frank, as Johnny Blue Eyes’ quiet and cute waitress sister, does ok but never really has much to do except act silently to Roarke’s machismo advances. Mel Berger is a worthy, fat greedy bastard so affluent in these kind of exploitation movies. Richard Rush regulars Max Julien and Chuck Bail deliver their sparse dialogue cleverly. Twangy guitarist Duane Eddy even pops up in a short role, and there’s an appearance by Penny Marshall as she gets puked-on by one of the motorcycle gang. But it’s Adam Roarke who steals the show.
Richard Rush was 38 at the time of directing the movie, but was no stranger to motorcycle movies, having directed Hell's Angels On Wheels. His greatest triumph was The Stunt Man in 1980. After that, he became disillusioned with Hollywood and dropped off the map only to return to directing the Bruce Willis erotic thriller Color Of Night in the mid 1990s. Rush, with cinematographer Laszlo Kovacs, invented the rack focus camera technique (the focusing in on different areas in a single composition) in this film. He even owns the patent on some sort of lens for the trick. Rush directs with more grandeur here than he did with Hell's Angels On Wheels. It’s filmed in beautiful color and the camera captures many fine set pieces that moralize some of the characters. Example: Billy Green Bush’s hand caught in the cookie jar signifying how greedy he is, not letting go of the cookie to get his hand out.
The Savage Seven doesn’t have many action sequences and can’t really be considered an action movie. At the end, there’s a fight sequence in the town between everyone but the movie is fleshed out of characterizations. The production value is cheap but made to look grandiose.
The bikers streaming down the road while “the theme of Iron Butterfly” plays looks as good as Lawrence Of Arabia. They make the best of their Southern Californian locations but the look becomes tiresome if you watch enough of these films.
The movie plays like a con man movie with Roarke as the leading con. The plot twists are sharp and if you’re not paying attention you may miss it. Kisum makes a deal with the white townsfolk to get rid of the Indians. Yet, Kisum manages to raid the local grocery store and feed many of the same people he’s hired to kill. If the movie shares anything with the often compared Seven Samurai other than the similar title, it’s this twisted plot. Instead of the samurai (motorcycle gang) being hired to kill the bad guy, they’re hired to kill the good guys by the bad. It’s a convoluted take on Kurosawa’s classic.
The soundtrack, like Hell's Angels On Wheels, is full up on rock and roll. The main theme is by Cream. “Anyone for Tennis?” is a melodic little number that lingers on for a few scenes as Roarke and company gaze at the town as they try to get their kicks. It’s got more of a twangy rock meets hard rock soundtrack but it’s the Cream track that makes it appealing. The Cream and Iron Butterfly are taken out of the VHS versions due to a rights issue. These VHS versions also cut out 10 minutes of the more somber scenes, which have some of Roarke’s best work.
The movie is in dire need of a re-release and, for one night a couple years ago, it sort of did: showing at Quentin Tarantino’s first Austin, Texas film festival in 1997. Other than showing up on television uncut a few years ago, I’d of never have seen the unquestionable greatness of this film. It’s an unbridled attempt at making something better than what should have been which is a silly exploitation movie to only play at drive-ins during the time it was made and to whither away, totally forgotten about.
Instead, Richard Rush played up to the genre and made a great addition to movies that are usually only reserved for motorcycle enthusiasts. It also contains, for my money, one of the most interesting acting roles in exploitation movie history in the form of Adam Roarke as Kisum.
For fans of Roarke, also check out Howard Hawks’ El Dorado (in a weird twist of fate, Roarke would wind up playing Hawks in Hughes And Harlow: Angels In Hell in 1977). Also see Rush’s Hell's Angels On Wheels and Psych-Out; all three make a great triple bill.
Check for availability on Amazon (VHS)
See also: Lone Hero, The Peace Killers, Run, Angel, Run
Which filter should I use on my underwater camcorder and when (what depth)?
Without a filter or lights on your underwater camcorder all your video will look washed out and blue or green in color.
In blue water a UR-Pro red filter is used. This filter works well from about 20 to 60 feet. There is no magic depth. I use mine all the time except very close to the surface or on the surface or when using lights. There is no solution for depth except using lights with no filter or correcting for color and contrast when you are editing your video on your computer. Many editing software have color correction.
