AV Distinctions Panel 2006/2007

If you wish to have advice from the panel for a possible future application come along
or contact the AV Distinctions Board Chairman
Robert Albright FRPS
Robert@robertalbright.co.uk

Tel 01672540754 or 07979 523309  

This RPS AV Panel Distinctions Day will also include (if time permits) an Advisory Session for those considering applying for RPS Distinctions in the future. Panel members will give advice to potential applicants on their work.
Please ensure you book in advance with Robert Albright   for an advisory session.

The requirements have been designed to allow the maximum freedom to applicants as to the number and length of Sequences. The Panel has found, however, that most successful normal submissions have consisted of several short Sequences, rather than one long one.

Usually, in Slide-sound Sequences, a number of good ideas, concisely expressed, are more valuable than the extended consideration of a single theme. It can be a mistake to exceed the minimum time significantly. Maintaining the necessary standard, even for the required period is demanding. Almost without exception excessively long Sequences fail to be recommended. This, however, should not prevent those who use Slide-sound Sequences to illustrate lectures and make other presentations, from submitting work to this Panel. If in doubt, do not hesitate to discuss this with the Chair of the Panel.

As well as artistic and pictorial productions the Society particularly welcomes submissions in the fields of Education, Science, Medicine, Commerce and Entertainment. However, the majority of applications are Sequences of a general pictorial character and these guide-lines are really designed for applicants who wish to submit work of this kind.

Although the final presentation may use slides, or other means of producing the images, the essential is that the original material must be still photographs. The Panel is prepared to view Sequences that have been transferred to videotape or computer disk. The proviso still applies that the initial source should be primarily still photographs and it is probable that the Panel will need to satisfy itself as to the quality of the original photography.

What Makes A Good Sequence?

The most Important point to grasp is that it is the complete Sequence that counts, not the individual photographs comprising it.  This means that the conception of the Sequence is extremely important. An effective Sequence will have unity of its three parts: the conception, the visuals, and the sound. These three elements should reinforce each other such that any one without the other two would be unsatisfactory, if not actually unintelligible. The visuals usually consist of slides, in Colour and or monochrome. Sound is usually on tape, but can be produced by any other method of reproduction, or indeed by live performers.

The conception is perhaps the most difficult part of making successful Slide-sound Sequences, and it is here that the majority of failures occur. Adequate conception involves an idea with a suitable introduction, an interesting development of the idea and an appropriate close. The medium is very flexible and artistic expression within it can take many forms. There is, therefore, no restriction on the subject matter or on the intention of the applicant.

 In practice, most Sequences fall into one of a number of well-defined categories, namely:

1 Documentary (including travel);

2 Interpretation of music, songs, poetry or prose;

3 Humour;

4 Personal Comment on any subject;

5 Fiction, stories and drama;

6 Illustration as part of a longer presentation such as a lecture.

As in other categories, the Society expects that the applicant will have done the major part of the work, and will disclose any work carried out by others. It is just conceivable that someone could do all the work - conception, photography, writing and speaking a totally original script, composing and playing the music, and making and mixing all the sound recordings - but such versatility must be very rare. Most practitioners confine themselves to conception, photography, writing the script and making the tape: they usually employ existing music and records, and sometimes perhaps professional speakers. This is the accepted form.

Details concerning the use of copyright music and of Sound Copyright Licences obtainable from the Institute of Amateur Cinematographers, for which a special rate has been negotiated for RPS members, are available from the Society.

Technique

Applicants usually use two projectors with a dissolve unit. It is difficult today to make a really satisfying Single-projector Sequence; the limitation imposed by the blank screen between slides is very restricting. The use of two projectors linked by a dissolver expands the medium dramatically. The dissolve is a magical transformation giving a continuously changing image on the screen. The image changes, but does not move, and this is the difference between this medium and cinema

Applicants should avoid choosing subjects, which would be better carried out in motion pictures; that is, the good AV worker will be careful not to make 'bad cinema'. On the other hand, the dissolve does allow the production of 'third images' by the superimposition of two slides; it permits flickering effects between slides and perhaps most important of all, it introduces rhythm into the Slide-sound Sequence. Variations of speed of dissolve, as well as of the length of time each slide stays on the screen, greatly assists in maintaining interest and achieving mood changes in Sequences; this is one of the marks of competence in the medium because of the ability to vary the rhythm of a Sequence, dissolve projection makes it much easier to create a satisfactory link between picture and sound, and this is one of the requirements of the category.

