Jump cuts can be a pain to deal with when cutting interviews and other types of video projects. Sometimes your talent talks too long or you need to hide unnecessary motion. All conventional wisdom says the best way to hide a jump cut is to use a cutaway or b-roll. I wholeheartedly agree and use that wisdom quite often in my own work. However, there are times when those options don’t exist and you are left with jarring jump cuts that can distract or interrupt the piece. Thanks to technological advances in editing software, there are ways to hide a jump using a Morph Cut transition. I’m going to highlight how each of the three top NLEs on the market are able to do this.
Avid Media Composer Fluid Morph
The Fluid Morph effect predates any other morph cut transition that has been brought to the market lately. In this tutorial, GeniusDV master trainer Jon Lynn shows us how to use the Fluid Morph effect to hide jump cuts on an interview clip. First, he makes blade edits at certain points, and then adds the Fluid Morph effect. In the Effect Mode panel, he changes a few parameters and sets the duration to three frames long. After a quick render, you see that the Fluid Morph was able to hide the jump cut in the interview. From what I know about diehard users of Media Composer, this effect exists in many of their favorite effects bins.
Adobe Premiere Pro Morph Cut
Introduced back in April 2015, the new Premiere Pro Morph Cut transition works to hide jump cuts between edits. Located in the Dissolve category of Video Transitions section, this transition analyzes in the background and attempts to morph frames together to create a seamless transition from multiple frames. From personal experience, I’ve found this transition works best on interviews with static backgrounds and not a lot of motion from the talent. Otherwise, it can be a hot mess when applied. Overall, I see this transition getting better with time as Adobe engineers improve the code base.
This recent release from MotionVFX brings Morph Cut transitions to the world of Final Cut Pro X. For just $59, you can salvage interviews from long pauses, stutters, and mistakes. The transition works fluidly to fill gaps and instantly smooth out shots. I haven’t had a chance to try it out myself, but based on the demos I’ve seen, this seems like a must-have for editors who do a lot of interview work. With all the innovation that FCPX has brought to the table, I was a bit surprised that it took this long to finally get this plugin. I’ve seen tutorials where it was possible to do this but it seemed rather tedious in execution. It’s good to see that FCPX has this ability.
From what you have seen here, the Morph Cut method of hiding a jump cut can work depending on the footage and the circumstances on which you use it. While not perfect by any means, it is a method that can be called upon to smooth out an interview or other type of video project. Try using the Morph Cut method on your next video project and see how it effects your final edit.
With the upcoming release of Star Wars the Force Awakens, and the premiere of the recent Star Trek films, there have been many visual effects that filmmakers have looked to replicate to bring to their productions. This can be anything from heads up displays, 3D spaceships, weapons, and much more. Looking at these effects as they are, it would be a daunting task to replicate them without prior knowledge. However, using a tool like After Effects can bring your imagination to life by watching the right tutorials. Below, I will highlight a few tutorials based on science fiction visual effects that you can bring to your video projects.
In this tutorial from VideoCoPilot, Andrew Kramer shows us how to use his lightsaber preset which he created using the beam effect along with other filters and expressions. This preset has all the functions you would need to create the perfect lightsaber effect without having to use a solid layer with a mask. This preset also reacts to composition motion blur to create realistic motion. Using an obscure layer as a matte, you can place the lightsaber beam behind your talent when their motion calls for it.
I recently used this preset on a set of commercials and it still holds up eight years after it was initially released. I found it easier to use and manage over a plugin like Saber Blade from Fan Film FX. You can download the preset here and use it on your next Star Wars fan film.
In this tutorial from SternFX and Red Giant TV, Eran Stern breaks down how to create this infamous Star Trek teleportation effect using Trapcode Particular. Using the path from a circle math, Eran creates a circular motion for the point light which influences the motion path for Particular. Next, he parents the light to a null object so that he can influence the motion even further. With Particular applied to a solid layer and the settings manipulated to emit a solid stream of particles, the transporter effect begins to take shape. Once he has the effect created with Particular, he precomposes it and duplicates it to manipulate other iterations. With a lens flare from Knoll Light Factory and a few animation keyframes, he completes the overall animation necessary to apply to it to his subject.
In a separate composition, he brings the transporter effect and talent to the forefront. Using warping filters and masks, he completes the effect with ease. What I like about this tutorial is the attention to detail that Eran brings to this effect. I’ve seen this effect achieved using particle images from Particle Illusion, which is passable to the common viewer, but this version of the effect really has the Hollywood finish to it. Although it is a dated tutorial, I find it still holds up after all these years.
This tutorial from PixelBump shows us how to create a Star Wars themed hologram using green screen compositing. He creates three compositions with his keyed talent and changes their colors accordingly using the Levels effect. With the addition of the wiggle expression to create jerky motion, he crafts the colorization needed to create the hologram along with the Venetian Blinds filter. With a combo of offset matte layers and glow filters, he is able to complete Star Wars-esque hologram.
This effect was achieved using native filters and techniques that exist inside of After Effects which makes it accessible to everyone. I recently had to do a hologram effect for a group of spots and I went the third party route using Holomatrix to create the effect. It is always useful to know how to create visual effects when you don’t have access to to third party tools.
These are just three science fiction effects-based tutorials you can use on your next video projects. Try these out and experiment to create something unique.
Very often in the editing process, we get to a point when we need to shift from cutting and assembling our edit, and into the stage of refining it with motion graphics, visual effects, or color grading. Most modern NLEs have the tools that can do such tasks, but depending on the complexity of these finishing techniques, you may need to turn to a program like After Effects. It’s no secret that After Effects is one of the industry standard compositing/motion graphics applications that professionals of all tiers use to complete a project. Getting timelines or footage from Premiere to After Effects is an easy task that can be accomplished in multiple ways. However, if you an editor who uses Final Cut Pro X or Avid Media Composer, getting your timelines into After Effects may be a bit of challenge. However, there are dedicated workflows and applications available for editors of those programs.
