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Production Office


Hours of Operation
Circulation Policy
Studio Requests
Audio Studio Orientations

How can I learn more about how to use a piece of software?

Cold Weather

Refreshing versus Non-Refreshing Computers
Hard Drives and Backing Up
Sound Effects
How do I book the cinema?
Where can I find the Department of Theater and Dance's costume rental policy?
Student Union Movie Organization (SUMO) Sponsored Film Application
The temperature is notably uncomfortable inside the college building where I am. What should I do?
Goodhue Rehearsal Room




To reach the Production Office when we're open, please call ext. 5434. You can also e-mail:
Paul Bernhardt, CAMS Technical Director and Audio and Video Technical Director, Weitz Center
pbernhardt at carleton dot edu
Isaac Burns, CAMS Education Associate
burnsi at carleton dot edu.



Hours of Operation

This schedule refers to the Carleton Academic Calendar.

The Production Office is open:
-first week of instruction during term: weekdays 11:00 a.m. to 3:00 p.m.
-second through tenth weeks:
Monday 12:00 to 6:00 p.m.
Tuesday 10:00 a.m. to 6:00 p.m.
Wednesday 12:00 to 6:00 p.m.
Thursday 10:00 a.m. to 6:00 p.m.
Friday 12:00 to 5:00 p.m.
Saturday 12:00 to 5:00 p.m.
Sunday 12:00 to 5:00 p.m.
-reading days and exam days: weekdays 11:00 a.m. to 3:00 p.m.
-Senior Week: 
Monday through Wednesday 11:00 a.m. to 3:00 p.m.

The Production Office is closed:
-first Saturday and Sunday every term
-third Saturday during Winter and Spring terms (Comps Symposium)
-midterm break (sixth week) Monday every term
-during convos, including Honors Convo
-Saturday and Sunday during reading and exam days
-Winter break (Fall term packing day until first day of Winter classes),
-Spring break (Winter term packing day until first day of Spring classes)
-Summer (Thursday of Senior Week until first of Fall term classes)

If you think someone should be working in the Production Office and they aren't, please call the Educational Associate at ext. 5434 or (860) 465-7899 (not between 10:30 p.m. and 8:00 a.m.) and e-mail pbernhardt at carleton dot edu.

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Circulation Policy

Gear is for students in current cams production classes only.

Certain gear is for certain classes (see: posters, below).

Reservations are made in the order they are requested in person or by telephone, not e-mail, txt, or voice message.

No same-day reservations.

Nobody has the right to cancel an existing reservation but the patron who requested it.

Reservations not picked up by the time the Production Office closes for the day are automatically cancelled.

No gear leaves outside of circulation hours.

We check every order for completeness before we send it out

We check all equipment for damage when it comes back in and act on problems.

Reservations have certain lengths:
one day for digital foundations,

two days for advanced production classes, and
by arrangement for compsers, pending faculty approval of comps proposal.

A reservation can be renewed once, as long as the equipment isn’t needed by another patron.

We don’t check out SD cards*, hard drives, or headphones. (Headphones are for use during in-class demos,  cinématechs and recording sessions in the Weitz Audio Recording Studio).


* Tip: buy Class 10 SDHC cards made by SanDisk or Lexar. Class 10 SDHC cards will work in both Sony NX5Us and Canon 60Ds.


NX5U camcorder package

standard tripod

Røde NTG-2 kit

Arri tungsten/halogen fresnels

Lowel Tota lights

Canon 60D dSLR kit

Zoom H4n audio recorder

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Studio Requests

Please use this form to request studio time:

Please list your participants' first, second, and third choice of date and time.

Please list both start and end times.

No same-day reservations.

Studio requests are processed in the order they were received.

Studio requests are processed during regular business hours during the regular work week.

Studio requests are confirmed by e-mail to the Carleton e-mail address of the person who filled in the form.

When a studio booking is confirmed, the person's OneCard who filled in the form will open the studio doors during the times of the booking.

Printed schedules are posted at the door to each studio twice a week, although bookings continue to be made throughout the regular work week as requests come in.

