By Ashley Kennedy | Friday, January 30, 2015
Let’s face it: Handheld cameras means shaky footage.
And now that every phone, tablet, and digital device seems to shoot video, handheld video comprises a lot of what’s out there.
This week’s Video Post Tips Weekly shows you how to counteract camera shake by stabilizing wobbly footage in Premiere Pro, Final Cut Pro X, and Avid Media Composer.
By Ashley Kennedy | Wednesday, January 21, 2015
When working in large video-editing projects, you constantly need to locate various project materials—whether it be a sequence, a specific clip, a precise frame, or the physical media files on your drives.
Rather than hunting and pecking through your bins, folders, and drives to find what you need, tap into the useful searching and locating tools built into the software.
By Ashley Kennedy | Thursday, December 18, 2014
“Vignette” is one of those classic French words that has permeated the English language on a number of levels.
In the world of film, the vignette has been one of the most common lighting techniques for decades. And in recent years, digital post-production workflows have made the video vignette easier to create than ever before.
In this week’s Video Post Tips Weekly, we explore how to create vignettes in both Premiere Pro and Final Cut Pro X. And in this article, I’ll show you the merits of using different types of vignettes—as well as when the technique might become overused or cliché.
By Ashley Kennedy | Thursday, December 11, 2014
Whether you’re speeding up or slowing down your video footage, changing shot timing is a common editing function in all sorts of video projects.
However, instead of altering speed from scratch (where you determine the rate conversion manually), it’s often useful to be tactile about this operation—that is, by simply grabbing onto your shots and stretching them out or shrinking them down to match a particular duration in the timeline (where the editing software determines the rate conversion automatically).
In addition to this technique—called speed trimming—there’s also the ability to “Fit to Fill,” which allows you to edit a shot into a marked duration in the Timeline and force a specific speed change.
In this week’s Video Post Tips Weekly, we’ll explore some speed trimming and Fit to Fill strategies in both Premiere Pro and Final Cut Pro X.
By Ashley Kennedy | Saturday, December 06, 2014
When you break out your video camera at this season’s holiday gatherings, consider shooting something with more creative potential than just a hodge-podge of the day’s events.
With a house full of family members (a true captive audience!), there are so many fun things you can try—many of which can be turned into great gifts down the road, even if you just have a simple camera phone and limited editing skills.
Here are some ideas to try for great storytelling with family video.
By Ashley Kennedy | Thursday, November 27, 2014
Blend modes are the secret weapon of countless graphic artists.
Simply put, they allow you to combine multiple opaque layers and assign each layer a degree of transparency, which results in various types of blending. This lets you composite images, shapes, text, and other elements to build worlds of creativity—and are a common tool in programs like Photoshop and After Effects.
But did you know blend modes can also be a useful color correction tool in video editing software?
In this week’s Video Post Tips Weekly, we’ll explore how you can use blend modes to correct overexposed footage in both Premiere Pro and Final Cut Pro X. Next week, we’ll look at how to do the same thing for underexposed footage.
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 | 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.
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