About Colin Mulvany

Colin Mulvany is a multimedia producer and staff photographer at The Spokesman-Review, a 80,000-circulation newspaper that covers eastern Washington and North Idaho. After 18 years as a staff photojournalist, Mulvany made the transition to online storytelling by becoming his newspaper’s first multimedia producer in 2004. Since that time, he has produced hundreds of video feature stories and audio slideshows for his newspaper’s Spokesman.com website. As multimedia editor in 2008, Mulvany trained 14 reporters, photographers and online producers to shoot and edit video. He also helped the editorial department transition to a more multimedia-focused workflow. Mulvany has been honored for his photography and multimedia in Pictures of the Year International, Best of Photojournalism, Society of Newspaper Design, the National Headliners Awards and the NPPA’s Monthly Multimedia Contest. In his spare time, Mulvany produces a popular industry blog called “Mastering Multimedia,” and “Finding the Frame,” a video storytelling critique website for photojournalists. Mulvany coaches and speaks at video storytelling workshops around the country and is the National Press Photographers Association Monthly Multimedia Contest chairman.

Get low-noise audio with a DSLR and a wireless microphone

The more I do video production with my Nikon D4 DSLR, the more I have come to like how it handles in-camera audio with an external mic attached. One of the big issues with the first generation video-enabled cameras like the Canon 5D Mark II and the Nikon D3s was they had limited audio capabilities. Many producers felt the need to record separate audio into a recorder like a Zoom H4n and then sync it later in post. What a pain. It’s one of the reasons I put off switching from a traditional video camera to a DSLR.

Sennheiser G2 Wireless MicWith my Nikon D3s, I went the route of trying to use a JuicedLink audio interface to manage my audio. The unit bolted on to the base of my camera, which made it feel bulky. It had great features like dual XLR audio inputs, levels monitoring and a headphone jack, but the truth is, on that piece of equipment, I could never dial in a clean audio signal.

A big part of the problem was the way the D3s handled audio with only three levels settings—high, medium and low. The last time I used the camera with the JuicedLink, I had such a high noise floor (a low background hiss) in my interview audio that I just left it on the shelf after that. Soon after, I upgraded to the Nikon D4 and have found I could generate low-noise audio, especially with a wireless mic, all without all the add-on accessories.

I like using a DSLR to shoot formal interviews. The shallow depth-of-field makes the subject look great. I use my trusted Sennheiser G2 wireless mic for my audio. Be advised,  out of the box the gain on these mics are set really high. The first time used it,  I had such distorted audio that it ruined the video story I produced for the newspaper. I quickly learned how to turn down the levels and make them work with my Sony Z1u video camera.

When I first used a wireless mic with My Nikon D4 (plugged directly into the camera’s mic jack,) I found the same high noise floor that my JuicedLink produced. After fooling around with the settings I came to this conclusion: I had to turn the levels on the mic back up and turn the camera audio levels way down. With the right balance (the mic sending the clean signal, which I assume overpowers the camera’s weak pre-amps), I now  get quality audio without a lot noise-floor hiss.

Is my camera audio as good as recording separately to a Zoom H4n? I’d say depends on what you are doing with the video. If its going to be broadcast on TV, or destined for the big screen, then maybe not. But, if you are producing for the Web like I am, I’d say it’s more than good enough.

You can hear an example of what my wireless Nikon D4 audio sounds like in the interview and voiceover audio in this video I produced for a speech therapy clinic:

Here are my settings:

On my Nikon D4 (the same as on the Nikon D800,) I set the camera on manual and dialed the camera audio down to number 4 level.

On the Sennheiser receiver pack (the one that connects to the camera) hit the “Set” button then toggle the left selection button until you get to “AF Out.” Hit “Set” again and toggle the left arrow until you see -12 Db. Hit “Set” again.

Next on the transmitter pack (the one connected to the lav mic) hit “Set” then toggle to “Sensit” and hit “Set” again. Toggle until you get -06 Db. Hit “Set” again.

Now do a test. Watch your in-camera levels. If they are too low, bump up your audio level to “5,” but no more. If they are still too low go back into the mic pack and set the AF Out level to -6 Db.

Just remember that there is no phantom power with DSLRs. You need battery power from the mic for it to work properly. I sometimes put my big Sennheiser ME-60 shotgun mic on top of camera and it works like a charm with very low noise. Just make sure you have a fresh battery in mic and that it is turned on. If you don’t, you won’t record any audio.