For up-to-the-minute studio availability, use the "Search for a time..." function in the studio request form.

Seeing time when the studio appears free is not an invitation to use the studio without asking for a reservation and receiving confirmation.

All studio patrons are expected to abide by all safety instructions, found in the document "In the Studio," posted in all studios and at the Production Office, and report any problems to the Technical Director.

Studio requests are for studio time only. Each studio comes with a minimum compliment of equipment. It's very likely you will need additional equipment, which you'll need to reserve separately.

Please direct all questions about studio access and use to the Technical Director via e-mail:

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Audio Recording Studio Orientation

The Audio Recording Studio is available to any student, staff or faculty member who r.s.v.p.s for and attends a one-hour orientation held multiple times the second week of each term. Here is the list of upcoming audio recording studio orientations. R.s.v.p.

In conjunction with this orientation, the Quick Start Guide to the Audio Recording Studio and Mackie Onyx user manuals may be of interest. (Links to these are found in the right-hand column of this web page.)

After you take part in the orientation, if you're a student, you'll be subscribed to the weitzaudio e-mail list. Any students with a recording project can send to this list in search of engineers who have taken the orientation. (If you'd like to opt out of this list at any time, please e-mail the Weitz Center Audio and Video Technical Director: pbernhardt at carleton dot edu.)

Faculty and staff (as well as students acting as employees of the College) are not to use this list to ask for volunteers. If you are faculty or staff and are exploring a project you think the Weitz Center Audio Recording Studio might be well-suited for, please consider:

-attending a training and learning how to engineer basic recordings;

-bringing to training a colleague or employee (including student employees you'll pay for their time) who wants to learn how to engineer basic recordings;

-contacting the Weitz Center Audio and Video Technical Director (pbernhardt at carleton dot edu).

Have a look at the Quick Start Guide to the Weitz Audio Recording Studio.

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Digital Foundations students are required to attend Cinématech weeks 1, 3, 4, 7, and 9 (dates below).
Each week, the same Cinématech session is offered twice:
Tuesday 5:00 to 6:15 pm or
Wednesday 7:00 to 8:15 p.m.
Students can attend either the Tuesday or Wednesday session of Cinématech. Attendance is taken.

Fall 2015 Cinématech schedule
Week 1 (9/15 & 9/16): Sony NX5U + Tripod Basics (Studio A)

Week 2 (9/22 & 10/23): 60D Basics (Studio A) The primary audience for this is Laska's nonfiction students. (A Digital Foundations student who attends the 60D Cinématech will still be asked to use the NX5U for their assignments this term.)

Week 3 (9/29 & 9/30): Audio Recording/ Microphones (Studio A)

Week 4 (10/6 & 10/7): Lighting in the Studio (Studio A)

Week 7 (10/27 & 10/28): Premiere Pro Timeline Editing (IdeaLab)

Week 9 (11/10 & 11/11): Premiere Pro Color Correction and Audio Sweetening (IdeaLab)

Anyone who learned to edit in Final Cut X and is interested in starting to learn Premiere is welcome to attend a week 7 and 9 Cinématech. Self-study at is also encouraged.

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How can I learn more about how to use a piece of software?

Carleton maintains a free, unlimited license to training for current students, staff, and faculty. Training is available for Audition, Photoshop, Premiere Pro, After Effects, and many more pieces of software. Sign in with your Carleton user name and password at and start learning right away!

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Cold Weather

Winter in Minnesota provides the opportunity to get breathtaking footage but it's important to protect ourselves, and help protect each other from its hazards. The U.S. motion picture industry's "Guidelines for Working in Extreme Cold Temperature Conditions" explains risk factors, symptoms, and prevention of the two most common hazards when working in the cold: hypothermia and frostbite, along with what to do if someone is showing signs of either.

If you're considering gathering footage outdoors in winter, it's important to weigh carefully these guidelines and whether you can plan and execute a shoot that takes them into account. Questions include:
Does everyone have adequate clothing?
Are you all watching each other for symptoms?
Who's keeping track of how long you've been out in the cold?
Can anyone on your shoot get indoors quickly whenever they need to warm up?

