CTL (Contextual Teaching and learning)

CTL merupakan sebuah sistem yang menyeluruh. CTL terdiri dari bagian-bagian yang saling terhubung.jika bagian-bagian ini terjalin satu sama lain, maka akan dihasilkan pengaruh yang melebihi hasil yang diberikan bagian-bagiannya terpisah.

Seperti halnya biola, cello, klarinet dan alat musik lain didalan sebuah orkestra yang menghasilkan bunyi yang berbeda-beda yang secara bersama-sama menghasilkan musik,demikian juga bagian-bagian CTL yang terpisah melibatkan proses-proses yang berbeda, yang ketika digunakan secara bersama-sama membuat hubungan yang menghasilkan makna.
Sistem CTL ada 8 komponen, yang meliputi:
1. membuat keterkaitan-keterkaitan yang bermakna
2. melakukan pekerjaan yang berarti
3. melakukan pekerjaan yang diatur sendiri
4. bekerja sama
5. berpikir kritis dan kreatif
6. membantu individu untuk tumbuh dan berkembang
7. mencapai standar yang tinggi
8. menggunakan penilaian yang autentik

Tips Merawat Dokumentasi Kaset Video

Tahukah anda kaset video mudah terserang jamur !!!

Tips untuk melindungi Kaset Video dari serangan jamur :

Bila kaset video tidak dipakai dalam waktu lama, yang harus anda lakukan adalah :

CARA I.

1. Gulung kaset video anda hingga berada pada posisi pertama. (Rewind)

2. Pastikan kaset video dalam keadaan kering.

3. Lalu simpan di kotak plastik yang kedap udara yang berisi bahan yang dapat menyerap air. Bila tidak ada Kotak plastik bias memakai kantong plastic berpelekat dan didalamnya diberi bahan penyerap air.

4. Lalu simpan di lemari yang tidak lembab.

Dengan melaksanakan keempat kegiatan di atas kaset video anda kini sudah aman dari jamur.

CARA II

Transfer Video Kaset Anda ke Format DVD / VCD.
Manfaat yang anda peroleh :

1. DVD / VCD lebih mudah perawatannya

2. Praktis dalam penggunaan

Kemudahan dalam menduplikasi dokumentasi anda

Teknik Editing Video Digital

• Konfigurasi hardware yang dibutuhkan
• Software utama dan software pendukung yang dibutuhkan
• Cara instalasi Software ADOBE PREMIER & software pendukung lainnya
• Dasar-dasar video : video analog & digital, cara kerja kamera digital, teknologi MPEG, sinyal PAL & NTSC, format video digital
• Alur kerja video editing di Adobe Premier
• Mempersiapkan Project
• Pengetahuan tool di ADOBE PREMIER & short-cut
• Import klip, menyusun, memberi transisi, memberi teks serta preview klip
• Preview setting
• Bekerja dengan timeline (dasar)
• Memilih, menggeser, memindah dan memotong klip
• Capture/ transfer video dari kamera/ player
• Transition Effect
• Bekerja dengan timeline (lanjut)
• Opacity (transparan dan fade in/ out)
• Mengatur durasi masing-masing klip
• Slow motion & fast motion
• Memisah audio
• Teknik trimming
• Membuat track baru
• Mengimport berbagai format file (JPEG, PSD, MP3 dll)
• Maintain Aspect Ratio (mengembalikan ukuran klip ke ukuran aslinya)
• Membuat, mengatur dan animasi teks
• Pengolahan audio fade-in/ fade-out
• Mengatur setting export menjadi film (format DV, MPEG1 & 2, VCD, DVD)
• Export to MPEG1 & MPEG2
• Membakar ke format VCD dengan software Nero

Format File Video Digital

Sejak format video analog (menggunakan pita kaset) dapat dikonversi menjadi file-file digital dengan menggunakan software komputer, tumbuh dan berkembang aktifitas para kreator muda yang bereksperimen dengan Personal Computer. Tidak seperti industri film era 80-an yang menggunakan peralatan mahal hanya untuk mengedit atau membuat efek film hasil syuting, pertumbuhan teknologi komputer personal (Home PC) di era 2000-an menjadi fenomena tersendiri. Ilmu baru dibidang pembuatan film digital menyebar luas ke masyarakat dan mulai saat itu kita belajar berbagai macam format film digital yang telah dikonversi menjadi file-file di dalam komputer dan handphone kita.

Banyak sekali istilah-istilah baru seperti format MPEG, 3GP, AVI, WMA, MOV, WMV, 3G2, MP3, MP4 yang semuanya menunjuk ke berbagai macam format file multimedia. File multimedia yang dimaksud adalah hasil konversi dari format multimedia analog (film dan musik yang menggunakan media pita analog), menjadi format yang sesuai dengan sistem operasi komputer.

