Morph Cut Transitions

NLEs

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.

Final Cut Pro X mMorph Cut

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.

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Nodes 2 from Yanobox

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Avengers. Ender’s Game. Iron Man 3. Rise of the Planet of the Apes. These are just a few films that have had the opportunity to utilize the plugin known as Nodes. With the release of Nodes 2, Yanobox has upped the ante with what this plugin can do. This motion graphic tool can import 3D models, interact with the After Effects camera, link text and images to individual nodes, and so much more. The best part is it supports the most popular editing and compositing programs on the market including: After Effects, Motion, Final Cut Pro X, and Premiere Pro. If you don’t believe how awesome and intricate this plugin is, take a look at this demo below:

I’ve had a chance to try out Nodes 2 myself and I was extremely impressed with how quickly I was able to pick it up. Here are a few quick examples of what I was able to create on my own, which to my surprise, rendered very quickly on my iMac. On top of that, I like that I can create certain animations with ease compared to plugins like Trapcode Form or Particular.

Overall, Nodes 2 is an incredible plugin that needs to be experienced firsthand to admire its depth. With this plugin, I am able to create breathtaking and stylized motion graphics that would require multiple plugins and tinkering to achieve the look Nodes can create effortlessly. I’ve always been a fan of the Yanobox plugins, and this Nodes sequel more than lives up to its predecessor. I like how the controls are easy to experiment with, as well as the presets. The presets provide a great starting point and can be manipulated at will. The fine folks of Noise Industries have provided very detailed tutorials for your favorite software application, which you can check out here:

If you are looking for a plugin that imports stunning 3D models, build networks of node structures, and allows you to create an limitless amount of text and image connections, then look no further than Yanobox Nodes 2. At the price of $299, it’s a no brainer purchase that will save you hours of work and allow you to explore more creative depths than you can imagine.

Sound Effects

Film Impact Transitions Pack 3

Premiere Pro CS6

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

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

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

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.

Sound Effects

New Features in FCPX 10.2

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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

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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

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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.

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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.

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Lower Third Tutorial Round-Up

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Lower thirds, supers or CGs as they are also called, are those graphics you see on the screen when someone is being identified. You see them on reality television, the news, sports games, and documentaries. They usually have one to three tiers which can have the person’s first and last name at the top, and at the bottom, an occupation, residency, or position they occupy. Another characteristic of lower thirds is that they are placed in the title safe area of the screen so they don’t get cut off (these are usually network specifications). One thing about lower thirds is that they are by far the most sold item on motion graphics marketplaces. You could go to a variety of sites and look at galleries of lower thirds which you can purchase for your own videos. However, you may not always have the luxury of purchasing lower thirds, so it helps to know how to create these from scratch to keep costs down. In the three videos below, I highlight tutorials for how to create lower thirds from scratch for programs such as After Effects, Premiere Pro, and Motion. After you take a look at these videos, you can apply some of the knowledge you’ve learned and get to creating your lower third graphics.

Lower Third (After Effects) Tutorial

In this After Effects tutorial, Phil Ebiner shows us how he creates simple and clean lower thirds. As he states in the tutorial, he looks to other sites for inspiration before he starts creating. Utilizing a combination of solids, masks, and shape layers, he is able to create a lower third that would work in just about any occasion. When creating lower thirds, it takes a lot of layers to achieve the ideal look so be prepared for using precompositions, parenting, and lots of keyframes to maintain a clean and organized timeline.  What I like about this tutorial is that it has nice pacing, and within less than 20 minutes, you can have a lower third that can be used and modified to your needs. If you are using After Effects CC, you can turn this lower third into a LiveText template for use in Premiere Pro. If you aren’t as skilled in After Effects and prefer Motion instead, you can learn to create lower thirds there as well.

Lower Third (Motion 5) Tutorial

In this Motion 5 tutorial, author HalfGlassFull shows us how to create a complex lower third for broadcast. He first sets up his placeholder text layers in the position he wants. From there, he begins creating different shapes as a background for the text layers. Once he sets up the design of the lower third, he begins to implement behaviors to animate elements of the lower third to his liking. To finish it off, he shows you how to publish the lower third for use in Final Cut Pro X. Overall, this is an easy to follow tutorial and really helps reduce the learning curve that some people may have when using Motion for the first time. Also, the ease at which Motion projects can be integrated into Final Cut Pro X for multiple uses. As great as it is to create lower thirds in graphics programs like After Effects and Motion, sometimes you want the ability to do it without leaving your NLE. Let’s see how to do this in Premiere Pro.

Lower Third (Premiere Pro) Tutorial

In this Premiere Pro tutorial, VideoSchoolOnline shows us how to create modern and sleek lower thirds in Premiere Pro. Now, most people wouldn’t look to see if Premiere was capable of this, but a seasoned user would know better. Using layers in the Title Tool, they are able to create a simple two-tier lower third which identifies the talent on the screen. To give it movement, they use position keyframes with a manipulated interpolation. To keep the timeline clean, he nests the lower third into its own sequence. I can tell you from experience that creating simple lower thirds in Premiere is easy. The one caveat is when you need multiple version, it can be a real hassle to deal with, so plan ahead. Overall, it is rather easy to create a quick lower third from scratch, even if you only have your NLE to rely on.