Whilst not expecting the standard to equal that attainable by a professional studio, a reasonable quality of Sound is required. Panel members are experienced in what can be achieved with the equipment available to most practitioners. Good quality creative tapes can be made with commonly available domestic hi-fi equipment.

Multi screen and multi-projector Sequences are acceptable material and, where appropriate, the Panel may agree to travel to the location of a particularly elaborate system. As a guide, this will generally be where more than one screen is involved.

Digital Imaging is now an integral part of Slide-sound Sequence production, particularly in commercial and professional presentations, and is open to an increasing degree of creativity. However, the Panel still requires to see evidence of photographic skills as part of any application.

The presentation itself is obviously important. Applicants are therefore encouraged, wherever possible, to attend the Panel Meeting personally and to present their work on their own equipment. Although certain basic items can be made available experience suggests that it is far better for applicants to bring equipment with which they are familiar and which can be relied upon to function reliably with their material.

Standards

As in other Categories, it is difficult to describe the standards required. There is no real correlation between Competitions and Distinctions as Competitions put Sequences in some sort of order and Distinctions do not; recommendation for a Distinction relies on the Standard set by Panel members through continuing experience over many years viewing submissions.

However, there does often seem to be some correlation between success in AV Competitions and RPS Distinctions. This, should be taken as a guideline only; no real reliance should be placed on such comparisons. Licentiateship (proficiency) often corresponds with success in local Club Competitions and acceptance at National Festivals. Associateship (a high degree of proficiency) can often correspond roughly to the standard usually recognised by acceptances at International Festivals of Diaporama, whilst Fellowship (outstanding distinction) can to some extent be compared to that of Major Prize Winners.

Digital Sequences

Recent developments have encouraged more workers to produce Digital Sequences using, in particular, Pictures to EXE and/or GlobFX.

Many are also producing soundtracks through creating MP3 and/or WAV files and recording the whole work on either a hard disk or CD.

The RPS Slide-Sound Panel wishes to encourage these developments and there have already been successful submissions for Licentiateship, Associateship and Fellowship with totally digital presentations.

The guidelines for such submissions are completely compatible with those already given within the previous pages in this leaflet.

Further to these, it may be helpful to note the following early recommendations for those considering making such submissions.

a) It is the responsibility of the applicant to ensure that equipment is available and is suitable for their submission to the Panel. The Panel takes no responsibility for ensuring this. Sometimes arrangements can be made with an Area Organiser to help with projections but this remains the responsibility of the applicant{s)

b) It seems best to ensure that Digital Sequences are transferred to the hard disk rather than played direct from a CD. It is best to proof the work on the equipment being used before showing it to the Panel.

c) There is a temptation, when so many different transitions are available, to use too many or to over-use them. Applicants should be aware that the Panel is more interested in assessing the idea and its communication than in the range of techniques demonstrated. The dissolve is still at the heart of the art form and other transitions should be used with care to add to, rather than detract from, this communication.

d) The still image is the basis for the construction of Sequences assessed by the Panel. Attempts at aping what a video could maybe do better should normally be avoided.

e) Multimedia presentations may come later but currently the Slide-Sound Panel will base its assessments on the above criteria.

f) It is imperative that those making submissions declare the sources of all visual and audio components of their digital work and be prepared to discuss any manipulations they have made in the construction of their Sequences.

LICENTIATESHIP REQUIREMENTS

The evidence should take the form of one or more Sequences of a total of not less than ten minutes. Assessment will be made on the basis of both the photographic quality of the visual material and the sound accompaniment.

The Licentiateship will be granted for competence in the preparation and presentation of combined sound and visual programmes.

Competence will normally be demonstrated by mixing sound sources to produce a soundtrack, producing good images and constructing a Sequence which is more than just a collection of pictures to music.

ASSOCIATESHIP REQUIREMENTS

The evidence should take the form of one or more sequences of a total duration of not less than fifteen minutes. Assessment will be made on the basis of the photographic quality of the visual material, the continuity and the aptness of the sound accompaniment. The quality of the sound reproduction must be of good standard.

The Associateship will be granted for a high degree of competence in the preparation and presentation of combined sound and visual programmes. Evidence must be provided of ability to unite recorded sound with sequences of linked visual images to provide a programme for educational, artistic, entertainment or commercial purposes. The Panel will expect to see, in particular, some evidence of an understanding of the use of third images and varying pace.