This new plugin from Wes Plate brings the functionality of bringing Final Cut Pro X timelines into After Effects. The original Automatic Duck plugin allowed users to send Final Cut Pro 7 & Avid Media Composer timelines to After Effects for polishing and other effects. The process works by creating an XML in Final Cut Pro X. From there, open up After Effects and navigate to Import>Automatic Duck Ximport AE. A dialogue menu will appear and you can navigate to the location of your XML file. Select your XML file, decide whether or not to modify settings, and hit Return. The translation will produce a folder and composition based on what you named your timeline in FCPX. Open the composition and you can see what transferred and what didn’t. This plugin will read third party plugins like Boris FX, Coremelt, and others. The ones that probably won’t carry over are any FCPX Motion template based plugins, like those from MotionVFX, Ripple Training, or Pixel Film Studios.
I personally haven’t had a project to test this plugin, but when I do, I plan on trying this workflow to see if it is another solution I can have in my arsenal.
Avid Media Composer to AE
In this video tutorial, post production guru Kevin P. McAuliffe shows us how to roundtrip Media Composer sequences to After Effects and back. First, he right clicks on his sequence in the project panel and selects Export. In the Export settings, he selects Options and chooses AAF along with AAF Edit Protocol. He also selects Include Video/Data Tracks, enables the Link option, and sends the AAF file to the desktop. Inside of After Effects, he goes to File>Import> Pro Import After Effects. In the dialog menu, he navigates to the AAF file and modifies the settings to accommodate his file. This allows for After Effects to create a composition that looks identical to how his timeline was cut. From there, he breaks down how to export from After Effects using the DNxHD codec. Once he exports it out, importing it back in Media Composer is a smooth process based on the DNxHD codec he used.
I’ve cut on Media Composer in the past, and from what I see here, this is a very similar process to getting FCP timelines to After Effects. The only difference is the name of the file intermediate you use to get your timelines from one place to another. Personally, I’ve never been a fan of how Avid has compositing situations and its continual lack of blend modes boggles my mind. However, this tip is handy for anyone who deals with Media Composer on a regular basis.
From what you can see here, getting your timelines from FCPX and Media Composer to After Effects is not as hard as it looks. Knowing how to use these methods can be beneficial for those situations when you need to hand off your timeline to a visual effects artist or animator. There are probably other methods than the two I highlighted here, so feel free to find those so you have a backup plan.
Every so often, there will be people on Youtube who produce useful content which can help make you better at a particular task or application. If you know the places to look, or you happen to find a clip based on dumb luck, then you can gather great nuggets of information from professionals who take time out of their day to create great content. One particular Youtube author who has helped me become more proficient in using After Effects is Ukramedia. Known as Sergei to his friends, Ukramedia produces tutorials for After Effects and Cinema 4D which showcase ways to use said programs in ways you may not have thought before. His most recent tutorials involve shortcuts that AE users may not know of which can help you use the program more efficiently. I’m going to highlight shortcuts I learned from his three-part series. Hopefully, you can learn something new yourself.
20 Useful Tricks in After Effects You May Not Know About – Part 1
Using the alignment tools can save you time when you have multiple assets across the screen. Using the multiple alignment tools, you can use your mouse to put assets in place as you see fit. You can align your assets to the selection you have in your composition, or based on the dimensions of composition.
Scaling Multiple Keyframes (Alt + Click and drag)
With my keyframes selected, I can use the alt key and change the duration of my animation to be either shorter or longer. This is a much more efficient way to change your animation duration than having to move individual keyframes one by one.
22 Useful Tricks in After Effects You May Not Know About – Part 2
Center Anchor Point/Center in View
If you have ever dealt with text or shape layers, then you will know that anchor points on these layers shift depending on size or position not related to the Transform parameters. If you want to have your anchor point centered on these layers, hit Control+Alt+Home on a PC or Command+Option+Home on a Mac to center it. For positioning any layer in the center of the compositon, all you have to hit is Control+Home on a PC or Command+Home on a Mac to have it relocate to the center of the comp. I’ve found these shortcuts helpful when dealing with layer positioning and continue to use them regularly.
Default Render Setting
To change the default setting you see when you send a comp to the render queue, first send a composition to the queue. Control+click (command+click on a Mac) on the output module, and the next time you send a composition to the render queue it will have the last setting you used as its default setting.
Delete All Effects from Selected Layers
If you want to remove effects from your layers, you may be used to clicking on effects in the effect control panel and pressing the delete button. Well, you can actually remove them with the keyboard shortcut Control+Shift+E (Command+Shift+E) with the layer selected. This will remove all effects from your clip. If you only want one effect removed, then stick to the mouse click and delete method.
25 Useful Tricks in After Effects You May Not Know About – Part 3
Solo Properties/Hide Properties
If you have ever been in the situation where all the parameters are showing on your layer, it can be hard to read. What if you just want to focus on a few properties at once? Command click the properties you want and press SS on your keyboard to solo those properties. These selected properties will be visible until you click off of them. If you want to hide properties, all you have to do is hit Alt+Shift+click on the property to hide them. Knowing these shortcuts will clean up having to see multiple properties of layer when you don’t want to.
Save Frame as Photoshop Layer/Still
To save a frame of your composition as a Photoshop document or still image, park your playhead over the frame, go to Composition>Save Frame As>Photoshop Layers. This will bring the frame into the render queue and it will export as Photoshop document which you can modify to your liking. If you want something other than a Photoshop file, change the output module to a still codec and it will save it as a png or jpeg. In the past, when I needed to export a still image from After Effects, I would set my work area to one frame and export it like a normal comp. I’ve been using this method recently as it does not save a timecode to the title of the image.
