By Seán Duggan | Friday, April 3, 2015
I was in Iceland recently leading my Winter Landscapes & Auroras workshop and I had the good fortune to be there for a near total solar eclipse.
You can actually see the shape of the partially eclipsed sun in the lens flare on my friend’s parka.
In addition to taking close-up still shots like I did for the last eclipse, I also wanted to shoot a time lapse sequence that showed a wide view of how the landscape was transformed by the fading light as the sun was eclipsed, and then its gradual return to the full brightness of daylight.
By Starshine Roshell | Wednesday, March 4, 2015
Meet your favorite lynda.com Video authors in person in April at Post Production World, the world’s leading training event for editors, producers, directors, graphic artists, motion graphics designers, and new media specialists.
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 Ashley Kennedy | Friday, September 12, 2014
Scene from the 1913 film “The Evidence of the Film”
In the very early days of film, nearly all editing positions were held by women. Female editors, or “cutters” as they were called, were known as the stitchers and menders of the craft. The work was all done by hand; it was low-paid and women rarely received screen credits for their work.
Fast forward to a century later, and although advancing film technologies have made the work easier and more efficient, the proportion of women editing motion pictures has gone from a majority to a low minority—extending the Hollywood gender divide to yet another area of motion picture-making.
By Jim Heid | Thursday, June 20, 2013
Practicing your photography skills also means practicing your post-processing skills. Almost every photo can benefit from some refinement later, whether it’s to optimize exposure, crop for better composition, or to retouch and remove unwanted subject matter. Back in the day, post-processing happened in darkrooms and at light tables. These days, it more commonly happens in Photoshop or programs like Lightroom and Aperture. Regardless of the tool, post-processing is an important part of the photographic process.
In this week’s installment of The Practicing Photographer, Ben Long dives into Photoshop to examine the process of combining, or compositing, two similar photos to obtain the best parts of each one. His subject is a street scene in San Francisco. Ben shot a photo of a bicyclist entering an intersection, but just as he pressed the shutter, a pedestrian intruded into the edge of the shot.
By Chris Meyer | Friday, April 5, 2013
Adobe has started to reveal some plans for its next generation of pro video tools. Using a prerelease version of After Effects, I’ve recorded two hours of videos for lynda.com to keep you ahead of the curve. Over the course of a few blogs, I’ll fill you in on some of the interesting features that are on tap. First up, the new integration between After Effects and CINEMA 4D.
A couple of weeks ago, Adobe and MAXON issued a press release announcing a “strategic alliance … to bring creative professionals new levels of digital media content creation.” Buried inside that release was the intriguing statement that “As part of the alliance, both companies are expected to collaborate and engineer a pipeline between Adobe After Effects software and CINEMA 4D to give users a seamless 2D/3D foundation.” Now we can finally see what they were hinting at.
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