Jika anda menonton film VCD, maka sebenarnya Anda sedang memutar file film format digital yang telah dikonversi ke dalam standar MPEG (Motion Picture Experts Group) dan menggunakan kode file .DAT. MPEG sendiri adalah sebuah konsorsium perusahaan pengembang format film dan musik digital yang menciptakan standar file multimedia paling banyak digunakan di dunia.

Untuk standar pemutaran film dengan menggunakan handphone, digunakan format 3GP, AVI, WMV, WMA. Jadi bila Anda menggunakan handphone berteknologi kamera video, otomatis setiap rekaman video yang Anda buat harus berformat seperti yang disebutkan di atas. Dan apabila Anda mempunyai format video yang berbeda, maka dibutuhkan suatu software konversi yang dapat merubah video tersebut menjadi format yang sesuai.

Sistem konversi digunakan karena berbedanya ukuran resolusi layar. Pada layar handphone biasanya menggunakan resolusi layar maksimal 640x480. Bandingkan dengan resolusi komputer personal yang dapat mencapai resolusi 10 kali lipat resolusi handphone. Selain itu, sistem konversi digunakan untuk memampatkan ukuran file. Dengan kapasitas simpan yang terbatas, kartu memory pada handphone anda membutuhkan file-file berukuran kecil. Software konversi format film untuk handphone dapat mengecilkan ukuran file (dalam hitungan bytes). Namun, proses konversi menimbulkan efek: Menurunnya kualitas gambar dan suara dibandingkan file asli sebelum di konversi.

Analog Vs Digital Video

Digital information recording is a evolution from analog which is most heavily influenced by computers and their popularity and accessibility. Originally video production had a large gambit of machines and electronics specifically created for that industry. As computers became more advanced, cheaper, and more accessible applications for the computer spread to almost every industry. The widespread application of computers for manipulation of video was hampered because video requires relatively massive storage, processing, and data transfer requirements. As hardware has become cheaper and more powerful, and storage space in particular has become plentiful, using a computer to manipulate video has become more economically viable than not. Currently video production is towards the end of a transition in technology from an analog based system to a digital based system.

Digital

Why use digital?

Digital has advantages and disadvantages like any tool, but the general consensus is that digital is better, and for good reason. In post-production of analog video, there are basically two editing options. There is assemble (aka linear) editing, in which the final product is assembled from the various pieces in order from the beginning to end. If a change needs to be made at any point, then everything from that point to the end of the change must be recreated from the original source material. This, of course, is problematic if the needs of the production are the least bit dynamic. Avid was the first popular computer based “nonlinear” editing application, originally created for film editing. It was a small step toward moving into professional video editing applications. Non-linear editing allows the editor to “ripple” an insert so that everything that comes after the change is shifted to accommodate the shift. As computer-based editing became more popular, the choices were either staying with the hardware controlled tape-to-tape linear systems or digitizing the analog footage into a computer for digital editing. Since computers are digital systems--not analog--the video signal is translated into a digital signal. The evolutionary step was a short one to have the video signal recorded in a digital format.

Analog

Limitations of Analog

When using an analog system, there are some major inherent limitations that can be problematic. The first is when you’re editing video the process doesn’t take the physical tape material, slice it with a razor, and combine it with other clips as one would with film. Rather a VTP would read the information from the source tape and send the signal to a VTR, which would record the signal onto a new tape. This is called a "generation" and analog has a tendency of not making a 100% exact copy during this process. As video is pushed through more and more generations, the signal degrades until it is essentially unrecognizable. There are tools that help reduce this--like waveform monitors, signal amplifiers, etc.--but most analog video is unusable after 5 to 10 generations (for professional standards). On the other hand, as long as the information isn’t reprocessed (such as in color correction, transitions, etc.) DV can withstand dozens of generations and some manufacturers have reported over 100 generations with no perceptible loss in picture quality. **citation needed** On the other hand, there are limitations to a digital system mainly in regards to sample rates and aliasing. However as the delivery of the video signal is not analog anyway (pixels) digital information processing on these discrete units seems to make the most sense.

Teori Dasar Pembuatan Film/Video

Apa Itu Film ????
Film adalah gambar-hidup, juga sering disebut movie atau video (semula pelesetan untuk 'berpindah gambar'). Film, secara kolektif, sering disebut 'sinema'. Gambar-hidup adalah bentuk seni, bentuk populer dari hiburan, dan juga bisnis, yang diperankan oleh tokoh-tokoh sesuai karakter direkam dari benda/lensa (kamera)atau animasi.

Dasar-dasar Produksi Film
Menjelaskan tahapan produksi sebuah film, deskripsi kerja dalam tim produksi, dan manajemen produksi.
Materi mencakup: Menyusun tim produksi; Menyeleksi kru (crew) dan Hal yang harus disiapkan dalam produksi film.

Penulisan dan Penyutradaraan
Menjabarkan dasar-dasar penulisan cerita untuk pembuatan film, penyusunan riset untuk film dokumenter, dan penerapan pembuatan sinopsis, director treatment, shotlist, script breakdown dan shooting schedule.
Materi mencakup: Penulisan, Penyutradaraan pada tahap Pra Produksi, Produksi, dan Paska Produksi.