Scroll Selected Layer To Top Of Timeline Panel
If you are ever in the situation where you are 50-100 layers deep into a composition, navigating the composition can be hard to deal with. If you want a particular layer to be at the top of the hirearchy, select it and press the X key. This will shift the layer to the top of the order until you navigate away from it.
Select and Deselect All Visible Keyframes
To select all the keyframes across multiple layers without using the mouse to select them, select the layers and hit Control+Alt+A (Command+Option+A on the Mac) to select all the keyframes. To deselect all your keyframes, select your layers and hit Control+Alt+Shift+A (Command+Option+Shift+A on the Mac). These shortcuts are very useful for when you need to select all your keyframes and a mouse select isn’t enough.
Sergei’s tips and tricks have reinvigorated how I look at After Effects and have also allowed me to dive in further into what it can do in a much broader viewpoint. I highly recommend you subscribe to his channel so that you can learn a few tips and tricks yourself.
One of the benefits of using greenscreen is the ability to control the environment your talent is placed in. The amount of time, effort, and money it would cost to shoot in certain locations can be very expensive. Luckily, with a little pre-planning and a carefully executed shoot, greenscreen can put your talent wherever you need them to be. One of the unique places to put your talent is inside of a vehicle. The challenges in doing so are many. First, you have to remove the greenscreen through compositing filters. Then, you have to insert a background and any other elements to sell the composite as realistic. That’s easier said then done. With that being said, I will present some tutorials to help filmmakers place their talent inside of vehicles.
Inside of a Car
In this tutorial, filmmaker Lee Whitman shows us how to create a car driving shot using a greenscreen and native filters in After Effects. Using greenscreen for car shots is a common practice in Hollywood because of the difficulties of getting a good shoot of a car driving while focusing on the talent. In the tutorial, he has the greenscreen placed at the back end of the car so that he can key it out easily. From there, he masks out any additional set pieces that can interfere with the key. Using the bundled Keylight filter, he removes the greenscreen background which now allows him to place anything he wants in the background.
Now that he has his talent keyed, he can insert any background he wants. To help sell this composite, he uses some driving footage he captured from the perspective of the backseat, as well as some footage from the roof of his car. Using corner pin effects, the Levels filter, and blurs, he is able to create a convincing effect of his talent driving the car. When it comes to putting a talent in a vehicle, you have to think about the smallest details to make it believable, or your audience will be taken out of the moment.
If you have trouble shooting driving plates for your talent, look no further than the collection of plates from Artbeats. This collection features every perspective you need to make your talent look like they are driving down the road.
Inside of a Plane
In this tutorial, After Effects guru Andrew Kramer shows us how to create a believable tracking shot of two passengers inside of an airplane. First, he uses masking to isolate the talent from the tracking markers he has in place. Using a third party plugin from the Foundry, he tracks his points in 3D space and attaches a null object to them to use for tracking data. From there, he removes the greenscreen as well as the tracking markers to finish isolating his talent. Using high resolution images for his backgrounds, he constructs the inside of a plane which tracks to an outside shot of the plane’s wing and engine in 3D space. Adding elements like his free particle collection and his visual effects collection of Action Essentials, he goes further in making the composite believable.
This level of attention to detail is necessary when creating a shot where the camera moves. A simple key and background replacement for your greenscreen talent would not make this composite believable. Going the extra mile for even the smallest details has a big payoff in the end.
Inside of a Helicopter
On a recent project I worked on, I had to place my talent inside of a helicopter using greenscreen and some props to give the illusion he was flying it. This would have been a challenge had I not done some testing prior to the shoot and followed these steps accordingly:
Step 1: Key out your talent and insert any additional assets
I first isolated my talent and the empty chair using masks and Keylight as you can see below. I duplicated my footage twice to make color changes to my empty chair and the talent so I can integrate them appropriately.
From there, I added some stock images of passenger seats and placed them behind my talent. What I’m trying to accomplish with this composite is that this helicopter can carry multiple passengers.
Step 2: Key out greenscreen helicopter and motion track
Next, I used this 3D helicopter overlay. The background was blue and the windows were green. To properly key this, I needed two instances of Keylight with one focusing on the green and the other on the blue.
Since I keyed out the windows, I needed to created the appearance of tinted windows. Using a solid layer and the track matte function, I created the windows. Using the Gradient Ramp filter, I used opacity and the Screen blend mode to fade it down. The last thing I did was created a null object and tracked the motion of the helicopter. I believed this was necessary so that my talent could match the movement of the helicopter, otherwise it would not look as believable.
Step 3: Combine your talent with vehicle asset
In a new composition, I brought the composition of the helicopter and my talent with seats together. I parented the null object with the helicopter tracking data to my talent.
Using solid layers and additional motion graphic elements, I created the back of the helicopter area so that it finished the illusion. I put it all together to finish the helicopter composite, and all that was left was to pair it with a background.
Step 4: Gather background asset and modify where needed
Using a DJI Phantom 3 Professional drone, I flew around at high altitudes back and forth as well as up and down. Capturing the footage at 4K, this would give me the flexibility to scale in or out for my composite. After bringing it into After Effects, I treated the color levels with Colorista 3, and used an adjustment layer to add a slight blur.
Step 5: Finish the effect with background and talent
Once I paired my helicopter composite together with the drone footage, I was close to finishing this visual effect. One of the few things that can cheapen something shot on greenscreen is edge lighting and color matching. Using filters from Key Correct Pro, I applied the Light Wrap and Color Matcher filters to blend my talent together with the background. With all of these steps combined I came to the result in the video below.
