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 Robbie Carman | Saturday, November 01, 2014
DSLRs have paved the way for a plethora of new video cameras.
In this week’s episode of Video Gear Weekly, special guest Nathan Golon and I take you through the ins and outs of the Canon C300.
It’s an easy-to-maneuver video camera that uses the same EF lenses as Canon DSLRs.
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 Richard Harrington | Saturday, October 25, 2014
Attaching a filter to the front of the lens can help you when shooting in various climates and environments. And while giving your lens an extra layer of protection, lens filters also give you more control over your shot.
This week on Video Gear Weekly, I take you to Dig This! in Las Vegas and back to the studio with Robbie to explain the importance of including filters in your camera bag.
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 Richard Harrington | Tuesday, October 21, 2014
Ready to put together your GoPro time lapse? Try GoPro’s free non-linear editor, GoPro Studio.
Not only can you stitch your time lapse together, but you can stylize it to the look you want.
This week on Video Gear Weekly, Robbie and I will walk you through using GoPro Studio to create an amazing time lapse.
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.
You can change your email preferences at any time. We will never sell your email. More info
Thanks for signing up.
We’ll send you a confirmation email shortly.
Sign up and receive emails about lynda.com and our online training library:
Keep up with news, tips, and latest courses with emails from lynda.com.
We've updated our terms and conditions (now called terms of service).Go Review and accept our updated terms of service.