Posted on August 6, 2008 in DVD Authoring | 1 Comment
by John Hess
The purpose of this article is to become familiar with the basics of DVD authoring so that you can take that masterpiece of a film you’ve edited on a favorite NLE and put it onto disc so others can enjoy it.
For this article I will mainly be referencing Adobe Encore CS3. Although some [...]
Posted on August 1, 2008 in Music | No Comments
How does the way Quentin Tarantino’s characters talk about and react to music relate to the manner in which that music is heard in his films?
… pop music can serve as a film’s memory, instantaneously linking it with its audience, tapping into a nostalgic past or fixing the film firmly in the present.
— Netribution | [...]
Posted on August 1, 2008 in Editing | 3 Comments
For every dream of Sundance glory, there is an equal and opposite nightmare-reality that often begins during the final home stretch that is post-production.
…Bad performances, incorrect eye lines, damaged film, clearance snafus, digital dropouts, focal problems, missing coverage, off-tilt tripods, exposed negative, color timing shifts, story holes, location noise and time-code breaks can destroy a [...]
Posted on July 30, 2008 in Sound Design | No Comments
It’s not what you see, but what you HEAR that sells most scenes… And most of what you hear when you go to the movies or watch TV was created with Sound FX. Whether you need to sound out the literal, imply existence or add ambience… Sound fx are a powerful tool in the hands [...]
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Posted on July 29, 2008 in Editing | No Comments
Video tutorial covering the basics of Apple’s Final Cut Pro/Express.
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Posted on July 28, 2008 in General Screenwriting | No Comments
by Troy Lanier and Clay Nichols
See that kid over there? The one with the video camera. She’s trying to tell you something.
That kid is in the process of shooting her first short over the next three days with the help of a handful of classmates and a useful book or two. What is she telling [...]
Posted on July 25, 2008 in Filmmaking 360 | 1 Comment
This segment is a brief introduction to the three important digital television (DTV) standards currently in use in the United States (480i, 720p and 1080i) with an emphasis on the two HD formats and a look to the future.
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Posted on July 22, 2008 in Digital Effects | 9 Comments
Learn how to make a kamehameha using Adobe After Effects with Trapcode’s Shine. Note: this is not a beginner’s tutorial. I try to explain everything in detail, but I suggest having at least a basic understanding of AE, especially keyframes.
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Posted on July 22, 2008 in Digital Effects | No Comments
Keyframing text video tutorial for Final Cut Pro 6.
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Posted on July 22, 2008 in Editing | No Comments
Here’s how to find and use Free Public Domain Movies and old TV commercials in your work. Also in this episode, a few inexpensive utilities that will convert video formats so they are ready for editing in your editing program of choice.
Prelinger Archives (Archive.org)
Posted on July 20, 2008 in Digital Effects | No Comments
A tutorial on how you can use green screen footage in After Effects 7.0/CS3.
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Posted on July 20, 2008 in Cinematography | No Comments
Slow motion and 24p test with canon HV20. No 35mm adapter, Steadicam, Effects Software, etc was used. This is just the raw footage with “Color Curves” applied in Vegas 7.
Shot in TV Mode, 24P, Shutter 1/120, All custom image settings put to “-1″. Slow motion shot in 60i.
HV20 – Rainy Day Cinematography from Solomon Chase [...]
Posted on July 20, 2008 in Digital Effects | No Comments
Graphics Designers + A few elements + Post Production = great vfx sequence.
Bloody Omaha from ManuelMunoz on Vimeo.
Posted on July 20, 2008 in Digital Effects | 2 Comments
This is a Canon HG10 + Letus35 Mini + Canon EF 24mm f/2.8… all handheld. Short clips graded differently in MBL.
Magic Bullet Looks – Color grading in Sony Vegas… from [ PIXEL VIKING ] on Vimeo.
Posted on July 20, 2008 in Sound Design | No Comments
Manipulating sound until it seemed to be something that existed in real space. This refers to playing back existing recordings through a speaker or speakers in real-world acoustic situations, and recording that playback with microphones so that the new recording takes on the acoustic characteristics of the place it was “re-recorded.”
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