One of the great things about the new generation DSLR’s is that they have headphone jacks to monitor your audio. Use it, or you’ll regret it later (trust me on this one.)

The change: Video storytelling and the rise of the DSLR

It happened so fast. The change. One day, photojournalists were just doing their thing. Shooting daily photos for their newspapers. Maybe even an odd photo story or two. A lucky day was getting a page or a double truck on Sunday to showcase all their hard work.

Video at newspapers was out there on the fringes. A few staffers braved the online world and embraced a new way to tell a visual story. Except this time, it was on the World Wide Web. No space restrictions here. Most traditional still shooters shrugged their shoulders and continued on with the status quo. Video cameras were for “TV types,” they said.

Then the layoffs hit hard. In 2009 and onwards, photo departments at many newspapers were gutted. Hundreds of staff photographers were tossed onto the streets to fend for themselves. To freelance.

In the midst of all this chaos, a new type of still camera was quietly released by Canon. The 5D Mark II had a little secret– it could shoot kick-ass HD video. A few brave photojournalists used the new technology to produce stunning imagery. Images unlike anything ever seen in the video camera world. Shallow depth-of-field shots and cinematic looks that mimicked film dropped many jaws along the way. The smart ones ran with it. Reinvented themselves and in doing so, reinvented the genre of documentary filmmaking. Overnight the doc film industry changed. Shooting with Film stock was done. Former still photojournalists, once resistant to shooting video, now embraced it.

The commercial still photography market tanked as a “billion of photojournalists” raised their iPhones and posted their snaps on Flickr.

Because the DSLR camera was familiar, still photojournalists could buy in without judgment. The taint of video, hidden in a tiny package of a pro DSLR camera gave courage to those that once scoffed at the idea. It did not matter that the DSLR was much harder to shoot with than a traditional video camera. What did they know? They had never shot with a Sony or Panasonic video camera with built-in stabilization and pro audio inputs.

The aftermarket kicked in with a plethora of accessories to make the 5D Mark II easier to focus and improve the bad audio the camera outputted.

Soon the former photojournalists were now calling themselves filmmakers. The old ideas of us (still) vs. them (TV) dissipated. “Us” became “them,” but in a different way.

Video storytelling changed. The entry point into the documentary film world flattened. An army of new filmmakers, not confined by the limitations and cost of film, were unleashed. Stories, some short, some long (most too long,) gave rise to publishing platforms like YouTube and Vimeo. No longer did you need a TV to showcase your vision. Shoot and edit your story yourself, then post it to the Web. Maybe even enter a film festival or two.

Former photojournalists, the ones newspapers turned their backs on, were the most creative with the new DSLR video medium. They brought a keen sense of composition, moment and storytelling to the table. But sometimes that was not enough. They needed to understand that great imagery did not a great story make. Each failure was a learning opportunity.

The unfortunate ones were the Nikon shooters. The Nikon D90 was the first DSLR to have video capabilities. But Nikon took a nap after that release. Canon became the de facto standard for DSLR video. The release of the Nikon D800 and D4 played catch up and now a lost generation of Nikon users are joining the fray of filmmaking.

I sit here now stewing, one of the first still photojournalists that embraced digital video storytelling at a newspaper. I was a change agent; embracing the idea that video was an important path to enhancing our online content. In those early days of 2004, our website was mostly text-based with a few postage stamp-sized photos sprinkled about.  I evangelized, I shared, and I taught video sequencing to anyone who wanted to learn. I produced hundreds of video and multimedia stories. I even survived 11 rounds of layoffs at my newspaper. But now I feel like the old man talking about the good old days. Many of my photojournalists friends who left newspapers unwillingly are doing incredible documentary video stories now.

Video storytelling is hard. It takes commitment to keep learning. To keep pushing the boundaries of what is possible with the tools available.

In the blink of an eye, things change. It comes down to how you respond to that change. Give up and you stagnate. Embrace and you risk failure. Fear is the great equalizer. I keep telling myself  “no fear, no fear.”

I really love video storytelling. Though now I feel the cool kids have taken the torch and somehow passed me by. I tell myself I still have knowledge and experience on my side.

Inside me is a storytelling machine waiting to be unleashed. My Nikon D4 beckons. The world is full of stories. The only one that keeps me from telling them is fear.  No fear. No fear. No fear.