Placing your talent inside of a vehicle can be a very detail oriented composite, but when done right, you can make convincing composites that wouldn’t make the audience think twice. Next time you have a shoot where you have to place your talent inside of vehicle, consider using greenscreen to do it.
Being one of the longest industry standard post production applications in the world, you would think After Effects would have every function to make your life as an artist easier. With the ability to create vector shapes, rotoscope, track in 2D/3D, and more, it is a pretty comprehensive application. However, on its own it can only do so much. That is why there is a community of developers who have created add-ons for After Effects to make the user experience more bearable than before. These add-ons can make animating multiple layers more efficient, the creation of a folder structure at the project, and other features. I’m going to highlight three of these add-ons.
This After Effects plugin is something that should have been in the program from the get go. With this plugin, you can view imported footage, images, and music in a separate panel and see the first frame of compositions. I can’t count how many times I wish I could quickly preview an asset without having to go through much hassle. Ever since I purchased this plugin, I feel more at ease when importing assets into After Effects knowing I can see them on their own without having to open the layer panel view them. You can purchase this plugin for $21 at Videohive.
This is a script I’ve been using for the last two years and it has been an invaluable asset to my workflow. If you are a heavy After Effects user, you will know how much of a pain it can be to create duplicates of a composition which contain multiple precompositions. It’s not as simple as duplicating it from the project panel, unfortunately. What this script does is create a complete duplicate of a comp hierarchy, including sub-comps. If a comp is used multiple times, the comp only gets duplicated once and all remaining references point to the first duplicate. If the comps are arranged in a special folder hierarchy in the project panel, that folder hierarchy is preserved or duplicated (depending on user preference) for the duplicated comps.
Based on the tutorial provided by Lloyd Alvarez, this script is very in-depth and can is definitely a timesaver. The best part is that you can pay your own price to get this plugin.
This free script from Motion Boutique creates a rectangular box around a text layer. A modern look for infographics and other motion graphics involves text being inside of a box. This script helps speed up the process of creating shape layers around the length of your text. I’ve used this script on a few projects myself and it has been a blessing to use. All I have to do is create my separate text layers, plug in my parameters for the script, and voila! I have a text box graphic. Grab this script now and see where it fits in your workflow.
In this new era of filmmaking, getting complex shots has become much easier thanks to technological advances made by vendors across the world. It’s more affordable to get a rising shot thanks to jibs and cranes that are accessible to even the most low budget filmmakers. Getting stabilized shots are easier now thanks to amount of rigs available. Aerial shots have now become cheaper due to the influx of drones available on the market. I want to highlight some drones you may want to consider adding to your filmmaking kit so that you can increase your production value.
This aerial drone is a new release from DJI and can capture great high quality footage from great distances. What makes this drone so popular is the following:
3 Axis Gimbal camera which shoots HD (for the Advanced model) or 4K (for the Professional model)
Captures photographs at 12 megapixels
Live HD camera view via smartphone or tablet attached to the remote controller through the DJI app
Vision positioning through visual and ultrasonic sensors
Intelligent Battery with battery level indicator
As an owner of the DJI Phantom 3 Pro, I can attest to the incredible media captured with this camera. Within three days of learning to fly this drone, I was capturing great aerial shots that I would have had to pay a helicopter pilot to capture. With a $1,300 price tag, it is a steal for what you get from this drone. I would personally recommend this model for any prosumer or high end shooter who needs to capture aerial shots of client locations.
The DJI Inspire 1 is the more advanced and expensive model of the Phantom models offered. This drone is designed with strong carbon fiber arms and gives the user a full 360 unrestricted view when in flight. The Inspire features:
3 axis gimbal 4K camera which shoots up to 30 fps, or 1080p up to 60 fps and takes photos at 12 MP
Optional dual remote control function
Powerful propulsion system
HD wireless video transmission
Vision Position system
Intelligent Power Management system
If I had the expenses, I would have considered investing in this. I would definitely say that this model is meant for high end, big budget filmmakers that have the funds to afford it.
The 3DR Solo is an all-in-one personal drone with a great ease of use and powerful new features. Within these powerful features are the following:
Computer assisted cinematography through the Solo app
Attach a GoPro to gimbal harness and stream HD video from your GoPro to your iOS or Android mobile device, at ranges of up to half a mile.
Easy to use aerial photography controller
Powerful smart battery which displays remaining time
Up to 20 minutes of flight time with GoPro attached
I haven’t had the opportunity to try this drone, but based on the preview video above and the feature list, it has a lot to offer. With the ability to mount a GoPro, you know what type of quality you are getting. With a price tag of $1,000, you are getting an advanced video production tool that will give see a greater return.
Overall, these three drone models are great if you want to add aerial videography to your business and skill set. I’ve only began my journey into aerial photography, but already I feel that it has added much value to my current projects. I look forward to seeing what I can do next.
The team at Luca Visual FX has brought another product to the market which will benefit professionals across Mac and PC platforms. It is the incredible and extraordinary Backgrounds & Overlays. This product is an extremely versatile collection of 100 HD clips which are an indispensable addition to any editor’s library.
It is compatible with the following software:
Final Cut Pro 7/X
Adobe Premiere Pro
Adobe After Effects
Avid Media Composer
I had a chance to test drive this new product.
What are Backgrounds & Overlays?
It is a vast collection of 100 Full HD dynamic motion graphic clips designed to be used as backgrounds and/or overlays for a variety of projects. You can use them in promos, VJing, music videos, sports, news, corporate, and much more. On the dedicated web page at the Luca Visual FX site, you can preview the entire collection and see what each background has to offer.
What are some of the best ways to customize these clips?
