By Ashley Kennedy | Wednesday, July 29, 2015
In a new type of lynda.com course, I set aside the software training and talk with veteran video editors about their projects, workflows, and philosophies.
The first three subjects in Conversations in Video Editing are Steve Audette, documentary editor at PBS Frontline; Jesse Averna, current Disney editor and former Sesame Street editor; and Monica Daniel, L.A.-based freelance editor.
Each of them is immensely talented in the craft of video post-production, and in this discussion series, we get a taste of how they do their jobs, talking about everything from collaborating in the cutting room to specific editing workflows to understanding audience and intent.
Best of all, each editor screens several recent projects and treats us with detailed scene analysis—breaking down how they approached the edit.
By Robbie Carman | Friday, July 24, 2015
Wide-angle lenses not only give you the ability to capture your surroundings; they capture action as well.
This week on Video Gear Weekly, Rich and I continue to take a look at wide-angle lenses and help you decide what to consider when buying a wide-angle lens.
By Richard Harrington | Saturday, July 18, 2015
Wide-angle lenses are designed to help you capture the grandeur of an environment. This week on Video Gear Weekly, Rich and Robbie compare different wide-angle lenses to help you decide which one might be best for you and your video workflow. In this week’s episodes, you’ll see what footage looks like from
Check out the sample video above, and the rest of this week’s episode, on lynda.com.
By Robbie Carman | Friday, July 3, 2015
The Canon 5D Mark III follows in the footsteps of the Canon 5D Mk II with good quality video with a full frame sensor and improved processor.
Is it right for your workflow? In this week’s episode of Video Gear Weekly, Rich and I walk you through the ins and outs of the Mark III.
By Patrick Inhofer | Thursday, July 2, 2015
In the history of the Indianapolis 500, Al Unser is in the top three of career Starts, Front Row Starts, Pole Position, Laps Led, and Wins. But do we refer to him as a driver—or a racer?
As a professional colorist and colorist coach, the question of which term to use—color correction or color grading—feels to me like the Al Unser question.
Over the past few years, the answer to the color-grading-vs.color-correction question has changed among professional colorists. I’ll show you what each term means—and how to color grade like a colorist.
By Richard Harrington | Friday, June 26, 2015
Calibrate your monitors as accurately as possible by using colorimeters or spectroradiometers.
This week on Video Gear Weekly, Rich and Robbie show you how to calibrate your display with a meter.
By Chris Meyer | Wednesday, June 24, 2015
One of the main features in the just-released After Effects CC 2015 is its support for Creative Cloud Libraries: a panel inside After Effects that exposes folders of assets such as graphics, colors, and more that can be shared with other users.
On the upside, this improves AE’s integration with Adobe Illustrator CC and Photoshop CC, and adds integration with the mobile apps Adobe Shape CC and Hue CC.
On the downside, this initial implementation is read-only; you can’t yet add to the CC Libraries folders from inside After Effects. And there are several format quirks, such as lack of direct support for SVG files (you have to convert those assets in illustrator to .AI files first).
One quirk is the way transparency is supported when going between Photoshop and After Effects CC 2015. So follow these tips for using Photoshop and After Effects with Creative Cloud Libraries.
By Robbie Carman | Friday, June 19, 2015
Does it drive you nuts that the color seems off on your monitor screens? How do you know if the footage you’re looking at is colored correctly?
Your monitors need to be calibrated so that their colors match—and so they’re in line with the color standard that your project needs to match.
In this week’s episodes of Video Gear Weekly, Rich and I help you calibrate your monitors so you know that what you’re looking at is the truth.
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