Frequently Asked QuestionsAbout Underwater Video and Equipment
Do you have questions? Then read on....
PRACTICE, PRACTICE, PRACTICE...will give you great underwater Video.
Got a question about video? Send questions to Sheryl Brakey at sjbproductions@sjbproductions.com. We will try to answer them or give another opinion.
Should I buy a housing with a view finder or a LCD screen?
The answer to this depends on how much money you have to spend. If you need some correction for your eyes, the viewfinder does have a magnifier and works pretty well with no other correction in your mask (unless you need a lot of correction). The view is small and you have to have the housing closer to your mask.
The LCD screen is a bigger view, but there is no magnifier and unless you have a shade for it (some housings come with one- like the Light and Motion housings), it is hard to see in sunlight (just like on land). A LCD screen cost a lot more money too. For more information on this topic....
I have a Canon ZR70 mini dv camcorder and can't find a housing for it. Most housings are made for Sony camcorder, what can I do?
You are right, most underwater housings seem to be for Sony Camcorders. The choice of housings for other brands of camcorders depends on how much money you want to spend on either manual or electronic housings.
Ikelite is a good place to start. They can custom build a housing for most camcorders. It is one of the least expensive housing and has manual controls. For an explanation of the difference in housings and controls click here.
Other manufacturers may be able to custom fit your camcorder too. You need to decide first which features are important to you.
How much wattage do I need in my underwater lights?
If you are using your lights for night, macro, close-ups and dark recesses, then you don't need a lot of wattage. The halogen lights available for many housings are from 20 to 100 watts. I use two 20 watt halogen lights for night, macro and close-ups. This works fine and there are number of options. See my article on Underwater lights for more information.
What are the new high density lights?
The new high density lights give off a lot of light with little wattage or power. But they are expensive. A good inexpensive solution is the Underwater Kinetics Canon 100 light. There is more information on this in my article on Underwater lights.
I have a Panasonic GS400 Camcorder and am looking at three housings: Equinox Pro-Pak 6, Sealux DS40 and Ocean Images GS400. How important is electronic controls versus manual and how important is white balance control on the housing?
First of all, on my website, I talk about manual vs. electronic controls. It comes down to budget and convenience of use. I started with manual controls housing before switching to an electronic controlled housing. With electronic controls, more things can go wrong, such as leaking around controls. You have to carry extra batteries for the control handles on your dive trips.
As to White Balance. Your camera has three modes, indoor-outdoor-manual. I talk about when white balance matters in using colored filters. In blue water with a UR Pro filter (which is a must to have--you will film with this on almost always) the automatic white balance works fine. In green water (which sometimes you encounter) you have two options. Change the white balance to indoor which should give a blue cast and use your UR Pro Filter which then gives a magenta cast. This corrects for green water. Or you can do everything the same as blue water and correct in editing in color correction by adding blue. I do both. So white balance control is not as important because there are ways around it.
What you need to consider on the three housings is whether you can turn off the automatic focus and lock the focus. This feature usually comes with the manual focus controls. The reason you want this is when in murky water or low light water, especially when trying to capture video of larger animals which aren't close, your automatic focus may go in and out of focus. I usually point at something close to me that is in focus--like my fin if I I am away from the reef and lock the focus. Then I point at the animal and continue to shoot.
This article gives you a general idea of what you need to edit video and where to start. There are a number of manufacturers with editing equipment and software available. If you have more questions on where to start with editing your own video or have a problem with editing that I may be able to answer, send your emails to sjbproductions@sjbproducitons.com.
I wear glasses, what works underwater?
The best solution for glasses underwater is a Sea Vision Mask corrected to your eye prescription. You can get just for distance or with bifocals. Sea Vision is noted for their color corrected mask but they do an excellent job with clear glass too. They take into consideration water magnification. But there are other problems with filters like the color of the water. The UR-Pro red filter is designed for blue water.
KINYE MEDIA
Hii ni video production studio especially kwa music videos>>documentaries and short dramas
Niko emlpoyed but my dream was to have thing of this kind and Hallelujah here it is
Artist from wherever you wont regreat working with me and my team>>we are well equiped using modern cameras and editing software ie FINAL CUT
KARIBUNI SANA
Niko emlpoyed but my dream was to have thing of this kind and Hallelujah here it is
Artist from wherever you wont regreat working with me and my team>>we are well equiped using modern cameras and editing software ie FINAL CUT
KARIBUNI SANA
KIDUUCHU ON BROADCASTING
Top 7 Tips for Better Audio Recording
By Kinye Wynjones
Audio recording is often an afterthought to videographers, but it's just as important to your finished product as the recorded video. Good audio recording takes a little bit of effort, but it's well worth it. Keep these tips in mind for audio recording that is easy to hear and a pleasure to listen to.