Wind chill expresses the additional cooling effect of wind in cold weather. The National Weather Service's publication Wind Chill Temperature Index includes precautions, as well as a chart of temperatures crossed with wind speeds that allows you to estimate wind chill.

Windchill temperatures are associated with what are called frostbite times: the time it takes for frostbite to develop in exposed skin. Given an ambient temperature of zero degrees Fahrenheit (-18 Celsius) in fifteen mile per hour winds, it only takes half an hour for frostbite to develop in skin directly exposed to these conditions--fairly common in Minnesota winters.

Wind in cold weather not only puts people at risk of frostbite in exposed skin. As we know from a short walk across campus on a blustery day, wind drives cold air through and/or past layers of clothing. This is an additional consideration for risk of hypothermia.

Frostbite can develop in any part of the body that gets cold enough, exposed to the air or not. Fingers and toes are of frequent concern. Extra socks can compress the foot and decrease circulation, thus shortening the time before toes get dangerously cold. One longtime outdoorsperson advises students he leads on winter nature walks to bring a piece of styrofoam to stand on, in addition to wearing cold weather boots that fit properly.

It's easy enough to get from the National Weather Service the current ambient temperature and estimated wind speed as measured at the nearest weather station (for Northfield, that's at Stanton Airfield, about seven miles east of campus). Smartphone apps such as can be helpful as well. Temperature at the weather station might not be much different from where you are (low-lying areas can be quite cold), but wind speed can vary tremendously over short timespans and depending on precise location. A handheld thermometer/anemometer with built-in windchill calculator is available for checkout from the Production Office.


An otherwise gentle seven mile-per-hour breeze combined with an ambient temperature of negative seven degrees fahrenheit to create a windchill of -22.7 F on the Bald Spot. 9:45 AM Monday, January 21, 2013. photo: Woody Kaine.






The CAMS production students at the heart of Carleton's production community depend on having access to gear that works properly. It's important to know the risks to our equipment from shooting in cold weather. If you damage something you're still responsible for its repair or replacement, even if you've taken precautions described here.

None of our cameras are rated by their manufacturers for operation below freezing. Chuck Westfall of Canon discusses why here:

Canon lens handling cautions

National Geographic photographers Sisse Brimberg and Cotton Coulson offer tips for cold weather shooting at

People sometimes think of keeping a camera warm inside winter clothing, but there are several problems. It doesn't take many times of unzipping vital layers to get cold--dangerously so, in extreme conditions--and nothing is worth that. But the insidious factor for equipment is condensation. We know water damages electronics, so of course we want to keep precipitation (including snow) off of equipment, but condensation is a bit trickier.

Condensation happens when a cold thing encounters warm air. Any humidity in the warm air will deposit on the cold thing as condensation.  This includes putting cold gear inside a warm coat, as well as bringing gear indoors on a cold day. Surprisingly, it's easy to risk equipment damage at the very moment we might think we're bringing it out of harm's way. Here's how it works.

A camera body or a microphone lets in air and its humidity quite easily. When condensation forms, it coats every electronic component inside, potentially turning it into an expensive paperweight . Here's a very important preventative measure to take.

While you're still outdoors, seal the equipment in an airtight container, such as large ziplock bag or, in pinch, plastic tub. (If you're returning gear to the Production Office and you don't have such a thing, please do call extension 5434 and ask whoever answers to meet you at the door with one.) This way, when you bring it indoors, condensation forms on the outside of the container while the gear inside very slowly comes up to room temperature--overnight is a good rule of thumb.

If you have reason to think there's any moisture at all in a piece of electronics, don't power it on. Remove any battery, open any door or cover, and turn a fan on it--overnight is again a good rule of thumb.

These are important techniques to have in your kit. However, there's no guarantee some last little bit of condensation hasn't formed somewhere deep inside a piece of equipment. If damage results, you are responsible for repair or replacement.