FELLOWSHIP REQUIREMENTS

A successful Fellowship presentation will also almost certainly demonstrate a personal style, readily apparent when seen, but difficult to define. The evidence should take the form of a presentation, of total duration not less than twenty minutes, which demonstrates the union of sound with linked images.

General production standards for Fellowship are high and it is seldom that an applicant, at this level, easily achieves the required standard. Applicants are advised to prepare their presentations specifically for the Panel. It may involve material that has been used elsewhere but this should be interwoven into the total application. The whole submission should endeavour to convey the applicant’s strengths and style in the medium. Those elements that can be controlled by the applicant should be controlled; for example a minimum requirement of 20 minutes should also normally be treated as close to the maximum wherever possible.

The Fellowship will be granted for distinguished ability and/or outstanding original work in the preparation of combined sound and visual programmes produced for educational, artistic, entertainment or commercial purposes.

It is essential that all applicants recognise that the responsibility for ensuring that the submission is properly presented to the Panel rests entirely with the applicant.  The Panel takes no part whatsoever in providing or setting up equipment. This can sometimes be arranged in association with the organiser of the occasion, but applicants should always ensure that this is being done to their requirements or alternatively provide and set up their own equipment.

Any seeking advice on their submission should, in the first place, contact the Chair of the Panel and not individual members of that Panel.

GUIDELINES: SUBMISSIONS FOR THE ROYAL PHOTOGRAPHIC SOCIETY LICENTIATE DISTINCTION IN PHOTO HARMONY

1. Overview

The Royal Photographic Society (RPS) recognises the ability of members by the award of Distinctions. These are Licentiateship (LRPS), Associateship (ARPS) and Fellowship (FRPS) and are awarded for three increasing levels of attainment. The Distinctions are awarded by Council following an assessment of evidence submitted Panels which are appointed by Council.

These Guidelines relate to the LRPS Distinction in the new category called Photo Harmony. The ARPS and FRPS Distinctions are not yet available in this category. The Panel appointed to consider applications in Photo Harmony is the Audio Visual Panel. Typically, each AV Panel will consist of six Fellows of The RPS.

These Guidelines should be read in conjunction with The RPS Distinctions and Qualifications Criteria available as a download from The RPS website

or in Distinctions and Qualifications Booklet, The Royal Photographic Society, Fenton House, 122 Wells Road, Bath BA2 3AH Tel: +44(0)1225 325761. The booklet contains essential requirements about image size and other technical issues as well as advice on the process to be followed.

2. The Category

The Photo Harmony category is designed to enable applicants to demonstrate their skills in the production and visual progression of images linked to sound. No words or story with a specific beginning, middle and ending is required. The emphasis is on matching the images with appropriate transitions and harmonising them with the sound.

As in other Distinctions Categories, The RPS expects that the applicant will have done the major part of the work and will disclose any work done by others.

Details concerning the use of copyright music recordings and of Sound Copyright Licences are available at a discount to RPS members from the Institute of Amateur Cinematographers at musicadvice@theiac.org.uk or www.theiac.org.uk. The IAC can also be contacted at admin@iac.org.uk or on 01372 822812. Applicants should note that unauthorised use of copyright recordings can make them liable to legal proceedings.

3. The Standard

There should be evidence in the photography of sound artistic and technical skills. The selection, quality and sympathetic progression of the images is the prime factor being assessed; the appropriateness and recording quality of the soundtrack will also be taken into account. Evidence of a developing personal style is desirable.

Applicants are strongly encouraged to attend at least one Distinctions Assessment Day or Distinctions Advisory Day before making a submission for an RPS Distinction. They are also advised to seek feedback on their draft submissions from AV Panel members through the Chairman of the Panel.

4. Techniques

The purpose of this category is to display a set of images which harmonise with each other and with the sound used. The sequence should be constructed so that images progress harmoniously in terms of colour or tone and graphic design. The category is not designed to display images which may be excellent when considered individually but which fail to harmonise with each other and with the sound chosen .It is the norm that the sound and the images start and finish together. Where music is used, it is recommended that the original ending of the music is preserved rather than an arbitrary fade-out.

As with all techniques, digital manipulation can easily be overdone and result in an effect counter-productive to the author’s intentions. Such modifications should be well matched to the overall concept being communicated by the images.

5. Licentiateship Requirements

The evidence should take the form of one or more series of images matched to sound. The total submission should consist of not less than 40 images and a running time of between six and nine minutes.