MORE KEYBOARD SHORTCUT EDITING in PPRO
Good to know!
PPRO SHORTCUTS
Thursday, October 27, 2016
Tuesday, October 25, 2016
Friday, October 21, 2016
FCPX QUICK TUTORIAL VIDEOS for VIDEO BLOGGERS
FCPX QUICK TUTORIAL VIDEOS for VIDEO BLOGGERS
A series of short videos about color correction, titling and creating videos for upload to YouTube and Instagram.
FCPX for YouTube
A series of short videos about color correction, titling and creating videos for upload to YouTube and Instagram.
FCPX for YouTube
FREE MUSIC LIBRARY DOWNLOADS
FREE MUSIC LIBRARY DOWNLOADS
In addition to the huge Music Library located on SR1 drive on The Rock Edit System, YouTube has about 150 free music tracks available.
FREE MUSIC TRACKS
In addition to the huge Music Library located on SR1 drive on The Rock Edit System, YouTube has about 150 free music tracks available.
FREE MUSIC TRACKS
FCPX Tips & Tricks
FCPX Tips & Tricks
A detailed list by Larry Jordan. Rather than read the entire post, it's best to have a specific "how to" question and then look for the answer here.
SECRET FCPX TIPS AND TRICKS
A detailed list by Larry Jordan. Rather than read the entire post, it's best to have a specific "how to" question and then look for the answer here.
SECRET FCPX TIPS AND TRICKS
Thursday, October 20, 2016
ADOBE AFTER EFFECTS ESSENTIAL TIPS AND TRICKS
ADOBE AFTER EFFECTS ESSENTIAL TIPS AND TRICKS
After Effects is an incredibly deep program - these tips can help make your edit go quicker with better results.
AE Tricks 01
AE Tricks 02
After Effects is an incredibly deep program - these tips can help make your edit go quicker with better results.
AE Tricks 01
AE Tricks 02
QUICK TIPS FOR FASTER EDITING in NLEs
QUICK TIPS FOR FASTER EDITING in NLEs
These tips include Premiere Pro, FCP7, FCPX and Avid Media Composer NLE software.
QUICK EDIT TIPS
These tips include Premiere Pro, FCP7, FCPX and Avid Media Composer NLE software.
QUICK EDIT TIPS
ACHIEVING A FILM LOOK WITH DSLRs
ACHIEVING A FILM LOOK WITH DSLRs
A very quick YouTube video review of getting that cool film look when shooting with a DSLR.
FILM LOOK
A very quick YouTube video review of getting that cool film look when shooting with a DSLR.
FILM LOOK
CONTROLLING DEPTH OF FIELD WITH DSLRs
CONTROLLING DEPTH OF FIELD WITH DSLRs
Good technical information on DOF using DSLRs like those at The Rock.
DSLR DEPTH OF FIELD
Good technical information on DOF using DSLRs like those at The Rock.
DSLR DEPTH OF FIELD
COMPOSING THE SHOT
COMPOSING THE SHOT
This link has several tips about good composition, including The Rule of Thirds.
SHOT COMPOSITION
This link has several tips about good composition, including The Rule of Thirds.
SHOT COMPOSITION
CAMERA TIPS & TRICKS
CAMERA TIPS & TRICKS
Formatting your memory card
Get into the habit of formatting the memory card before every use. This will delete all the images and data, including protected images, so make sure you transfer everything to your computer before doing so.
You should always format the card in the camera you'll use it in; you'll find this option in the yellow Set-up menu, but it can also be included as a My Menu option on EOS cameras that offer this feature.
By formatting your card rather than deleting all the images on it, the overall performance will be improved - use the 'Low level format' option occasionally to completely wipe the card of all 'hidden' files.
Selecting AF points
Your camera's focusing system is made up of a grid of AF points towards the center of the viewfinder. A typical mid-range DSLR has 9 AF points, while some of the pro models have up to 61 AF points. By default the AF system will be set to Automatic Selection and all points will be active.
To check, press the 'grid' button and all the focus points should light up. The camera will lock onto whatever is closest to you, and this may not be the subject. So take control and manually select an AF point by scrolling through them with Main dial. Some DSLRs let you select groups of AF points, which can be useful for tracking moving subjects.
(AF confirmation - When you half press the shutter button to focus, the focus confirmation light will blink in the viewfinder. Once focus is achieved this light will remain on.)
Back to default
Use the Clear All Camera Settings option in the menu. The camera will be set back to the way it left the factory.
Make sure you are saving your shots
Set the 'Shoot W/O Card' option to Off.