Camera covers for Sony NX5Us and dSLRs are available for checkout from the Production Office. It's possible to tape a chemically-activated handwarmer packet to the inside of a camera cover, although there are several important precautions. Chemically-activated handwarmer packets can reach 165 degrees Fahrenheit, hot enough to burn you and far hotter than any camera's range of operating temperatures. Clearly, the heat could damage components. Additionally, as air warms near a handwarmer, condensation can form, either as liquid or frost, from any humidity present. This is an immediate cue to shut down the equipment and dry it as described above.

Batteries are best stored cool and used warm. Shooting with a battery that's physically cold is chemically inefficient and will give startlingly short battery life. A battery that's cold enough will read as dead on the camera's battery meter, even though there is a charge stored in it. The best use for a handwarmer packet is in an external pocket where you can put your hands when you don't need them and also keep several batteries warm, then rotate batteries in and out of the camera (checking closely for moisture). Unheated exterior coat pockets are usually about as cold as it is outside.

Canon calls the 60D "water and dust resistant." Clearly this is not intended to be "waterproof." Sony makes no claims about the NX5U as in any way resistant to water or dust.

It's worth considering getting at least some shots on your list from indoors. With luck, the entryway of a building on or near location is just warm enough to help people and gear stay warm, and just dry enough condensation doesn't form. Often foyers are difficult to work with, either for being overheated or surprisingly humid.

With planning, the desired angle is sometimes possible from a window or doorway. Here's a technique for keeping reflections out of your shot when shooting through glass. The key is recognizing where the reflections are coming from--almost always from inside the room you're in--and blocking them from the camera's view. Sometimes you can simply position your body between the camera and the light. Other times, someone can hold up a coat behind both you and the camera. It's also possible to build a little hood of Cinefoil or other black wrap--available in the Production Office--to put between lens and window.

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Refreshing versus Non-Refreshing Computers

The machines in Weitz 134/Advanced Edit have been reimaged by our good colleagues in ITS. Stations One through Five are now refreshing machines. They will get the latest versions of software, such as Final Cut Pro, at the same time as other labs on campus, such as Weitz 138/Media Lab. Station Six (the one that has ProTools) remains a non-refreshing machine.

Most lab machines on campus are refreshing. What's the difference?

The internal hard drive of a refreshing computer is divided into two partitions, called “Macintosh HD” and “Scratch Disc.” A file written to Macintosh HD is automatically erased as soon as you log off the machine. A file writtenScratch Disc stays there either until someone erases it (which could happen at any time) or the whole machine is erased and rebuilt.

A few other Carleton computers you might come in contact with are non-refreshing. On a non-refreshing machine, a file written to the partition called "Macintosh HD" stays there until either you erase it, the hard drive gets full and an administrator has to erase old files to make room for new ones (which could happen at any time), or the whole machine is erased and rebuilt. There is no second partition.

No matter what kind of machine you're working on, backing up your work is up to you--whether by copying your work to external hard drives, uploading your work to cloud storage, or a combination of both.

Hard Drives and Backing Up


You can be expected to have a hard drive for Digital Foundations and two hard drives for all other production classes, so it’s important to incorporate a vital principle, and a number of related practices, into how you work: Keep files you care about in more than one place.

Something changes in a media maker who’s had a hard drive fail. We’re sharply brought to understand how an entire enterprise rests on these little devices. The wish might form quickly in a media maker who’s lost work for good: ‘I wish I had another copy of that.’

A few types of hard drive failure are recoverable, although the process takes at least a week (time most projects can’t afford) and a minimum of $1,200. Very often a dead hard drive simply can’t be brought back to life at any cost.

Losing work due to hard drive failure is not a rite of passage. In fact, it’s easy to prevent by following this simple principle of redundancy: keep anything you care about in more than one place.
Important practices follow from the redundancy principle:

1. You are responsible for your data’s redundancy.
2. Keep physical media in separate locations in case of loss.

3. Every time you shoot, update what you've shot in two places so you have two complete records of everything you’ve shot.