Editors can use blend modes from their host programs, change the speed rate, scale, crop, position, or add any third party filter or built in effects to customize these clips. Also, stacking several instances of Backgrounds & Overlays allows the creation of complex and beautiful effects by simply using blend modes. Use effects such as blurring and distorting to maximize your customization. In this clip, I created some examples to showcase how far you can push these clips.
To see how these clips can be manipulated and integrated into your projects, take a look at this tutorial where I show you how to use them with footage and text:
Is it possible to get the Backgrounds & Overlays in a different format?
All files are delivered as .mov files, so as long as the user has Quicktime installed everything should work correctly. If you need further assistance, you can contact customer support here.
Can you list some scenarios where these clips work best in?
As mentioned above, they can be used for a variety of video projects. Here is a list of effects that I’ve done which you can try out yourself:
Video inside of text or shapes effect
Feathered shape overlays
Heads up displays
Frames and borders
Picture and picture background
2D & 3D animation inserts
And many more effects
Overall, I believe that Backgrounds & Overlays will be a product that users will turn to when they need to amp up their productions. With the dynamic range of motion graphics, and the fully customizable options that are available, the sky is the limit with creative opportunities. I strongly recommend that you download some of the demo watermarked clips and see what you’ve been missing. They are now available for download on the web page.
Since its creation in 2004, Apple Motion has been an application that has evolved quite nicely, despite the fierce competition it faces from other apps like After Effects and Nuke. In its current iteration, Motion provides the plugin architecture for Final Cut Pro X, which means that all FCPX effects are actually Motion templates. With that advantage, users can create just about anything with Motion. Below are a few tutorials where Motion users illustrate how versatile the application is for their workflows.
Creating a Transition for FCPX
This tutorial highlights one of the core features of Motion, which is the ability to create custom transitions. Gone are the days of having to stack layers and utilizing keyframes. With a decent understanding of the Motion interface and its functions, users can create unique transitions to suit their video projects. In this particular example, the author shows users how to create a ripple flash transition from start to finish. When I discovered that you can create transitions and other effects in Motion, I decided to give Motion another try after years of being an After Effects user. I found this tutorial useful because even at the basic level, you can get an understanding of how far you can go with the creation of custom effects.
Animating a Photoshop File
There will be situations where your client wants to create a spot and you have no b-roll. Even worse, you have very minimal images to work with. However, they provide you with a layered, high resolution Photoshop file which you can animate and turn into a motion graphic with a little imagination. In this tutorial, Telemundo editor Brett Gentry shows us how he was able to take a client graphic and turn it into a 30-second spot using a combo of Motion and Photoshop. Utilizing markers, keyframes, and behaviors, he takes what I call a simple “Ken Burns effect” and makes an entertaining spot for an event. I will be first to admit that the Motion interface can be daunting at first glance, but watching how others work in it so efficiently inspires me to learn more.
Creating a Auto Green Screen Keyer with Background
There are projects you receive where the talent was shot on a green screen, and you need to key them out and insert the same background. If this is no more than five people, no big deal. However, if it is multiple talents and it needs to look like they were all keyed and composited the same way, it can become tedious. In the tutorial above, Brett shows us another way he uses Motion to create an auto keyer effect, which will allow him to key not only his talent, but insert/manipulate the background he wants behind them. This is convenient when you need to cut multiple spots or short form videos and time is not on your side. This effect is also a viable solution for the scenario I mentioned above with multiple talents. If you publish enough parameters and include the necessary assets, you can save a lot of time by creating an auto keyer effect in Motion.
Text Behind Glass Effect
I’ve highlighted the effects you can create in Motion for workflow tasks like titles, transitions, and effects, but it is always interesting to see how far one can push Motion to create things you would only expect in After Effects. This tutorial above is a prime example of something I wasn’t sure Motion could create. Editor/plugin author Simon Ubsdell takes a concept that originated in After Effects and creates it from scratch in Motion. Using textures, text layers, blend modes, filters, and behaviors, Simon creates this effect which can be used for promos, documentaries, or identifiers. I have to give kudos for the content that Simon has produced as of late. I’ve always believed the reason Motion wasn’t as popular as After Effects was because of the vast community and gurus that are out there. Seeing a dedicated user showcase Motion capabilities peeks my interest to add this tool to my skill set.
Overall, Motion has matured into a intricate and versatile tool that editors should take the time to learn. The market tends to favor the After Effects user, but every now and then there are jobs for people with Motion knowledge. Knowing this tool can benefit you in the long run.
The creators at Film Impact have released a new pack of ten dynamic transitions for Premiere Pro just in time for the 2015 release. These transitions bring with it 3D movement, glows, glitches, flares, mattes, and much more. I’ve been using Film Impact transitions since their inception, and have all three packs in my collection. These transitions add that extra piece of pizzazz without being over the top. I had a chance to play around with these new transitions and see their capabilities. The four transitions below are some of my favorites.
Impact Solarize is a transition which takes the incoming and outgoing clip, blends them with a tinted invert and glow effect, then dissolves between them. In the Effect Controls, you can control a variety of parameters such as the glow, width, RGB values, contrast, and dissolve length. I’ve used this transition on recent video projects and it really flowed with the presentation and feel I was trying to establish. Overall, I like that I can change the colors and impact of the glow to get a unique look of my own, or I can use the default setting as is.
Impact Wave is a transition that makes a wave like motion between your incoming and outgoing clip. I like to think of this transition as a combination of a zoom blur and a cross dissolve. With this transition, you can control the angle, motion blur, amplitude, colorization, and length. I haven’t seen anything like this from other vendors offering third party transitions. It’s very smooth and straight to the point. I highly recommend using it.