Formatting your memory card
Get into the habit of formatting the memory card before every use. This will delete all the images and data, including protected images, so make sure you transfer everything to your computer before doing so.
You should always format the card in the camera you'll use it in; you'll find this option in the yellow Set-up menu, but it can also be included as a My Menu option on EOS cameras that offer this feature.
By formatting your card rather than deleting all the images on it, the overall performance will be improved - use the 'Low level format' option occasionally to completely wipe the card of all 'hidden' files.
Selecting AF points
Your camera's focusing system is made up of a grid of AF points towards the center of the viewfinder. A typical mid-range DSLR has 9 AF points, while some of the pro models have up to 61 AF points. By default the AF system will be set to Automatic Selection and all points will be active.
To check, press the 'grid' button and all the focus points should light up. The camera will lock onto whatever is closest to you, and this may not be the subject. So take control and manually select an AF point by scrolling through them with Main dial. Some DSLRs let you select groups of AF points, which can be useful for tracking moving subjects.
(AF confirmation - When you half press the shutter button to focus, the focus confirmation light will blink in the viewfinder. Once focus is achieved this light will remain on.)
Back to default
Use the Clear All Camera Settings option in the menu. The camera will be set back to the way it left the factory.
Make sure you are saving your shots
Set the 'Shoot W/O Card' option to Off.
LIGHTING TIPS & TRICKS
“Lighting strives to bring out the following values:
Orientation – to enable the audience to see where the story is taking place.
Mood or feeling (season of year and time of day)
Pictorial beauty, aesthetic pleasure.
Depth, perspective, third dimensional illusion.”
- John Alton, “Painting with Light”
SHOOTING EXTERIORS w AVAILABLE LIGHT
RULE 1 - If you’re filming in hard sunlight, whenever possible, keep the sun behind you.
RULE 2 - If you have to shoot into the Sun (or want to for creative effect), use a flag to lose unwanted lens flares.
RULE 3 - Use a Reflector to bounce light onto your subject.
Tip:
For a silhouette shot, expose for the sky and under-expose for the subject.
SHOOTING INTERIORS w AVAILABLE LIGHT
ALWAYS WORK WITH THE LIGHT and think about:
RULE 1 - controlling the light by closing/opening blinds and curtains.
RULES 2 - utilizing whatever practical lights are in situ (table lamps, overhead lighting, monitors/TV screens).
RULE 3 - Standing your subject facing a source of light (a window for example) to illuminate him/her on screen – Avoid shooting against bright backgrounds and having to battle with your exposure.
LIGHTING STEPS –
KEY LIGHT
FILL LIGHT
BACKLIGHT
10 Tips to make your subject look great:
Hard, direct light is never very flattering:
It all depends on the look you’re going for but if I want flattering lighting, I tend to use a diffuser (scrim or spun) on the Key light as well as the Fill Light. If you do this, always make sure you still maintain that 3:1 ratio, remember the Key light always has to be stronger than the Fill. This technique is also good because with a less intense Key Light, people feel less intimidated during interviews (and it’s far more flattering, especially when lighting women).
Think about your background:
It’s not just about the person in the frame; it’s about what’s going on behind them. Obviously keep an eye out for an interesting background and, as always, be creative with your lighting. But specifically, watch out for your subject’s shadows. Try and keep the subject (interviewee) as far away from the background as possible to avoid their unsightly head/body shadow on the wall or backdrop.
Raise the lights:
If you’re filming an interview/scene in a restricted area like a small room and can’t get the interviewee far enough away from the wall or background to get rid of their shadows, raise the lights up. This will ‘drop’ their body/head shadow down the wall and out of camera shot.
Key Light Position:
For interviews, I personally prefer to key from the side of the interviewer so that the interviewee is looking towards the Key light, this avoids any unsightly nose shadows etc.
Bounce:
Another way of providing soft fill light (instead of using a fill light direct with scrim or spun) is to reflect/‘bounce’ the light off a reflector OR if you’re in a room with white walls you can bounce the fill light off the walls – it will reflect back onto the interviewee and provide a very subtle, soft Fill.
Gels:
Try using a colored gel on the backlight, but make sure its subtle: for interviews, something like a light straw (amber) works well and can give the persons hair a pleasant sheen, in drama you can go to town with different gels and can make the scene very atmospheric (Avoid purples and greens… unless of course you are making a Zombie movie!)
Reflections:
When filming people with spectacles, always try to find the optimum position for the Key and Fill Lights so as to not get lamps reflecting in the spectacle lenses.