4. Every time you export a version of your project, save it to both hard drives.

5. Keep all your footage in both places until after your project is final, exported successfully, and turned in.

6. Take good care of hard drives (see below).

Not all Digital Foundations students go on to take other Cinema and Media Studies (CAMS) production classes or become CAMS majors, so it’s seen as potentially unfair to expect Digital Foundations students to buy two hard drives to take the class (although it’s just as disruptive for Digital Foundations students when their hard drives fail). Current hard drives offer far more than double the space needed to take Digital Foundations. For this reason, Digital Foundations students may be asked to partner with one another for the term in order to back up each other’s work (the "backup buddy" system).

It’s reasonable to expect advanced production students to own and maintain two hard drives, using one to back up the other. By the time students are compsing, it’s reasonable to expect they have no project delays that result from failure to work in accord with the redundancy principle.


Gary Adcock of Studio 37 in Chicago quips that there are two kinds of hard drives: those that have died and those that are going to. Why is that? Understanding head strikes and corrupted data are two good ways to appreciate the fragility of hard drives.

A hard drive has a disc in it that rotates at very high speed and is written to and read by a laser on a little mechanical arm hovering unbelievably close to the surface of the disc. Kevin Chapman puts the question of scale this way: if the region of each bit (the thing that can be either a zero or a one in binary data) on a hard disc were the size of a hockey puck, the head that reads the data would be the size of a 747 flying 1,136 miles per second at an altitude of 1/100th of an inch.

Kevin asks: what if the pilot sneezes? That, in his analogy, is all it takes to cause a head strike. Suddenly jarring a hard drive when it’s running can put the head into contact with the disc, gouging the surface of your disc and turning the bits that represent your work into dust. If this sounds unrecoverable, it is.

Corrupted data is another good way to appreciate how fragile hard drives are. Hard drives write data in sections. When we eject a drive from the desktop, the drive takes the time to finish what it was doing. However if a drive unexpectedly loses power or connection with the computer in the middle of writing a section of data, the incomplete section of data can cause havoc in how it makes sense of itself as a system for accessing information. Sometimes a disk repair utility can deduce and reconstruct the unfinished data enough to let the disc work again long enough for you to back it up. And other times it can’t.


It’s a catastrophe when a hard drive with no backup fails. But it’s still an annoyance and an expense when a hard drive fails, even when it has been backed up fully and very recently. So it’s important to take good care of hard drives in these ways:

1. Let any storage device go through its whole power-down routine before physically removing it from the system. With an external hard drive or jump drive connected to a computer, this means using the operating system’s Eject command and waiting for the computer to tell you it has finished unmounting the drive. (With a camera this means turning off the camera before inserting or removing a memory card.)
2. Practice cable-awareness. When someone trips over a hard drive’s cables, it will probably hit the floor with its disc still spinning near top speed. Make a quick analysis of where you need the gear need to be, where you and others need to walk and put their feet, then plug things in and route cables accordingly.  Doing this is worth a great deal in many contexts and would have prevented catastrophic data loss in many cases here at Carleton.
3. Touch external drives as little as necessary when running. Reinforce data cables (especially Firewire 800), with gaffer tape if necessary, to eliminate any chance of losing data connection and corrupting the drive.
4. Don’t let a hard drive get really cold. Water, including condensation, damages electronics. If a hard drive does get cold, seal it in an airtight container such as a plastic bin or large ziplock bag before coming indoors where the air is warm and humid. Leave it sealed overnight while the hard drive comes up to ambient temperature so condensation forms only on the outside of the bin or bag.
5. It’s possible for a hard drive to be damaged even when it’s not running, so transport hard drives as little as possible. One idea is to for your backup drive never to leave your room. Another idea is to check out a locker in the Weitz for the term so your working drive makes as few trips as necessary in your book bag.
6. When you must transport a hard drive, use its original packaging, including form-fitting foam inserts and the like.
7. When you’re working on the road, keep your working drive with you and stash your backup drive where you’re staying such as locked in a hotel safe.