Hawaiki AutoGrade for Final Cut Pro X

As I was making some final edits to a 10-minute long video project, an ad for the new Hawaiki AutoGrade color correction plug-in for Final Cut Pro X (Through Noise Industries FXFactory for $29.00) popped up in my Facebook feed. Normally, I just ignore these FB ads, but this one received my full attention. I was just about ready to do the final color correction on my project and I was not thrilled with having to use the limited color correction tools in FCPX (yes I’m pretty creeped out that Facebook knew what I was about to do.)

autograde_effectsI love editing video stories in FCPX, but the one thing I gnash my teeth over is the funky way the program color grades video. Yes, it gets the job done for most projects, but it is not intuitive and has many feature limitations compared to other editing programs like Adobe Premiere.

The one feature I miss the most from my days working with the Final Cut Pro 7′s three-way color corrector was the white eyedropper. Look for something in a video clip that was white with a colorcast and click it. Instant cast remover. Many times that is all the color correction I would need to do. It worked best for tight deadlines where I needed to post a news video quickly.

With AutoGrade, the eyedropper returns to FCPX as well as a slew of other features that will make color correcting your video a breeze.

Learning how to use the plug-in took about as much time as watching the excellent provided video tutorial. Once I got rolling, I color corrected all my clips, about 50 in all, in about two hours. My workflow went like this:

In the effects browser, I clicked the global adjustment picker and chose something neutral in my photo, and then I did the same with the white and black pickers. When done, I turned on “ Enabled Auto Balance” to show the correction. What’s really sweet is that each of the pickers has a slider that allows you to dial back an adjustment. This made fine-tuning simple and fast.

With my video scope set to Waveform/Luma I set my contrast of each clip. In “Manual Adjustment” I would start with my black exposure and pull it down so that the waveform kissed the bottom of the scale. I did the same with the “Whites Exposure” but this time I pulled the slider until the waveform touched the top of the scale. If needed, I would also tweak the “Mids” slider.  Finally, a bump in saturation and maybe a fine adjustment with the cool/warm slider and I was done.

I found with this plug-in, I never needed to use Final Cut Pro X’s color corrector. The only draw back I found is there is more clicking with a plug-in.  You also have to drag the filter onto each clip so that it loads into the effects browser. Still, the program is feature rich and really enhances FCPX color correction limitations. Until Apple makes an upgrade to the its color correction tools, Hawaiki AutoGrade is a perfect alternative.

My final choice of video editing program: Final Cut Pro X

The cries were fierce and seething. What did Apple do to my Final Cut Pro? It has been a little over two years since Apple software engineers upended the video-editing universe with the release of an “all new” Final Cut Pro X version of the proverbial video-editing program. Not long after the initial discussions as to whether it is called “X” or “Ten” subsided, did the bitchin’ and moaning among the ranks start.

fcpxMM

Me? Well, I just dove in with gusto. Unfortunately, many fine editors made one big mistake. They tried to use the program without investing the time to learn how to use the new features—many of which were either a totally new way to edit (magnetic timeline) or ran counter to the way they worked in FCP 7 (dual viewers, bins etc.)  They complained. Then they complained some more. Change was tough, especially for editors that lived in the old FCP paradigm since version 1.0

Before I even tried to edit my first project, my first stop was IzzyVideo’s excellent free FCPX video tutorials. I watched each several times until I began to grasp all the new concepts–connected clips, skimming, magnetic and secondary timelines, keywording and so on . I  made sure I knew what each button in the interface did.

My first story edit went off without much fanfare. Still, I wasn’t totally convinced FCPX was better than my beloved FCP 7. The magnetic timeline drove me nuts, the single view monitor was strange and all that skimming took some time to get used to. I soldiered on and by the end of my third or fourth project, I started to jell with the program. Having to edit something in FCP7 now felt foreign. I kept wanting to skim clips in the browser.

My foray into FCPX was not without a hiccup that almost gave me a heart attack. Since its release, Apple has moved quickly to restore some of the lost features in the previous version. Multi-cam editing, XML export and dual viewers to name a few. But with all this updating, some versions became show-stopping unstable. Discussion boards were full of “FCPX didn’t save my project and now it is gone” type posts, which drove many editors over to the Adobe Premiere or Avid camps for good.