Get to know your subject:
In drama, you’ll (hopefully) be able to direct your actor on how they should move in frame but for documentaries/interviews you don’t want to interrupt spontaneous moments. So, if possible it’s a good idea to sit the interviewees down before filming starts, that way you can see how they move as they are talking and fine tweak the lights accordingly (This isn’t always possible and it does depend on the nature of the interview).
Powder:
Always keep some neutral colored make-up powder and tissues in your kit, as people tend to sweat during filmed interviews. Sweat causes unattractive highlights and glistening, giving the skin an unpleasant shiny, greasy appearance.
Bokeh:
Keeping the subject further off the background will allow you to ‘throw‘ the background out of focus. This will mainly be noticeable on a longer focal length lens and can create some beautiful effects.
Orientation – to enable the audience to see where the story is taking place.
Mood or feeling (season of year and time of day)
Pictorial beauty, aesthetic pleasure.
Depth, perspective, third dimensional illusion.”
- John Alton, “Painting with Light”
SHOOTING EXTERIORS w AVAILABLE LIGHT
RULE 1 - If you’re filming in hard sunlight, whenever possible, keep the sun behind you.
RULE 2 - If you have to shoot into the Sun (or want to for creative effect), use a flag to lose unwanted lens flares.
RULE 3 - Use a Reflector to bounce light onto your subject.
Tip:
For a silhouette shot, expose for the sky and under-expose for the subject.
SHOOTING INTERIORS w AVAILABLE LIGHT
ALWAYS WORK WITH THE LIGHT and think about:
RULE 1 - controlling the light by closing/opening blinds and curtains.
RULES 2 - utilizing whatever practical lights are in situ (table lamps, overhead lighting, monitors/TV screens).
RULE 3 - Standing your subject facing a source of light (a window for example) to illuminate him/her on screen – Avoid shooting against bright backgrounds and having to battle with your exposure.
LIGHTING STEPS –
KEY LIGHT
FILL LIGHT
BACKLIGHT
10 Tips to make your subject look great:
Hard, direct light is never very flattering:
It all depends on the look you’re going for but if I want flattering lighting, I tend to use a diffuser (scrim or spun) on the Key light as well as the Fill Light. If you do this, always make sure you still maintain that 3:1 ratio, remember the Key light always has to be stronger than the Fill. This technique is also good because with a less intense Key Light, people feel less intimidated during interviews (and it’s far more flattering, especially when lighting women).
Think about your background:
It’s not just about the person in the frame; it’s about what’s going on behind them. Obviously keep an eye out for an interesting background and, as always, be creative with your lighting. But specifically, watch out for your subject’s shadows. Try and keep the subject (interviewee) as far away from the background as possible to avoid their unsightly head/body shadow on the wall or backdrop.
Raise the lights:
If you’re filming an interview/scene in a restricted area like a small room and can’t get the interviewee far enough away from the wall or background to get rid of their shadows, raise the lights up. This will ‘drop’ their body/head shadow down the wall and out of camera shot.
Key Light Position:
For interviews, I personally prefer to key from the side of the interviewer so that the interviewee is looking towards the Key light, this avoids any unsightly nose shadows etc.
Bounce:
Another way of providing soft fill light (instead of using a fill light direct with scrim or spun) is to reflect/‘bounce’ the light off a reflector OR if you’re in a room with white walls you can bounce the fill light off the walls – it will reflect back onto the interviewee and provide a very subtle, soft Fill.
Gels:
Try using a colored gel on the backlight, but make sure its subtle: for interviews, something like a light straw (amber) works well and can give the persons hair a pleasant sheen, in drama you can go to town with different gels and can make the scene very atmospheric (Avoid purples and greens… unless of course you are making a Zombie movie!)
Reflections:
When filming people with spectacles, always try to find the optimum position for the Key and Fill Lights so as to not get lamps reflecting in the spectacle lenses.
Get to know your subject:
In drama, you’ll (hopefully) be able to direct your actor on how they should move in frame but for documentaries/interviews you don’t want to interrupt spontaneous moments. So, if possible it’s a good idea to sit the interviewees down before filming starts, that way you can see how they move as they are talking and fine tweak the lights accordingly (This isn’t always possible and it does depend on the nature of the interview).
Powder:
Always keep some neutral colored make-up powder and tissues in your kit, as people tend to sweat during filmed interviews. Sweat causes unattractive highlights and glistening, giving the skin an unpleasant shiny, greasy appearance.
Bokeh:
Keeping the subject further off the background will allow you to ‘throw‘ the background out of focus. This will mainly be noticeable on a longer focal length lens and can create some beautiful effects.
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