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Focus: Broadcast Documenting A Road Trip Via Video By David Hague The Monaro is to be wired up with a phalanx of camcorders; a Kaiser Baas dashcam is mounted on the windscreen with a 64GB Sandisk card, a Sony HDD DCR-SR200 Handycam is on a Hague headrest mount (no relation by the way), and a Canon Legria Mini-X 'action cam' is to perform roving boundary rider camcorder duties when not mounted to another Hague mount, a suction based heavy duty unit kitted out with Manfrotto hardware. Audio is also well catered for too. An Azden wireless mic setup with a label lav mic will record dialogue to a Samsung Recorder, a RØDE VideoMic Go on the Sony will record ambience, suitably backed up with a RØDE Videomic 2 on the Legria. ...Read More »
Focus: Broadcast Mounting Camera To Auto Headset By David Hague I have been asked by a few people to give some more nuts'n'bolts information on the mounts I have in the Monaro. First up, we'll look at the headrest mount. It's quite a simple affair on the surface, in being a bracket that wraps around the 'posts' of the lifted headrest, and this is then tightened by a couple of butterfly/wingnuts. ...Read More »
Focus: Post/Production Masking: The Black Art Of Video Making Here is a simple ten step tutorial on making a mask
By David Hague Masking to many, is the black art of video making. It all sounds, well, too hard to bother with, with terms such as 'alpha channel', 'compositing' and 'overlay' to deal with. But trust me gentle reader, knowing even the basics of masking and compositing will add a whole new dimension to your home videos, family documentaries, short films and so on. We'll start with something simple. For the sake of the exercise I am using Sony Vegas Pro here, but the basics apply to any editing package (NLE) that dares call itself such. ...Read More »
Focus: Post/Production A Smashing Way to Make Glass Props! If you need to break it, its easy to make it!
By David Hague All the best movies have a car chase (think Bullitt and the French Connection) but they also should have a bullet smashing a window - or anything smashing a window really. If you need to break a window or some such thing in your next production don't risk cuts and lacerations. Do it this way! (With stuff from the kitchen larder) ...Read More »
Focus: Broadcast Do You Know How Long An Average Scene Lasts? If you want to make your own movies more interesting, think about timing and camera angles
By David Hague How long do you reckon the average scene in a TV show lasts for? A minute? 30 seconds? There is nothing more boring than watching a fixed camera shooting a scene for a long period of time. And I define a long period of time as more than 15 seconds! ...Read More »
Focus: Animators The Complete Guide to Creating Photoshop Filters The Filter Factory tutorial series, parts 1 through 7
By Dave Nagel I realized some time ago that it's simply too difficult for new readers of our publications to go hunting through the tutorials archives here to find all of the parts to our Filter Factory tutorial series. To date there have been six parts--two specific tutorials on generating 3D effects, one on customizing the interface of completed filters and three general pieces on working with the Filter Factory's expressions, functions and operators to generate effects. To this we now add our seventh and final part and conclude the series. ...Read More »
Focus: Post/Production Mark Syncs the Spot Learn how to use markers to replace the legacy in/out marks to create manual sync points
By Diana Weynand, James Alguire and RevUpTansmedia One of the most missed features of legacy Final Cut Pro is persistent in and out marks. That is to say, once in and out marks are set in a clip, they remain exactly where they are, as a part of the clip, until explicitly changed or removed. Unfortunately, this arguably essential feature for digital video editing did not make it into Final Cut Pro X. If you set in and out points on a clip then deselect that clip and reselect it, the in and out marks are gone. While it is true that you can use ratings, like Favorites, in FCPX to create persistent clip selections, in and out points have valuable uses beyond just marking a usable portion of a video clip. ...Read More »
Focus: Post/Production Torpedoed by Subtitles Having a plan is key to the success of any aspect of a project and prepping for subtitling is no exception
By Diana Weynand, James Alguire and RevUpTansmedia A video or film project's titles provide crucial information to the viewer, whether it's the opening and closing credits identifying a video or film, the principals involved (the talent and production crew), or lower thirds, the nouns of video, identifying the people, places and things being viewed. Subtitles play a significant role, particularly in editorial or documentary work, in a number of ways. Subtitles make clear, speech or dialog that is difficult to hear or understand, as when people mumble or use unfamiliar dialects; provide language translations for viewers to better understand dialog in foreign languages, especially if the video is produced in a language not native to the viewer; and to make your film or video more accessible to viewers with hearing impairments. ...Read More »
Focus: Broadcast Transitional Animation An introduction to the world of transitional animation
By Diana Weynand, James Alguire and RevUpTansmedia Final Cut Pro X provides a number of interesting ways to animate video elements in the Viewer and Timeline to provide complex visual effects. But do you know how to create quick and simple animations just by using transitions? The beauty of this technique is its simplicity. No complex motion paths to adjust, no messing about with untold keyframes, just add a transition and set the timing and you're off to the next project. ...Read More »
Focus: Post/Production Render the Fat in Final Cut Pro X What do you do if the render files become corrupt?
By Diana Weynand, James Alguire and RevUpTansmedia Render files are the video files that Final Cut Pro creates when you make adjustments to your video clips. Add a filter or transition, crop the image change the clip's speed, and Final Cut Pro has to create brand new video files using your original media and applying the changes. When the video is played in the project timeline, the render files are played in place of the original video clips, where you have added effects. But what do you do if the render files become corrupt? Or when projects are completed and you want to back them up without the render files? ...Read More »
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