By Lauren Harmon | Tuesday, September 24, 2013
Explore Deke’s Techniques at lynda.com.
This is week two of the Deke’s Techniques aerial imagery challenge. Today, Deke going to show you how to add transitions to the footage we saw compiled in the last episode, with the video editing tools in Photoshop. The video starts with a dramatic liftoff and ends with a crash, but since it was shot with a GoPro camera and remote control quadcopter, no one gets hurt.
Learn how to open the video in the Timeline panel, move clips around the timeline, split clips in multiple places, and add strategic crossfades. Plus, Deke gives you a ton of shortcuts for navigating around the timeline.
By Chris Meyer | Friday, August 23, 2013
Although I’m primarily known as an Adobe After Effects user and motion graphics artist, my background is in the music industry. Over the years I’ve found a sympathy for sound to be a big benefit to video professionals: timing animations to your project’s sound increases the impact of your visuals. Inversely, strictly focusing on the visual elements of your edits without serving the sound can distract the viewer, and dilute the overall impact.
I’ve recently distilled years of experience creating visuals to sound into a two-and-a-half-hour video course of exercises and real-world examples, Editing and Animating to Sound in Adobe After Effects. I start with the basics of learning how to “read” an audio waveform to spot the timing of beats in music, and then cut video, build animations, and even drive effects using the audio in your project. I also include a list of “magic tempos” you can hand to musicians so they can create a soundtrack at a speed that makes editing and animating easier.
By Richard Harrington | Friday, July 26, 2013
On this week’s episode of DSLR Video Tips, we look at a key aspect of getting great-looking shots: critical focus. Join us as we head back out on a real-world music video shoot for musician Jason Masi, and discuss time-saving techniques for achieving critical focus:
• “Punch in” on a shot in LiveView mode to achieve sharp focus.
• Use a loupe or viewfinder to magnify the image on your camera’s LCD screen, making it much easier to achieve critical focus.
• Use autofocus to quickly lock in focus prior to recording.
• Take a look at the benefits of using a field monitor, as well as an electronic viewfinder, to aid in focus. A bigger or higher resolution screen can be a huge help in getting sharp focus.
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 | Wednesday, April 11, 2012
In After Effects Apprentice 15: Final Project (the fifteenth, and final, course in the After EffectsApprentice series based on the second edition of Trish and Chris Meyer’s book After Effects Apprentice) you will pull together skills you’ve learned in the previous After EffectsApprentice lessons to create a real-world video promo. In the first half of the course Trish leads you through building the artwork and components used in the final piece, and then Chris demonstrates how to assemble your precompositions into a 3D world, timed to music. Skills covered include how to use masks, effects, shape layers, text, layered Illustrator files, blending modes, track mattes, collapsed transformations, nested compositions, motion blur, expressions, animation presets, audio, a 3D camera and light, and more.
Throughout the course, Trish and Chris share with you their process and thoughts as they design component elements, work towards assembling a final composition, and deal with handling change requests from clients. Chapters 11 and 12, the final two chapters of the course, are essentially mini-courses in themselves. In chapter 11, Chris breaks down several strategies for efficient rendering, including how to create versions for archiving, non-linear editors, widescreen, center cut, and the web, and chapter 12 dives into the process of recreating a dial Illustrator logo using shape and text layers inside After Effects.
Although After Effects Apprentice 15: Final Project concludes the After Effects Apprentice series, this isn’t the last we’ll be seeing of Trish and Chris as they’ve already promised to update their After Effects Apprentice book based on the next version of After Effects, and afterward will release additional Apprentice videos covering the new features, plus a new final project.
By Rob Garrott | Wednesday, November 23, 2011
Welcome back for another Design in Motion! This time around we’re going to have some fun in CINEMA 4D building a camera rig that will give you the ability to add very convincing multi-directional camera shake that is easy to control. Camera shake is an important component of animation. Just like motion blur, it adds a lot of realism to your movements.
Last week I introduced you to the idea of expressions in After Effects. CINEMA 4D also has an expression language—in fact—CINEMA 4D has three expression languages; Xpresso, Coffee, and Python. Don’t be alarmed, though—we won’t be writing code. We’re going to use the Xpresso language, which is a visual, node based way of making connections between objects and parameters.
Even though we’re building an easy to use camera rig, really, this technique is largely about the idea that you can use the Xpresso language to control objects and animation.
Interested in more?
• The full Design in Motion series in the Online Training Library®
• All 3D + animation courses in the Online Training Library®
• Courses on CINEMA 4D in the Online Training Library®
• Courses by Rob Garrott in the Online Training Library®
Suggested courses to watch next:
• CINEMA 4D: Rendering Motion Graphics for After Effects
• CINEMA 4D R12 Essential Training• After Effects CS5.5 New Features
By Michael Ninness | Wednesday, October 13, 2010
Avid recently released an update to its popular Media Composer 5 video editing software that fixes several bugs, including:
1) Default Segment Mode setting
The MC default for the timeline setting “Default Segment Tool” has been changed from overwrite to insert.
2) Copy/Paste Segment Mode fix
When copy/pasting mark in/out with no segment tool active, the paste mode will no longer be the last used segment mode but the default segment mode. Most editors want to paste in insert mode so unless an editor changes the default (insert), MC will paste in insert mode. The only time MC will paste in overwrite is if the user has only the segment overwrite tool active when paste is executed, as in versions prior to 5.
3) Smart Tools auto selection bug
A bug has been fixed that auto selected the default segment tool when an editor cut a marked in/out selection (Ctrl+X) with no segment tools active.
For information on how to obtain the 184.108.40.206 patch, go to Avid’s support area on its site: http://www.avid.com/US/support/downloads/
If you are a brand new user of Avid Media Composer 5, be sure to check out our crash courseAvid Media Composer 5 Getting Started with Steve Holyhead. For a deeper dive, Avid Media Composer 5 Essential Training with Ashley Kennedy is also available.
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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