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By Chris Meyer | Monday, January 13, 2014
Explore this course at lynda.com.
Whether you’re editing for documentaries, reality television, or corporate videos, you’re likely to run into this scenario: The talent is giving a long speech, perhaps unrehearsed. In the middle of that speech, you’d like to pull out a really good sound bite—but the pauses around the sound bite don’t create enough space (known as a “handle”) to cleanly isolate the segment. Sound familiar?
There are a couple of time-honored solutions to this problem, including muting the audio before and after the desired sound bite, freezing the video to extend the handle, or performing a split edit (cutting the video separately from the audio). All of these compromises, however, can appear visually jarring, taking the viewer out of the flow of the program.
By David Franz | Tuesday, June 26, 2012
It’s a fact that Adobe Premiere CS6 and Audition CS6 tend to play nicely together. It’s this compatibility that makes it very easy and convenient to use these two applications together when working on a video project that has any sort of audio component. While Premiere does have some very basic audio editing functions, Audition is a much more fully-featured application for audio recording, editing, and mixing requirements. So, using Audition specifically for editing and mixing dialog, sound effects, music, and foley, is a good way to improve the sound of your video’s soundtrack.
By Rob Garrott | Thursday, April 12, 2012
Workflow, speed, and efficiency make for a strong CS6 update to veteran production applications Adobe Premiere Pro and After Effects. Next week, Adobe will be revealing the updated Premiere and After Effects apps at the NAB convention in Las Vegas, and lynda.com authors Chris Meyer and Rich Harrington have created two lynda.com tutorials that walk you through the important new CS6 features.
In After Effects CS6 New Features, Chris Meyer explores the brand-new 3D camera tracker, which analyzes a piece of video footage and reconstructs a virtual digital camera that matches the scene perfectly. With that camera and tracking data, motion graphics and visual effects artists can seamlessly place digital elements into moving video. In addition, there is also a completely redesigned Global Performance Cache that dramatically speeds up interactions by saving crucial information about layers and how they’re put together into a locally stored data file. This locally-stored data allows After Effects to quickly undo changes, and present ram previews much faster. It can even reload cache after quitting and relaunching the application.
In this clip from After Effects CS6 New Features, Chris Meyer shows you the process of exporting 3D tracking data to CINEMA 4D:
Looking at our second featured course, Rich Harrington sums up the big changes to Adobe’s flagship editing application in Premiere Pro CS6 New Features. The elegant new Premiere Pro editing interface is exciting, but it’s the introduction of adjustment layers that will make heads turn. Adjustment layers have long been a part of After Effects, but the accelerated effects of the Mercury Playback Engine in Premiere Pro mean that editors can now use adjustment layers to apply effects like color correction to an entire timeline, and make changes in real time without stopping playback.
In this next movie from Premiere Pro CS6 New Features, author Rich Harrington shows off the new three-way color corrector in Premiere Pro CS6:
These two New Features courses are great for long-time users of Premiere and After Effects. For a ground-up introduction to each, keep an eye out for our Premiere Pro and After Effects CS6 essential training courses coming soon.
Interested in more?
• All video courses on lynda.com
• All courses on After Effects and Premiere Pro on lynda.com
• Courses by Chris Meyer and Rich Harrington on lynda.com
Suggested courses to watch next:• Premiere Pro CS6 New Features
• After Effects CS6 New Features• After Effects CS5 Essential Training
By Crystal McCullough | Wednesday, April 14, 2010
On Monday, Adobe officially announced its Creative Suite 5 line of products, and lynda.com released 10 Adobe CS5 New Features training courses, one Essential Training course, and a Creative Techniques course. Click on any one of the following images to view the trailer for that course:
Here are the direct links to each course:
After Effects CS5 New FeaturesAfter Effects CS5 New Creative TechniquesDreamweaver CS5 New FeaturesEncore CS5 New FeaturesFlash Professional CS5 New FeaturesFlash Catalyst CS5 Essential TrainingFireworks CS5 New FeaturesIllustrator CS5 New FeaturesInDesign CS5 New FeaturesPhotoshop and Bridge CS5 for Photographers New FeaturesPhotoshop CS5 New FeaturesPremiere Pro CS5 New Features
View the entire course listing on lynda.com. We’ll be releasing another group of courses on April 30, and more CS5 titles in weeks to come. As always, we invite you to let us know what you think.
By Crystal McCullough | Monday, April 12, 2010
From 'Making use of updated color effects and blending modes' in the lynda.com After Effects CS5 New Features.
Today Adobe officially announced its Creative Suite 5 line of products, and lynda.com released a dozen of our Adobe CS5 New Features training courses:
View the entire course listing on lynda.com.
By Megan O. Read | Tuesday, December 08, 2009
Several examples from Chapter 4, The Art of Video Editing. Clockwise from top, two clips from "House on Haunted Hill" with Vincent Price, Kuleshov's Effect, from "Amar el Cine," music video for the Zen Chemists, scene from "Ninja Death 3."
Premiere Pro CS4 Beyond the Basics with Chad Perkins is an exciting release for video editors, but I’d argue that there could be something for everyone in this course.
In Chapters 2 and 4 for instance, (Tips for Shooting Video, and The Art of Video Editing), Chad touches on key tips that anyone with a camera and a story to tell can use. From telling better stories through suggestive editing, to setting a mood using emotional cutaways, the importance of pacing, and thankfully, how to avoid bad edits.
A few other highlights that caught my eye were the chapter on Editing a Music Video, the advanced video concept of getting video to look like film (in Chapter 14), and the awesome creating a day-for-night shot in Chapter 7. (So that’s how they shoot all those night shots in movies!)
Chad also covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Check it out and let us know what you think.
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