I was just completing a week-long editing project in version 10.05 when I started to trim a black slug at the tail end of my video. All of a sudden, poof, my entire project timeline turned gray. All the clips just vanished. A trip to the Apple discussion boards turned up many angry folks in the same boat as me. In typical Apple fashion, they shrugged their shoulders with silence and it took a user to figure out a convoluted solution to restore corrupted projects.

It made me realize at the time how much more FCPX needed to germinate before it was ready for real world work. That was a year ago and things seem to have smoothed out. My editing speed has accelerated dramatically the more I use FCPX.  I feel much more comfortable and trusting of the program. I taught a video storytelling and production class at a community college and I found the students learned the basics much faster than they did in Final Cut Express.

So for now, Adobe Premiere sits in my applications folder unused. I have chosen FCPX as my video editing program. I continue to suck up as much information on how to use the program as I can. Lynda.com has really stepped up and provided some of the best FCPX tutorials around. If you invest the time, I believe you will become much more comfortable with FCPX. It truly is video editing reimagined. I look forward to what future upgrades bring.

Know your story

A friend of mine asked me to read the first 200 pages of a novel he is writing and give him some feedback. I’m not a wordsmith (as you can tell) but I gave it a shot.

On critique day, I took a big sigh and gave him the bad news.

“I have no idea what your story is, nor do I care about your main character,” I told him. “You’ve written in so many dead ends into the plot that I’m not emotionally invested in the storytelling. I don’t think you know the story you want to tell,” I said.

Several weeks later we got together for breakfast and he told me my advice of know your story changed everything in how he approached writing his novel. He admitted that he was creating the plot as he was putting pen to paper. This, he realized, produced a lot of dead ends for the characters’ and storyline.

Know your story is fundamental to video storytelling too. Yet, time after time, video stories I review or judge in contests (and some of my own) are filled with meandering plotlines, too many characters, and failed endings.

Know your story

Before you shoot, it is important to have in your head, a solid framework of the story you want to tell.  Identify what the conflict in your story is,  then shoot it. Ask yourself: What is my opener? What do I need to shoot for the guts of my story? What’s my ender or resolution? You might not have all these worked out before shooting, but you better have by the time you finish pushing the record button. Few great stories are found in the edit afterwards.

Editing

Know your story. It will make editing a breeze. Focus on telling a story where you set up questions for the viewer, but then make sure you answer them. Intimacy and emotion rules with video, so edit those in not out. Keep focused. Tangents and redundancy are death in a short video.

It’s easy to get lost in all the small edits on the timeline. Make sure you always have a big picture of how your story is unfolding on the timeline.  When you’re done, ask several people to watch your video and tell them to be honest as to whether it holds their interest.  If your story does not work for them, then it probably won’t work for most viewers.

Watch this: Using Compressor in FCPX

 

 

 

 

 

 

 

If you don’t already use the audio filter Compressor in your video or audio editing application, then you are missing out on the key ways to make your dialogue sound better in your productions. Here is an excellent video tutorial from MacBreak Studio’s Steve Martin and Mark Spencer who show you how to apply a compressor filter to a clip and adjust the parameters in Final Cut Pro X. The key thing to remember when applying the filter is the 4:1 ratio. It will make your dialogue clearer–much like applying a unsharp mask to a photograph .

Audio Recorder/Preamp Shootout

Robert Rozak, President of JuicedLink, compares and demonstrates the different preamps and digital recording devices for their low noise capabilities . The key information he stresses is that a preamps connected to a DSLR camera are just as good if not better that recording audio separately with say an Zoom H4n. Take a listen and judge for yourself.

Part 2: DSLR camera accessories-image stabilization

In this part two examination of DSLR accessories, I look ways to outfit your camera to ensure stability of your video (see part one on the Juicedlink audio interface.)

I shoot primarily news video for my newspaper’s website using a Nikon D3s as a video camera. It captures only 720p HD video, not 1080p of the newer models, but it’s resolution perfect for most online delivery.

One of the issues I’ve had as I transitioned from shooting with a Sony EX1 video camera to now using a DSLR, was the stability of my video. When handholding a DSLR during a shoot, I founds it almost impossible to capture stable video. Because I couldn’t put the camera up to my eye when shooting in live view, the shaky-cam effect from holding the camera unsupported out in front of me was really pronounced. It made me realize  how much the optical stabilization on most traditional video cameras work to minimize camera vibration.