Impact 3D Roll
Impact 3D Roll is a transition that rolls your incoming and outgoing clip into a cylinder like motion. You can choose to roll it from a 45 degree angle, horizontally, or vertically. With motion blur properties available, users can choose whether or not they have it enabled, and how much of it they want. Users can also choose between the number of rolls, which ranges from one to three. The amplitude parameter controls the appearance of the roll, which means that a positive value yields the inside of a cylinder look while a negative value will give it a bulgy look. What I like about this transition is how versatile it can be, as well as it’s possible configurations. I’ve used this a lot on entertainment pieces and it definitely enhances the production value.
Impact Flare is a lens flare transition that moves across the screen while dissolving from the outgoing clip to the incoming. Users have the ability to control a variety of parameters including the color, start/end points, shape, fog, and halo. While I’m a fan of this transition for its dynamic movement and ease of use, it would be even better to have some visual options of the parameters, like fog and halo. Overall, I’ve tried other flare transitions before, and this one renders more quickly and is great for a quick flare transition without a lot of fuss. This transition will be frequently used on some upcoming projects.
Film Impact Transition Pack 3 is a must have if you are a Premiere Pro user. In the time since these transitions have been available, I’ve seen great projects cut with this new pack, and you will have more creative options than before. Pick up this pack for $89, or all three packs for $179.
Since NAB happened last week, we were introduced to all the new products and updates to various products for filmmaking. From more efficient user friendly drones, higher end cameras, and software updates, it was a filmmaker’s paradise. One particular update that caught my interest was the release of Final Cut Pro X 10.2. Some of the features that were introduced were needed, and some of them made motion graphics, visual effects, and color grading much easier. I want to highlight three features that I found interesting and offer an opinion on how they will be beneficial to your workflow.
FCPX: 3D Text
One of the newer and greatly appreciated additions to FCPX 10.2 is the ability to create and manipulate real 3D text. Users can tweak animations, materials, reflectivity, and many other options with this new feature. In the past, if you wanted 3D text in your edit, you would go to plugins like Element 3D, mObject, or a dedicated 3D program. From what I’ve seen and played with myself, this is a very intricate feature, and one that requires quite a bit of computing power to truly witness its potential. It would be wise to have a strong Mac on your hands if you plan on utilizing this feature. This 3D text feature is great, and I believe it may minimize the need to run to third party plugins. Many FCPX plugin makes have already stepped up to the plate, such as Ripple Training, MotionVFX, and Stupid Raisins. They offer their own 3D text assets for users to utilize in their projects. I can only see this feature becoming stronger in later updates.
FCPX: Save Effects Preset
This feature has been long asked for and it finally has appeared; the ability to save effect presets for later use. In the legacy Final Cut Pro, this feature was present along with the ability to save presets in a project. In FCPX 10.2, you can now have saved effects appear in the effects browser, which is much easier than having to do paste attributes all the time. I haven’t had much time to play with this new feature, but if it functions like people say it does, then it is very welcomed.
FCPX: Improved Masks & Color Correction Effect
The masking feature in FCPX 10.2 now allows their own category in the Effects browser, as well as the ability to keyframe them much easier. The new Draw Mask filter gives you the ability to draw masks which can be linear, bezier, or B-spline smoothing. Also, the Shape Mask now has the ability to convert control points into editable bezier control points. One of the many strengths of FCPX was how strong its masking capabilities were in comparison to other NLEs, and this new feature definitely ramps up its strength. Much more compositing options will now be doable without leaving the comfort of your NLE.
Another new feature introduced is color correction is now an effect. In the Effect Browser, you can choose the Color Correction effect and place it on your effect. From there, it will open up the Color Board and allow for further tweaking. Since it is now treated as an Effect, you can apply color correction before video filters, or insert multiple color correction filters anywhere in the stack of video filters. After you stack and arrange the processing order of multiple corrections and filters in the Inspector, you can save this look as an Effects Preset for for re-use.
As you can see, the new features available in Final Cut Pro X 10.2 have shown that Apple is serious about the filmmaking community. In time, I hope they address other grievances editors have with the program so that it can be an easier sell to hold outs. Overall, I think these new additions showcase how much potential lies within this program, and I look forward to what they will include next.
Using matte clips in my edits is something I’ve been doing for a very long time. With mattes, I can isolate a piece of footage and insert other assets. What would be an otherwise boring set of clips looks like a masterful composition. Now, there are many ways to create mattes as well as use them in your edit. However, I want to highlight creative ways using mattes can add flair to your edits. The use of mattes can be done in all popular NLEs such Adobe Premiere, Final Cut Pro, and Avid Media Composer as well as in After Effects and Motion. Let’s take a look.
Enhancing Interviews with Travel Mattes
In this tutorial, post production guru Walter Biscardi shows us how to use mattes to enhance talking head interviews with b-roll. In Final Cut Pro 7, he places his interview clip on track 3n. From there, he places his matte image on track 2 with a scale and position adjustment. He inserts his main background on track 1 so that the composite will have an overall theme. With his interview clip selected, he control + clicks on it and selects Travel Matte Alpha. This puts his interview clip into the matte he placed in track 2. To clean things up, he nests his interview clip and matte into their own sequence. With his clips in a nest, it allows him to add a drop shadow which adds a bit of depth to the matte.
Next, he adds his b-roll on track 3 and another matte on track 2. Using the same process as above, he is able to place his b-roll into the matte and adjust it to taste. With his clips matted out, he adds the final touches with a faded title and he now has a much more visually appealing interview than he had before. No need to cut back and forth between talking head and interview when you can see everything at once.