Video makers have long been using hard drives for a number of reasons. They’re cheap to buy. Spending $300 for a pair of one terabyte drives (that’s 1024 GB per drive) and using one to back up the other works out to about thirty cents per GB of redundant storage. They’re convenient for personal use — no special software or log-in needed, just plug one in and go. And they’re local: there’s just one cable between the external drive and the computer, eliminating the chance for network congestion.


Any way of storing your information relies on objects in this world that can be damaged or lost, but a server lives in a special room with well-maintained fire suppression and a host of other practical precautions built in, and has administrators who constantly monitor its performance and make sure it’s backed up to another server that lives in a completely different location. When we upload to a server, we implicitly entrust the work of data redundancy to these administrators.

Here on campus, each student has a fully backed-up home folder that contains what you put in it until you graduate. Each home folder is four gigabytes (4 GB): ample for small things such as photos and project files, but enough to hold only about six minutes of video at full quality. Visit for complete instructions on how to access your home folder.

Each of us also has access to about thirty gigabytes (30 GB) of space on, Carleton's implementation of Google Docs, found at This can be accessed from anywhere on the Web. Google, Amazon, and others are happy to sell you additional cloud storage capacity at rates such as $0.01 per gigabyte (GB) per month. Provided you're aware of practical limitations in the field (such as local bandwidth where you're shooting on location), this can be a very useful way for you to back up your work.

If you’re considering purchasing cloud storage or online data backup service, read each provider’s terms of service carefully for their idea of intellectual property, to estimate how much space on disc you'll need over what time period, and note whether they will charge you additionally for accessing your data. 


Digital video takes up more space on disc than any other kind of computer file commonly used by individuals: around 60 gigabytes (GB) for an hour of footage shot on a Sony NX5U or 70 GB/hr on a Canon 60D. Here’s how it breaks down.

The shooting files--what the camera actually records--are around 12 GB for an hour of Sony NX5U footage and 24 GB for an hour of Canon 60D footage. But we don’t edit directly with those files; Final Cut has to transcode them first, most commonly as ProRes 422 LT. (This happens behind the scenes in Final Cut X.) The resulting transcoded files are an additional 40 to 45 GB/hr.

A four-minute assignment you export as ProRes 422 LT will be about 3 GB. It’s realistic to estimate shooting up to two hours of footage for each production class, or 120 to 140 GB of footage.

"Format" means completely delete everything that's on it and establish a new file system.

The first time you use a brand-new hard drive, you should format it to eliminate any pre-installed manufacturer's settings. Since Final Cut Pro X is Mac-only, you must format at least part of the drive for Mac. (You might wish to partition the drive, create a second volume, and format it for Windows; call the Help Desk for details.)

With the new hard drive connected to a Mac:

1. open the Disc Utility (found in the Utilities folder),

2. select the new drive,

3. select the Erase button at the top,

4. select Mac OS Extended*,

5. select the Erase... button at the bottom

* Hard drives formatted for Mac OS Extended can only be read by the Mac operating system.
** Hard drives formatted for NTFS can be read by both the Mac and Windows operating systems, but can be written to by Windows only. Hard drives formatted for FAT 32 (MS-DOS) can be read and written to by both Mac and Windows operating systems, but is limited to a maximum file size of 4GB.

A hard drive that's described as "bus-powered" gets its power over the same cable used to make the data connection. Bus-powered drives eliminate a pesky power cable.

A hard drive that’s marketed as “rugged” or “ruggedized” means only that its ordinary metal or plastic enclosure has a layer of silicone rubber wrapped around it to absorb some shock from impact. The actual hard drive inside is no more rugged than it would be in an ordinary housing.

Solid state gives us storage without the spinning disc, resulting in somewhat more robustness. Solid state drives (SSDs) can be used happily in place of, but cost more than, spinning disc-based hard drives.
One technique is to buy the most robust drive you can afford as your working drive and use multiple internal hard drives with an external dock as your backup system. This saves the money you'd otherwise spend buying an enclosure (the metal or plastic case with data ports and power supply in it) for each hard drive.


