WORKING WITH THE MAGNETIC TIMELINE IN FINAL CUT PRO X
Working within the Final Cut timeline is a bit of a different experience if you're used to other editing software. In part three of our six part Final Cut Pro X training series we start a new rough cut and work with append edits, insert edits, and overwrite edits to arrange our clips on the magnetic timeline.
FAST CUTS AND CLOSEUP SHOTS IN PSYCHO
The shower murder scene from Psycho is one of the most memorable scenes in film history. Using groundbreaking editing techniques, Alfred Hitchcock and George Tomasini crafted a truly shocking scene that had people thinking twice about taking a shower.
SLOW MOTION AND SHOT SELECTION IN INCEPTION
Christopher Nolan's film “Inception” took the heist plot to new depths. With a complex web of dreams within dreams, editor Lee Smith used some classic editing techniques including slow motion and shot selection in creative ways in order to combine multiple timelines into one cohesive story.
KEEPING FOOTAGE ORGANIZED IN FINAL CUT PRO X
As You work with large amounts of footage, keeping track of everything can be a challenge. In part two of our six part Final Cut Pro X training series we show you how keep your footage organized by using keywords and metadata to customize events.
IMPORTING FOOTAGE IN FINAL CUT PRO X
In part one of our six part Final Cut Pro X training series we cover the basic user interface, show you how to create a new event, import files, import files as keyword collections, analize files, and transcode footage. We also look at how Final Cut stores files within OS X.
REACTION SHOTS AND VOCAL EFFECTS IN STAR WARS
Released in 1977, Star Wars Episode IV ushered in a new era of fast paced, big budget blockbusters. The use of reaction shots, simple vocal effects, a great music score and graphics created the memorable death star destruction scene.
ROSCO LITEPAD LOOP PRO KIT
If you're looking for that music video eye light look, check out this Rosco LitePad Loop Pro Kit. This specialized light has some great accessories that give you some truly unique lighting looks.
CREATING SYMBOLISM WITH CROSS DISSOLVES IN APOCALYPSE NOW
Francis Ford Coppola's epic Vietnam war film, Apocalypse Now, presented a dark, artistic look into the complexities of war. The editors used cross dissolves of various shots and timed them to music in order to create symbolic images to enhance the vision of the film.
REVISIONS AND DELIVERY OF COMMERCIALS
In this final segment of the Making Commercials series, we discuss showing the finished spot to the client, making revisions, and creating deliverable formats for television and the web. Making a commercial is a long process, and these are the final steps before you see your finished product on the air.
RUBBER BAND TRICK
When you have a too-loose drag on your tripod head, or are working with a rickety, old or cheap tripod, a little support can give you a smoother pan. Enter the Rubber Band trick - easy and effective. Sometimes, it's the simple things that make us think, "Oh, nice!"
EDITING COMMERCIALS
So, your shoot is done, and you've got some great footage. Now the trick is assembling your shots into a coherent message that will bring your client more customers. In this segment we talk about logging your footage, spot lengths and formats, adding voice-overs, choosing music, and adding sound effects. Creating the right blend of footage and graphics, along with a great sound mix will take all the hard work you've done and mold it into a great commercial.
SHOOTING COMMERCIALS
In this segment we talk about the logistics of shooting inside a business, working with the client on set, using the shot list, and how to improvise.
HIGHLIGHT FOOTAGE FROM THE SONY VG900
Highlight footage from the Sony VG900 Video Camera
TWO GREAT FEATURES OF PREMIERE PRO CS6
Premiere Pro CS6 is packed with some great new features, we talk about two of our favorites; dynamic timeline editing and adjustment layers. Both these features will make your post-production workflow go faster.
SPOTLIGHT ON THE ROLAND R-26
Spotlight on the Roland R-26
PRE-PRODUCTION FOR COMMERCIALS
Now that you've assembled all the information into a clear message and have the script together, it's time to take it apart. In this segment, we discuss breaking down your script, creating a shot list and story board, assembling the resources for the shoot.
Go ahead... ask. “Why do all the work of putting it together, just to take it apart?” The answer is simple. Pre-production.
SONY NEX-VG900 HANDS-ON
Video producers driven to DSLR use because of their interchangeable lenses and amazing images, but those who miss the traditional camcorder look, feel and functionality will be delighted with the NEX-VG900. We take a hands-on look at Sony's newest professional level Handicam.
MAKING COMMERCIALS: FORMING IDEAS
You've met with the client, toured the business, and have pages of notes. Now it's time to take all that information and conceptualize a great commercial. In this segment we cover creating the concept, choosing a style of advertising, and pitching the idea to the client. Understanding these concepts will help you form a solid idea to get the go ahead from your client
SONY FS700 SLOW MOTION TEST
One of the most exciting features of the Sony FS700 is the ability to capture super slow motion. We shot some of the fastest subjects we had available, including a hummingbird beating its wings, at up to 960 frames per second.
MAKING COMMERCIALS: MEETING THE CLIENT
Creating a commercial for a business is a series of steps that, if well planned and executed, create an effective selling tool for your client. The client is the person who has the final say and writes the checks, so the first meeting is crucial. Using these methods can give you a head start on the pathway to making a great commercial for your client.
Knowing is key
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