Animated Mattes to Stylize Wedding Videos
In this cool tutorial, Sean Mullen of Rampant Design shows us how to use his popular product, Style Mattes. Style Mattes are a collection of pre-animated mattes which work with all major and popular post production software. Here, he shows us how easy it is to use these mattes in Premiere Pro. With your clip on Track 1 and the Style Matte on Track 2 or above, apply the Track Matte Key to your clip. In the effect controls panel, change the Matte option to Track 2 and choose between Matte Luma or Alpha so that you’ll see your video inside the matte. In a matter of seconds, it is really easy to add these mattes to wedding montages, music videos, documentaries, or any video project you have.
Light Streak Freeze Frame Effect
In this tutorial for Avid Media Composer, Jon Lynn of GeniusDV shows us how to create a light streak freeze frame holdout effect using the Marquee Tool. First, he isolates a frame in the timeline. From there, he creates a freeze frame in the source monitor. With the freeze frame created, he inserts it into the timeline at the point where he wants the action to stop. Next, he creates a new title which opens up the Marquee Tool. Using the shape tool, he draws a matte around the talent. Once the matte is created, he saves it into his bins for later use. With the matte placed inside of his bin, he inserts it into the timeline and does the necessary compositing to isolate the talent in the freeze frame. Using a filter from Boris FX, he is able to add the light streak effect and complete the graphic. One of the things I’ve always found hard to grasp in Media Composer is the amount of steps it takes to do what can be simple compositing. I know some folks like it, where others tend to leave that work to a program like After Effects or Motion. Overall, it is a cool effect when you want to add something special to your projects.
These are just a small collection of ways to utilize mattes in your video projects, and I encourage you to find ways to use them in a way that enhances yours. It’s easy to use them as a crutch for creativity, but when utilized properly, they can be a force to be reckoned with.
With Valentine’s Day coming up, I thought it would be nice to share a few free tutorials for those of you involved in post production. These free items service a variety of programs such as After Effects, Final Cut Pro, Premiere, Cinema 4D, and more. Feel free to scoop these up before Valentine’s Day so you can make a special video for that special someone.
Creating Flying Hearts with Boris FX
In this Valentine’s themed tutorial, Imagineer Systems Product Specialist, Mary Poplin, shows you some quick ways to get particle effects into your workflow with Boris Continuum Complete. If you are a fan of using particle effects, then I strongly recommend using plugins from the Continuum Complete particle collection. I can honestly say that they are on par with Red Giant’s offerings of Trapcode Particular and Form. On top of that, this tutorial shows you how to take a vector image created in Illustrator, and extrude it in 3D space. With some post effects like vignettes and color grading, you are able to achieve quite an animation. What I found very interesting about this tutorial is that it looked complicated in design but easy to follow. Feel free to download a trial of Continuum Complete and create this animation for your V-Day sweetheart.
Create a Valentine’s Day Themed Animation in Cinema 4D
In this tutorial from AE Tuts, motion graphics artist Stefan Surmabojov shows us how to create custom Valentine’s theme animation using Cinema 4D and After Effects. Starting first in Cinema 4D, we create the heart shape and ending text. Using Cinema 4D’s camera tools and effectors, we are able to produce the emitting hearts and animation in 3D. Before we send it to After Effects, we can touch it up in Greyscale Gorilla’s HDRI Studio Pack to give it a photorealistic look. From there, we refine the look of animation in After Effects using Optical Flares and Trapcode Shine. This particular tutorial can seem daunting if you are not used to Cinema 4D, but it can help leverage your learning curve by showing you how to create something complex in an efficient manner. If after following the tutorial you are not getting the results you want, you can download the files from it and modify it to taste.
Valentine’s Day Particle Animation
In this tutorial by motion graphics artist Abdul Kabir, he shows us how to make another Valentine’s Day animation utilizing Photoshop and After Effects. He starts in Photoshop by creating miscellaneous shapes he will need down the line. With those shapes, he turns them into particles which form a heart with the help of Particular. With a camera added along with a null object, he is able to finesse the animation further. From there, he adds a gradient background and a lens flare reveal to tie everything together. What I liked about this tutorial is the collaborative nature of Photoshop and After Effects. I’ve found in some situations that it may be easier to create assets in Photoshop than in After Effects. Using them together is a powerful combination which I encourage users to do as much as possible.
These are just a small collection of tutorials you can use to create a gift for that special someone in your life. I’ve found that people really appreciate the effort you put in when you use a video over a physical item. Happy Valentine’s Day to all!
In my day job, I produce TV commercials for local car dealerships in Northwest Illinois and various cities in Indiana. On a monthly basis, I deliver over 40+ spots to cable and network providers which are shot and edited a few weeks prior to the start of the next month. If I have commercials I need to produce for the month of January, I will shoot and edit them in December so that we can have them running at the beginning of the month. Aside from the production schedule of the monthly commercials I produce, I use an editing workflow that allows me to be efficient and maintain a level of speed that can handle unforeseen circumstances. I’m going to detail my editing workflow in Premiere Pro and hopefully provide some tips and insight into delivering multiple commercials to multiple vendors.
Setting up the project & gathering assets
Before I shoot a month’s worth of commercials, I use a template project that has folders and assets which I know will factor into the edit. I change the scratch disks and project save location so I can keep my original template project intact; or I use PostHaste, depending on the project. From there, I add more folders that I may need for auxiliary assets like third party motion graphics and more. I also make sure that I have logos and monthly artwork from each brand I deal with at my agency. Once I’ve set up my project for the month, I wait until the shoot day before I do anything else.
Storage & Preparing the footage
When I’m shooting commercials for clients, I alternate between the Panasonic AF-100 and Sony PXW-X70. These cameras give me best of two worlds, which are interchangeable lenses and small but powerful broadcast cameras. Both cameras record with the AVCHD codec. The X70 also has its own proprietary codec which is the XAVC codec. When it comes to bringing footage from either of these cameras, I typically transcode the clips into Apple Pro Res or Pro Res HQ. Although Premiere can take most formats natively, with the hardware I have available (and based on past experiences) I choose to play it safe using a codec meant for editing. Before I do that, I always make sure to backup the SD card in two locations in sparse disk bundles using the Create Disk Image app.