Sinematografi
Menjelaskan tentang pengoperasian kamera dengan baik serta cara pemeliharaannya, proses perekaman yang dapat menghasilkan gambar dan suara dengan baik, dan mengasah inisiatif untuk menyesuaikan diri dengan keterbatasan alat.
Materi mencakup: Dasar-dasar sinematografi, Pengenalan teknologi kamera, Teknik pengambilan gambar, Tata cahaya, dan Penataan kamera saat produksi.

Tata Suara
Menguraikan dasar-dasar audio pada proses produksi film, baik yang dilakukan ketika perekaman suara saat pengambilan gambar, maupun kebutuhan pengisian suara saat pasca produksi.
Materi mencakup: Dialog, Musik, dan Efek suara

Tata Artistik
Menjelaskan tugas-tugas yang harus dilakukan oleh departemen artistik dan mengaplikasikan sinopsis dan director treatment menjadi breakdown artistik.
Materi mencakup: Tata busana, Tata rias, Bagian set, Properti, dan Efek spesial

Editing
Menjelaskan proses editing, teori dasar editing, pengoperasian computer untuk editing. Memberi pemahaman tentang pola pikir editing pada setiap tahap produksi film dan penerapan konsep editing (paper edit).
Materi mencakup: Sekilas tentang editing, Tahapan editing, dan Istilah teknis editing.

Dokumentasi dan Dokumenter
Menjelaskan dasar pengerjaan, pengelolaan dan pemanfaatan dokumentasi berdasarkan obyek dan kebutuhannya. Menjelaskan apa itu visual proposal dan kaitannya dengan pengelolaan kearifan budaya.
Materi mencakup: Sekilas tentang dokumentasi dan dokumenter, Bagaimana cara kerja dokumentasi, dan Film dokumenter sebagai alat pengelolaan kearifan budaya

Clinical forms of color blindness

Total color blindness

Achromatopsia is strictly defined as the inability to see color.

Although the term may refer to acquired disorders such as color agnosia and cerebral achromatopsia, it typically refers to congenital color vision disorders (i.e. more frequently rod monochromacy and less frequently cone monochromacy).

In color agnosia and cerebral achromatopsia, a person cannot perceive colors even though the eyes are capable of distinguishing them. Some sources do not consider these to be true color blindness, because the failure is of perception, not of vision. They are forms of visual agnosia.

Red-green color blindness

Those with protanopia, deuteranopia, protanomaly, and deuteranomaly have difficulty with discriminating red and green hues. Genetic red-green color blindness affects men much more often than women, because the genes for the red and green color receptors are located on the X chromosome, of which men have only one and women have two. Such a trait is called sex-linked. Females (46, XX) are red-green color blind only if both their X chromosomes are defective with a similar deficiency, whereas males (46, XY) are color blind if their single X chromosome is defective.

The gene for red-green color blindness is transmitted from a color blind male to all his daughters who are heterozygote carriers and are usually unaffected. In turn, a carrier woman has a fifty percent chance of passing on a mutated X chromosome region to each of her male offspring. The sons of an affected male will not inherit the trait from him, since they receive his Y chromosome and not his (defective) X chromosome. Should an affected male have children with a carrier or colorblind woman, their daughters may be colorblind by inheriting an affected X chromosome from each parent.

Because one X chromosome is inactivated at random in each cell during a woman's development, it is possible for her to have four different cone types, as when a carrier of protanomaly has a child with a deuteranomalic man. Denoting the normal vision alleles by P and D and the anomalous by p and d, the carrier is PD pD and the man is Pd. The daughter is either PD Pd or pD Pd. Suppose she is pD Pd. Each cell in her body expresses either her mother's chromosome pD or her father's Pd. Thus her red-green sensing will involve both the normal and the anomalous pigments for both colors. Such women are tetrachromats, since they require a mixture of four spectral lights to match an arbitrary light.

Blue-yellow color blindness

Those with tritanopia and tritanomaly have difficulty with discriminating blue and yellow hues.

Color blindness involving the inactivation of the short-wavelength sensitive cone system (whose absorption spectrum peaks in the bluish-violet) is called tritanopia or, loosely, blue-yellow color blindness. The tritanopes neutral point occurs near a yellowish 570 nm; green is perceived at shorter wavelengths and red at longer wavelengths. Mutation of the short-wavelength sensitive cones is called tritanomaly. Tritanopia is equally distributed among males and females. Jeremy H. Nathans (with the Howard Hughes Medical Institute) proved that the gene coding for the blue receptor lies on chromosome 7, which is shared equally by men and women. Therefore it is not sex-linked. This gene does not have any neighbor whose DNA sequence is similar. Blue color blindness is caused by a simple mutation in this gene. (2006, Howard Hughes Medical Institute).