It's important to make good decisions about what you need to keep for how long. We always want the very highest-quality master file of the finished work to excerpt, display, recompress, and redistribute, but it's worth asking ourselves the question at what point most of the raw footage can be erased. Of course different makers have different answers to, and practices arising from, this question.

Mike Figgis (Digital Filmmaking, 2007) discusses how he used to think he needed to keep every moment of footage he'd ever shot, but found himself staring at an ever-growing pile of hard drives he never used again, until he decided to question this practice.

In a commercial/industrial context, Gary Adcock negotiates with clients, at a price, how many months after traditional project signoff and delivery they have the right to change their minds and come back to ask him to resume editing. The client can, in effect, change their minds and come back to him to revive the project and resume editing it for a certain number of months after the end product is signed off and delivered.

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CAMS maintains a networked hard drive named CAMS-Drobo for three purposes:

1. for students to upload production class assignments (including comps);

2. for faculty and staff to load these assignments onto a computer in the cinema and play them back for class screenings;
3. for the department to archive select class assignments and all comps as high quality files.

Here's how to upload your work to it from a Mac:

1. Go to the Mac finder and choose the Go menu, then "Connect to Server." (You can also use the keyboard shortcut command+K to do the same thing.)

2. In the dialog box that appears, in the "Server Address" field, type and click the "Connect" button.

3. Choose "Connect as Registered User," then enter the user name and password supplied by faculty (not the same as your Carleton credentials).

4. Choose the CAMS-Stu volume to mount.

5.On the desktop, double-click the "CAMS-Stu" icon to open it.

6. Find your class's folder and drag your source file there, named in a way that clearly identifies you. (If you're uploading more than one file, please create a folder with your name and put the files in it.)

7. Check that the size of your file on CAMS-Drobo is the same as your file on the machine you're working on and/or personal hard drive you're backing it up on.

8. Eject CAMS-Stu and log out of the machine when you're done.

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CAMS Vimeo channel ( showcases more than 500 videos that have been produced by students in CAMS production classes since Fall 2011.
NOTE: A student using in their project any copyrighted materials that they don't have permission to use, should not upload that project to CAMS Vimeo channel.

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Sound Effects

The sound effects in this collection are licensed for student use and available for any projects made as part of the CAMS curriculum. The license is "portable" with the project which means that as long as the sound effects are used in a creative project it's fine for you to upload a project to Vimeo. (If someone just edited the sound effects into one big sound effects "master mix," where someone else could disassemble them and reuse them, that wouldn't be okay.) It's okay for students to continue to circulate the piece after they leave Carleton, however the sound effects may not be used for projects after graduation or outside of Carleton.

The sound effects library is at: lease e-mail questions to Jay Beck (jbeck at carleton dot edu)

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How do I book the cinema?

Send an e-mail to Steve Richardson and Noel Ponder describing what you hope to do. Include desired date(s) and time(s). They'll take it from there, including setting any OneCard privileges necessary. The Production Office does not enable ad hoc access to the cinema.
FAQ: What's wrong with gaining access to the cinema and just watching [my favorite movie] with my friends?
A: Copyright is a thing. Public performance of audiovisual material without permission is a violation of the copyright holder's rights. Public performance involves either a licensing fee paid to a distributor or express permission directly from a filmmaker.

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Where can I find the Department of Theater and Dance's costume rental policy?

Contact: Mary Ann Kelling, Costume Designer and Shop Supervisor, Lecturer in Theater
e-mail: mkelling at carleton dot edu

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Student Union Movie Organization (SUMO) Sponsored Film Application

Use SUMO's form ( to request support for a film screening, typically held in the Weitz cinema. Drop a line to SUMO leadership for more information.

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The temperature is notably uncomfortable inside the college building where I am. What should I do?

Please call facilities at extension 4133. If you leave a message, be sure to include your name, building and room number, date and time, and a brief description of conditions.

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Goodhue Rehearsal Room

The Student Activities Office maintains a practice space in Goodhue Hall. This page ( tells more about it and how to request it.

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