There’s a particular type of video that needs to be completed and shown
as soon as humanly possible, and the best known example is the same-day
wedding edit. Done well, a wedding video that can be shown during the
reception of that same wedding has both currency and impact. A
conference wrap-up video that features shots of speeches made that same
day is another example, and a sports event must also be reported while
it’s fresh. Although it’s not trivial to get the edit out on the same
day, it’s not necessarily that hard either. Here, we’ll look at how to
do it, through the context of a series of three same-day-documentary
edits in a row. Wish me luck.
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Motion is a great animation tool in its own right, though probably
its most common use today is to create plug-ins for direct use in FCP X.
By making complex tools available to editors, you’ll streamline an
editor’s workflow and enable all kinds of new features.
In some cases, the Inspector is the best place to control these new
titles, transitions, effects and generators. If there are more than a
few options, the Inspector provides a consistent place to change them
all at once. But for simpler plug-ins, on-screen controls (OSC) are the
best option, and you can make them control any parameter at all. Let’s
see how
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You can use whatever you want, but read this with an open mind!
Before you read any further, I’d like to be clear that there are,
indeed, ways in which Premiere is better than FCP X. Looking at only one
side of an equation can give a false view of things, and indeed if you
want built-in curves for color correction, built-in support for 360° VR
viewing and editing, want to work on a PC, or want a closer link to
After Effects, then those are all excellent reasons to go for Premiere
instead of FCP X, or use both.
Cool? With that in mind, there’s enough pro-Premiere talk out there.
Time to redress the balance, and look at why Final Cut Pro X is an
excellent app for video editing. You can choose whatever you like, but
the best choice is made with an open mind and accurate information.
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Plain text is often enough for a simple title, but a splashy opener
needs more, and you can create really terrific effects by playing video
inside text. There are a few ways to do that if you’re in Motion, but in
FCP X, you’ll be doing it with blend modes. Here, I’ll show you how to
display video inside text, while other videos play behind that same
text.
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Exporting and Sharing have been covered many times here, but since the
advent of 4K, things have changed just a little and it’s worth a quick
recap. If you want more information on what YouTube or Vimeo are going
to do to your file, read this article here. And if you want to know more about metadata and media management on shared files, read this.
In this article, I’ll show you how to get more control over your H.264
exports, because some of these options don’t quite work the way you’d
expect. If you’re exporting 4K as well as 1080p, and especially if
you’re delivering files direct to a client, you might need to change
your ways.
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Movies today are enhanced (or perhaps overloaded) with a amazing
technologies that can bring almost anything to life. Here’s how we got
here.
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We are getting more and more technical with our lighting goodness and
today we are taking a close look at the differences between daylight and
tungsten in terms of color balance for both lights and the white
balance in your camera. With a clear understanding of these two main
elements of lighting we can move on to manipulate color in lighting to
achieve incredible epic cinematic images.
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