1. Use a Quality Microphone
Microphones built in to camcorders are generally low quality. They don't always pick up sound well, and sometimes you'll end up hearing the sound of the camcorder operating.
If possible, use an external microphone whenever you're shooting videos. A lavaliere, or lapel mic, like the type newscasters use, is unobtrusive and especially helpful if you want to hear someone's voice clearly.
2. Monitor the Sound
If you can plug headphones into your camera, do it! They'll allow you to hear exactly what the camera hears, so you'll know if your subject is speaking loudly enough, or if the background noises are too distracting.
3. Limit Background Noises
Background noises can be distracting in a video, and can make for difficult editing. Turn off fans and refrigerators so you don't hear them humming. If there's a window open, close it and shut out the traffic noises.
4. Turn Off the Music
If there's music playing in the background, turn it off. Leaving it on while you're recording will make editing difficult because you can't cut and rearrange clips without hearing the jumps in the music. If you like the music and want it in the video, it's better to add in the recording later on.
5. Record Background Sound
Think about what sounds are distinctive to the event you're recording, and try to capture those on tape. If you're at a carnival, the music of the merry-go-round and the sound of the popcorn popper will really add to the mood of your video and help viewers feel as if they are there with you.
Try to record these sounds clearly, without worrying too much about the video footage. While editing you can move the audio clips around and have them playing underneath different parts of your video.
6. Watch Out For Wind
Recording outdoors on a windy day is difficult because the impact of the wind on the microphone can create loud slapping or popping sounds. You can buy a wind protector for your microphone to cut down on this effect or, in a pinch, slip a fuzzy sock over the mic!
7. Add It Later
Remember, you can always add sound later. If you're recording in a loud area, wait and record narration later when you're in a quieter space. Or you can wait and add sound effects, which are available with many editing programs.
By Kinye Wynjones
Audio recording is often an afterthought to videographers, but it's just as important to your finished product as the recorded video. Good audio recording takes a little bit of effort, but it's well worth it. Keep these tips in mind for audio recording that is easy to hear and a pleasure to listen to.
1. Use a Quality Microphone
Microphones built in to camcorders are generally low quality. They don't always pick up sound well, and sometimes you'll end up hearing the sound of the camcorder operating.
If possible, use an external microphone whenever you're shooting videos. A lavaliere, or lapel mic, like the type newscasters use, is unobtrusive and especially helpful if you want to hear someone's voice clearly.
2. Monitor the Sound
If you can plug headphones into your camera, do it! They'll allow you to hear exactly what the camera hears, so you'll know if your subject is speaking loudly enough, or if the background noises are too distracting.
3. Limit Background Noises
Background noises can be distracting in a video, and can make for difficult editing. Turn off fans and refrigerators so you don't hear them humming. If there's a window open, close it and shut out the traffic noises.
4. Turn Off the Music
If there's music playing in the background, turn it off. Leaving it on while you're recording will make editing difficult because you can't cut and rearrange clips without hearing the jumps in the music. If you like the music and want it in the video, it's better to add in the recording later on.
5. Record Background Sound
Think about what sounds are distinctive to the event you're recording, and try to capture those on tape. If you're at a carnival, the music of the merry-go-round and the sound of the popcorn popper will really add to the mood of your video and help viewers feel as if they are there with you.
Try to record these sounds clearly, without worrying too much about the video footage. While editing you can move the audio clips around and have them playing underneath different parts of your video.
6. Watch Out For Wind
Recording outdoors on a windy day is difficult because the impact of the wind on the microphone can create loud slapping or popping sounds. You can buy a wind protector for your microphone to cut down on this effect or, in a pinch, slip a fuzzy sock over the mic!
7. Add It Later
Remember, you can always add sound later. If you're recording in a loud area, wait and record narration later when you're in a quieter space. Or you can wait and add sound effects, which are available with many editing programs.
Subscribe to:
Posts (Atom)