In putting my DSLR video camera kit together, I looked for the best lens I could find that would not only give me the zoom focal lengths I needed, but would also have built-in image stabilization. My final choice was the Nikon 24-120mm f/4 VR lens.

VR (vibration reduction) is Nikon’s version of the Canon’s IS (Image Stabilization.) Vibration Reduction (VR) systems in DSLR camera lenses compensate for image blur caused by small, involuntary movements from unsupported cameras.

I can attest that VR works. I’ve seen and shot a lot of handheld DSLR video that was so shaky it was unwatchable. Switching VR on will not make your footage look like it was shot on a tripod, but it will smooth it out considerably. In my video below, I used the Nikon 24-120mm with VR for the first time. I was pleased with the results. VR  allowed to  move with my subjects without encountering the jarring shake of typical handheld footage. I was most impressed with the clip of me running with the subject. No way would this look this smooth without VR.

The next accessory I use for stabilizing my DSLR video is the wonderful  Zacuto Z-Finder optical viewfinder that I attach to my camera’s rear viewing monitor. This allows me to press the eyepiece against the bridge of my shootin’ eye, which helps stabilize the camera–especially the up and down movement you get when holding the camera out in front of you. This, paired with the lens VR, really makes for some excellent looking handheld footage.

Finally, I can’t stress enough about having a solid tripod handy on EVERY shoot. I always try to use a tripod for long interviews. This allows me to spend time looking my subject in the eye, rather than hiding behind the camera monitor.

The best video tripods are ones that have a fluid head, which allows you to do smooth pan and tilt movements. I have three that I have access to, from small (light) to large (heavy.) The one thing that I have come to love about shooting with a tripod is that I can frame a shot and then shoot a three-shot sequence of wide, medium and tight ten second clips. When I edit, I have three different views to choose from—and best of all, they are all rock steady.

I could go on about camera rigs and such, but in my type of work, they are a bit much for what I do. As a one-man band, I find keeping it simple is the best hedge against missing shots and moments. One of the things that I don’t want to do is create the three-headed monster camera rig that would draw too much attention to myself.

In part three, I will look at the Zacuto Finder up close and a round-up of the other necessary accessories to outfit your DSLR to make it a bad ass video camera.

Teaching video storytelling

Having just finished teaching a community college Intro to Documentary DV Production class, I’d thought I would share with you my formula for instructing students on how to shoot a video story in a way that makes the editing process go smoothly.

I always tell my students that even Michael Jordan needed to learn the fundamentals of basketball and the same goes for video storytelling. Much of what I teach is based on what I learned at video storytelling workshops like the Platypus (class of 2005) where the language of TV was drilled into me with the rigors of a U.S. Marine boot camp.

I continue to practice what I preach by shooting and editing video stories for my newspaper’s website. I’ve taught these video fundamentals at a half-dozen video storytelling workshops I’ve coached at. It is battle-tested and works with students who have never shot video before. The textbook I use to reinforce what I teach is the just published “Videojournalism: Multimedia Storytelling” by Prof. Ken Kobre.

Baby steps…

I assign my students five shooting assignments over the course of an 11-week quarter. Each assignment builds onto the next.

VOX POPS 

The term “vox pop” comes from the Latin phrase vox populi, meaning “voice of the people”. The vox pop is a tool used in many forms of media to provide a snapshot of public opinion. Random subjects are asked to give their views on a particular topic and their responses are presented to the viewer/reader as a reflection of popular opinion.

This is a group assignment where the class comes up with one question that they will ask of their subjects. Each student has time behind the camera and asks the question of at least five strangers. In this case: “It is 2012 and knowing the world is about to end, what is the one thing you would want to do before you died?”

We shoot on campus and I float amongst the groups reminding them to get the camera and mic close enough to their subjects and to make sure to hold the camera steady as possible etc.

The process for students is messy and challenges them to face their fear of talking to random strangers. At the end of class, I gather all the tapes and take them home for the night where I quickly edit about and hour’s worth of footage into a 45 second video.

In the next class, I start the discussion about what could you do with all that raw footage? Could you tell a story with it? I then show the edited video of their work. Quick cuts, matched action shots, editing on motion are all in the video. I start to see the light bulbs over heads coming on.

