By Ashley Kennedy | Thursday, November 20, 2014
In video editing, it’s important to have smart strategies for labeling and searching your video clips —especially since we often work with projects that contain hundreds of clips.
It’s also important to do as much work as possible on the front end to help minimize time and effort on the back end; that way, you’re not constantly hunting and pecking through your bins for the perfect shot during the creative process.
By Ashley Kennedy | Sunday, November 16, 2014
Yesterday’s parents reached for their wallets to show off photos of their kids and grandkids. But today’s parents pull out their mobile phones to proudly display their family moments—so if you’re considering holiday cards this year, think about offering your season’s greetings in the digital realm!
With very little effort, you can send a digital holiday card: a simple photo-based video project, which your loved ones can easily play on their phones, tablets, or desktop computers.
Best of all, you can create it quickly and easily using nothing more than the contents of your phone’s photo gallery and any basic editing software.
By Ashley Kennedy | Wednesday, November 12, 2014
When video editors start out, we often view our editing projects as islands of creativity—with our project files and media assets living alone on a single system. When we export the project and hand it off to the client, we assume that’s the end, and it’s time to move on to the next thing.
If only it were so easy.
In an increasingly collaborative world, it’s likely that at some point you’ll need to hand off a project, or a specific subset of a project, to another editor or colleague. This means moving the project files containing your sequences and all of your organized folders, bins, and clips—as well as all of the associated media—to another system so your collaborator can access your edits and work on the project further.
In this week’s Video Post Tips Weekly, you’ll get video editing tips on transferring an entire project, a partial project, or even a single sequence in both Premiere Pro and Final Cut Pro X.
By Ashley Kennedy | Wednesday, November 05, 2014
Video editing is like constructing a giant puzzle whose edges and shapes are constantly shifting.
Truly, the major (but fun!) work occurs once you’ve brought clips into the timeline and started making the finer adjustments within this fascinating puzzle. By trimming, nudging, moving, and rearranging your clips, you can tighten up or loosen your edits—thereby accelerating or slowing your viewer’s heartbeat and mind.
In this week’s Video Post Tips Weekly topics, we’ll be examining various video editing shortcuts for moving and manipulating clips in Premiere Pro and Final Cut Pro X.
By Ashley Kennedy | Wednesday, October 29, 2014
The creative process is exactly that: a process: You try things out, change your mind, make mistakes, and shift your goals.
This happens a lot in video effects editing. You try things and tweak until they’re just right. Then once you’ve got it, you often need to apply the effects to all of your clips en masse.
But there’s a difference between applying effects to many clips at once (which is generally pretty easy) and going back and changing effects of many clips at once (which may not be as intuitive). That’s what we’ll look at in this week’s Video Post Tips Weekly—in Premiere Pro, Final Cut Pro X, and Avid Media Composer.
By Ashley Kennedy | Wednesday, October 22, 2014
For newbies, the process of secondary color correction may be reduced to references to the movies Pleasantville or Sin City.
If you’ve seen those movies, you know what I mean; selective colors emerge dramatically from a mostly black-and-white world.
While this may be easiest to understand with such stark differences in color palette, secondary color correction is actually a great tool any time you want to perform color replacement—and most of the time, you’re dealing with much subtler adjustments.
Simply put, it’s when you isolate a range of color, saturation, and brightness values and make adjustments in only that range—with minimal or no effect on the remainder of the color spectrum.
In this week’s Video Post Tips Weekly tutorials, we’ll take a look at how to perform secondary color correction in both Premiere Pro and Final Cut Pro X.
By Ashley Kennedy | Friday, October 17, 2014
Over the weekend, my local fire department held an open house where they set lots of stuff on fire. So I did what any video enthusiast would do: I took plenty of slo-mo footage—of the flames, the smoke, the water spewing from firehoses—with my new iPhone 6.
Bringing that footage into editing software, however, isn’t quite as cut and dry as you might think. So I wanted to show you some of the things I learned—in case you ever want your slow-motion video to have a life outside of your iPhone.
By Ashley Kennedy | Wednesday, October 15, 2014
The video frame is a big, wide world. Often there’s a lot going on in there, and not all subjects within the frame can be treated equally.
What if you want to brighten up a face—but you want the rest of the environment to remain in relative darkness? And what if that face is moving? And for added difficulty, what if it’s also coming toward you and rotating?
You can see what issues arise if you treat the entire frame equally. Instead, you’ve got to hone in and grab control of the pixels that define the face, brighten up that area, and then track its movement over the duration of the shot—while leaving everything else alone.
Fortunately, with masking and tracking technology, you’re able to do this relatively easily. So in this week’s Video Post Tips Weekly, we’ll demonstrate mask tracking in Premiere Pro CC (both the 2014 and 2014.1 versions) and Avid Media Composer. And while tracking isn’t available in FCP X, I’ll show you how to apply a simple mask and use keyframes to achieve similar results.
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