Once I’ve taken care of storage and encoded my footage into Pro Res, I move the footage to my network based RAID and import it into my project file so I can begin building sequences.
Building a selects sequence
I place all of my footage into a sequence so that I can sort out the best takes, as well determine which clip goes with what dealership. I use timeline markers to group my clips together so that I can use the Markers panel and search for dealerships quickly. Once the selects sequence is built, I proceed to use the pancake timeline technique to build my main commercial sequences.
Structuring main commercial sequences & adjusting for time
Using the pancake timeline technique, I put my selected sequences on top of my main commercial sequences, and drag clips into their appropriate places according to what is written in the script. From there, I add voice-overs, branding graphic assets, running footage, and more to time out each commercial to 30 seconds. If my footage, voice-overs, or other assets don’t meet that length, then I trim until everything does. Once I have my main commercials assembled and timed out, I add motion graphics and finishing touches like color correction/grading.
Motion graphics & finishing
For motion graphics, I tend to use After Effects… unless I’m not looking for intricate animations. Lately, I’ve been using it for text animations as well as graphic overlays, especially since the update to Premiere Pro CC 2014.1 introduced the feature of Render & Replace. With that function implemented, I can now use dynamic linked After Effects comps and render/unrender them inside Premiere when I want to. In terms of finishing, I level the audio to broadcast specs and fix color balance and/or apply a simple color treatment, along with a Sharpen filter.
Once I have motion graphics and finishing locked, I begin exporting my main commercial sequences to Media Encoder to get them to my broadcast vendors.
Exporting from Media Encoder and Delivery
Inside of Media Encoder, I set up my commercial sequences to be exported in a variety of codecs. Most of my broadcast vendors take either H.264 or Pro Res HQ. With Media Encoder, I use presets I created prior to encode one sequence to multiple Quicktime movies.
Once I have exported my commercials into various Quicktime movies, I run one of them through Sorenson Squeeze to encode to WMV for brand compliance. With my Quicktime movies ready for broadcast delivery and my WMVs ready for brand compliance, I deliver each of them to their appropriate vendors and brands. In regards to compliance, if they approve it, then my broadcast deliver is cleared. If it is disapproved, I fix whatever mistake I have and re-export it for compliance and broadcast until it is correct.
As you can see, it pays to have a workflow that allows me the space to be creative, but at the same time meet pressing deadlines. After each month, I examine what worked best, what can be improved on, and if other tools can be added to allow for both efficiency and higher production value. In 2015, I plan on looking for tools and techniques that will allow me to be even more efficient and creative. Below is one of my finished promos for this month.
I remember when I was first started learning After Effects, I wanted to know how to pull off visual effects that would allow me to have superhuman powers. That included learning how run like the Flash, fly like Superman, swing off a web like Spiderman, and much more. Over the years, I’ve learned these visual effects while also improving my efficiency with After Effects. However, there are many great tutorials out there on the web that show you how to achieve the effects of fantasy characters you grew up watching. I’m going to highlight a few tutorials that showcase pulling off superhero effects within After Effects so that you can add them to any of your projects.
Run Like the Flash
In this tutorial, After Effects whiz Mikey Borup shows you how to create a speed effect similar to the new CW show, The Flash. Utilizing greeen screen compositing, precompositions, and many native AE filters, Mikey is able to recreate the look of a person running super fast. This tutorial is especially great because Mikey covers everything from visual effects on his subject to making the subject’s background look like it’s moving really fast. Aside from this great tutorial, Mikey offers cool and useful After Effects tutorials twice a week which can be a great timesaver.
Power Ranger Morphing
From the folks of Hyperdrive Pictures, learn how to morph into a Power Ranger by following this seven part tutorial. In these series of tutorials, they cover using greenscreen clothing to get the floating look seen in the older version of Power Rangers, how to generate a static lightning background, as well the final part of the morph sequence when you see the Power Ranger helmet. Growing up, I was a fan of the Power Rangers and always wondered how they pulled off these morph sequences. Knowing that all I needed was some greenscreen, props, and Photoshopped images made it even better. Although they are using AE CS3, this effect will work in newer versions of AE, and you can take it a step further.
Heat Vision Effect
In this episode of Film Riot, Ryan Connolly puts his spin on creating the heat vision effect from Man of Steel, as well as making someone disintegrate. In After Effects, Ryan uses masks, a third party plugin known as 3D Stroke, glow, Optical Flares, and displacement effects to composite heat vision lasers onto the subject’s eyes. For the disintegration, Ryan used greenscreen, CC Scatterize, and a few other techniques to accomplish the effect. What I’ve always enjoyed about Ryan’s tutorials is how he can explain complex techniques in a short amount of time, yet make it comprehensive to anyone.
Web Sling Effect
Director and VFX artist Seth Worley demonstrates in this Red Giant tutorial how to do a web sling effect akin to Spiderman. Using greenscreen compositing, motion tracking, and Trapcode Particular, Seth shows us how he was able to make his subject look like he was swinging across the room on a web sling. Seth has always delivered great visual effects tutorials, and watching this makes it seem possible for anyone to swing across the room like Spiderman. Using Red Giant products, like Particular, also open the door to create many objects from particles if you have a good understanding of the plugin’s depth.
With the right amount of planning, video production equipment, and understanding of After Effects’s capabilities, you can live out your childhood fantasies of having superpowers. In my opinion, learning how to create effects like these were the conduit for learning how to use After Effects in the first place.