By Ashley Kennedy | Friday, January 30, 2015
Let’s face it: Handheld cameras means shaky footage.
And now that every phone, tablet, and digital device seems to shoot video, handheld video comprises a lot of what’s out there.
This week’s Video Post Tips Weekly shows you how to counteract camera shake by stabilizing wobbly footage in Premiere Pro, Final Cut Pro X, and Avid Media Composer.
By Ashley Kennedy | Wednesday, January 21, 2015
When working in large video-editing projects, you constantly need to locate various project materials—whether it be a sequence, a specific clip, a precise frame, or the physical media files on your drives.
Rather than hunting and pecking through your bins, folders, and drives to find what you need, tap into the useful searching and locating tools built into the software.
By Ashley Kennedy | Thursday, January 15, 2015
What makes great video editing? A lot of things come into play, but two of the biggest factors are a) choosing the best shots and b) establishing the proper timing and pacing. And every editor knows that meeting these goals takes a lot of time, patience, and experimentation. It’s through testing various options that we often arrive at the best solution.
Each editing software offers various methods for testing different shots, but one exciting tool is Final Cut Pro X Auditions; it’s a really elegant way to quickly sample and swap out different shot options.
In this week’s Video Post Tips Weekly tutorials, I explore all things Auditions. If you’re brand new to the technique, dive right in. And if you’re already using Auditions, rest assured we’ll cover plenty of advanced techniques that you may not know. This article will cover the basics; watch the tutorials to get much more detail.
By Ashley Kennedy | Thursday, January 8, 2015
Video titles are not just for conveying information and providing labels. When executed well, they can establish a style and aesthetic, add texture and depth—and in certain cases, they can even assume a personality or become a character within the film. (To have some fun exploring creative title sequences, check out Art of the Title.)
Sometimes creative titling entails heavy text-based motion graphics work; other times, it involves an intricate intermingling of text, video, and animation. And occasionally, the relationship between video and titles can combine to become one; inserting video footage inside of your titles makes them come alive and gives them visual context that text alone can’t provide.
In this week’s Video Post Tips Weekly, discover how you can edit video inside of your titles using Premiere Pro, Final Cut Pro X, and Avid Media Composer.
By Ashley Kennedy | Thursday, December 18, 2014
“Vignette” is one of those classic French words that has permeated the English language on a number of levels.
In the world of film, the vignette has been one of the most common lighting techniques for decades. And in recent years, digital post-production workflows have made the video vignette easier to create than ever before.
In this week’s Video Post Tips Weekly, we explore how to create vignettes in both Premiere Pro and Final Cut Pro X. And in this article, I’ll show you the merits of using different types of vignettes—as well as when the technique might become overused or cliché.
By Ashley Kennedy | Thursday, December 11, 2014
Whether you’re speeding up or slowing down your video footage, changing shot timing is a common editing function in all sorts of video projects.
However, instead of altering speed from scratch (where you determine the rate conversion manually), it’s often useful to be tactile about this operation—that is, by simply grabbing onto your shots and stretching them out or shrinking them down to match a particular duration in the timeline (where the editing software determines the rate conversion automatically).
In addition to this technique—called speed trimming—there’s also the ability to “Fit to Fill,” which allows you to edit a shot into a marked duration in the Timeline and force a specific speed change.
In this week’s Video Post Tips Weekly, we’ll explore some speed trimming and Fit to Fill strategies in both Premiere Pro and Final Cut Pro X.
By Ashley Kennedy | Thursday, December 4, 2014
Last week, we explored how to use the darken blend modes within Premiere Pro and Final Cut Pro X to correct and stylize overexposed footage. We looked at how to stack identical video elements and use primarily the “Multiply” blend mode to provide richness, detail and contrast to washed-out footage.
In this week’s Video Post Tips Weekly topics, we’ll explore how to perform similar changes for underexposed footage.
Specifically, we’ll look at how to use the “lighten” blend modes to add detail and texture to your too-dark footage. And because of the way blend modes treat the lightest and darkest parts of your image, the result of your adjustments can often be more interesting and nuanced than if you used color correction alone.
By Ashley Kennedy | Thursday, November 27, 2014
Blend modes are the secret weapon of countless graphic artists.
Simply put, they allow you to combine multiple opaque layers and assign each layer a degree of transparency, which results in various types of blending. This lets you composite images, shapes, text, and other elements to build worlds of creativity—and are a common tool in programs like Photoshop and After Effects.
But did you know blend modes can also be a useful color correction tool in video editing software?
In this week’s Video Post Tips Weekly, we’ll explore how you can use blend modes to correct overexposed footage in both Premiere Pro and Final Cut Pro X. Next week, we’ll look at how to do the same thing for underexposed footage.
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