They now get it: editing=storytelling. Now we’re off to the next assignment:

Cutting Carrots

The cutting carrots is a well-known video assignment given to new solo video journalists at the Video News International storytelling boot camps in the early 90s.

The premise of cutting carrots is to learn the basic foundations video sequencing by shooting something repetitious (like someone cutting up carrots.) The goal here is to shoot as many types of shots that you will later edit together into a montage.

This is a group assignment, where each student shoots another student at his or her class computer as they do some work. The key is to get them to move beyond shooting a scene with one long wide shot. This assignment introduces the concept of sequencing. By breaking down the long video clip into many different shots—wide, medium, tight, over-the-shoulder, shooting the action (fingers on the keyboard) then shooting the reaction (the face of the subject,) students learn the fundamental principle of video sequencing, which is the compression of time.

Students then use Final Cut Pro X to edit their footage into a short sequence of shots. For many it is their first time in a video editor. The editing assignment is not stressful because I have prepped the students with basic tutorials on how to edit in FCPX. I tell the students to make the edit as clean as possible. I then sit down with each them and enhance the edit. I find almost all the student sequences are too long. I start by trimming time from each clip to make the pacing faster. I find edit points where a matched edit would work, I show them why it is important to let the action come into a frame and then leave. To me this one-on-one is the best learning tool they have. Many students I’ve had who have basic video editing experience tell me, “why hasn’t somebody shown me this before?” We’re rolling now. On to:

Sequence A to B

Now let’s take sequencing to the next level by showing someone going from point A to point B. You must utilize enough shots so that a viewer of your finished video understands what is happening even though you have dramatically compressed time in the scene. When shooting a sequence like this, you have to anticipate the action.

In this assignment students really have to think about the shots they will need to complete a moving sequence showing a fellow student getting up from their desk, walking out of the building, getting on a bicycle and riding off. In real time this could take a few minutes, but by shooting wide, medium, tight, action, reaction, the final edited sequence is about 30 seconds. I stress to the students to anticipate the action, to let action come into and out of frame because it makes for natural edit points later. I make sure they understand that tight shots are great transitions between scenes. The editing process is the same. I let them struggle with it first and then I sit down and show them how to make the edit better. Again most student clips are too long. Some shots are redundant and need to be cut. We work together to find ways to match the action of the outgoing clip to match the incoming one. By the time the assignment is done most of my students are ready to actually tell a video story.

Widget Maker interview (A-roll + B roll = story)

Time to take what you have learned so far about sequencing and shot selection and produce a short video story about someone who does something interesting. It could be an artist, or someone who has an interesting job. How about a friend that has a cool hobby or sport? Just make sure to choose someone who does something visual.

Now students are tasked with finding, shooting and editing their first video story. These aren’t journalism students, so much what I teach about video journalism is foreign to them. I stress the ethics of truthfulness. That with documentary, they need to be truthful in how they shoot, and how they treat and portray their subjects. Between these shooting assignments students learn about audio gathering fundamentals, and how to conduct and light an interview.

I ask students to find a subject who does something visual—an artist, craftsmen etc. In the first year I taught the class I said I didn’t care about them creating a full story as much as I wanted a solid b-roll sequence that matched with what the subject was talking about. I was surprised that many students took the assignment further by crafting an actually story from their interviews and b-roll. This year I made storytelling a priority and the work was stronger because of it.

Final Documentary Project

Whereas the Widget Maker assignment was about telling a story with one subject, the students’ final documentary project expanded out to include multiple subjects, but with an eye on keeping the stories less than five minutes long. With only three weeks left in the quarter, this assignment is the most stressful and challenging for students.

Throughout the quarter I am pushing students to come up with ideas for their final documentary. Many stories fall through at the last-minute. Still, I’m pleased with much of the work, considering the level where the students were before they entered the class. For the final project, I really stress story and story construction. Many students struggle with how to open their docs. I steer them away from starting their video with a talking head. I push them to gather more natural sound b-roll so that they can weave it in and out of their interview clips. As deadline nears, the more time a student lets me work with them on their Final Cut Pro X timeline the better shape their story takes and the more, I believe, they learn. On the last day of class, I always wish there was more time to make the final doc projects better.

I created a class resource blog where all students were authors and could post content and comments and their projects. Check it out. All the above assignments are in the toolbar and you are free to download, change or adapt for your own use.