As you can see, creating lower thirds from scratch is a fun exercise and a useful skill to have as an editor. There will be situations where purchasing one seems more viable than creating one from scratch. Depending on the project and client, it benefits you to know how to create one, but also know where to purchase one. Feel free to seek out other tutorials which show you how to create even more complex lower thirds so you can impress your clients.

Sound Effects

Third Party Green Screen Keyers

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Green screen, or chroma key compositing, has been around since the 1930s. Developed by filmmakers at RKO Radio Pictures, it was used as a method to create complex visual effects that were before its time. Over the years, the process went from a painstakingly analog method to a digital method that can now be done on computers. Programs such as Final Cut Pro, Premiere Pro, Avid Media Composer, and the like all have the ability to do basic greenscreen/bluescreen keying if your footage is in the optimal conditions. For complex and intricate situations, post professionals turn to programs like After Effects, Motion, Autodesk Smoke, or Nuke. Despite the programs that have greenscreen keying capabilities, there are many third party companies who have developed plugins to handle even the toughest keying processes. Let’s take a look at a few and see what each have to offer.

Primatte Keyer/KeyCorrect

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Primatte Keyer is Red Giant’s premiere keyer solution for post professionals. Within its array of features are some of the following: auto compute algorithm for pulling a perfect key, key correction tools for refining mattes and backgrounds, and color matcher feature for matching the subject to their background. This plugin is one of the most trusted keying plugin on the market amongst professionals in film (Lord of the Rings, The Matrix, Harry Potter, and Spider-Man) and television (Sesame Street, Nickelodeon, and Disney). This plugin is compatible on Mac and PC with programs ranging from Final Cut Pro, After Effects, Premiere Pro, and Motion. I can personally attest to its strengths and abilities as I’ve used it in my work quite often. I find it great to use when Keylight may not be enough to get the job done. For the price of $499, it is definitely a keyer solution to consider if you do a lot of it. Just take a look at its capabilities below.

If you are fine with keying with Keylight, you can get the tools of Key Correct to assist you. Key Correct lets you create perfect keys from an image shot against a colored background. These tools include a Rig/Wire Remover, Light Wrap, Color Matcher, Alpha Cleaner, and many other tools. I’ve personally used Key Correct’s tools on many projects and found it to perfectly complement Keylight when I may have challenging keys. Having both Key Correct and Primatte Keyer are definitely tools you should consider in your post production pipeline.

Boris Chroma Key Studio

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Within the Boris Continuum Complete set is the Key and Blend unit. This unit automates the creation of precise keys with a minimal amount of adjustment. These filters strip away the complexity of chroma keying by automating matting, edge softening and refinement, and light wrapping and reflections to produce seamless composites each and every time. One plugin that stands out is the Chroma Key Studio. The Chroma Key Studio is an all-in-one keying suite similar to Primatte Keyer. It can do everything from screen enhancement, auto-garbage matte and masking, chroma key, matte cleanup, matte choker, foreground color correction, and light wrap into a single filter. In the tutorial below, Kevin P. McAuliffe demonstrates how versatile this plugin is and why it is a suitable solution for keying within your NLE. I’ve used it myself a few times and it is definitely a time-saver if I’m working in Premiere Pro or Media Composer as opposed to shipping it out to After Effects for chroma keying.

PHYX Keyer

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The final keyer plugin on the list is the one from the Phyxware folks. Phyx Keyer 5 is a set of 10 plugins designed to give you even faster and more accurate keys than ever before. These plugins include the FastKeyer, ScreenCorrector, Lightwrap, and SkinTools. These tools have been used by companies such as AT&T, Autodesk, and Fox Sports. These plugins were also used on the feature film Anchorman 2: The Legend Continues. In the tutorial above, you get to witness how versatile and fast these set of plugins are, whether you are in an NLE or compositing program. One thing to note about these plugins is that they function on Mac only and are installed through the FxFactory software engine. I’ve personally used the Keyer and other tools in this set, and I have to say that it is top notch. They really have tools to handle even the most difficult keying scenarios.

You’ve seen these industry leading third party keyers and what they can do. Feel free to download a trial and see what the hype is all about. I can assure you that you won’t be disappointed.

Sound Effects

Using Mattes in Your Edits

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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.

Sound Effects

Valentine’s Day Theme Tutorials

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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!

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Setting Up Multi-Cam in your NLE

A Team NLE

As an editor, I’ve been in many situations where I have to cut a project that was shot by multiple cameras. If production sets up their cameras so that I can easily match things up and cut like a technical director, my job is much easier. If they don’t, however, it can be a painstaking task trying to figure when each camera is in sync with one another. You can’t always control the method to which you receive footage from multiple cameras, but it is an essential skill to know how to set up your timeline to do multiple camera editing, also known as multi-cam. I’m going to briefly breakdown the steps it takes to set up a multi-camera edit in popular NLEs such as Avid Media Composer, Final Cut Pro X, and Adobe Premiere Pro.

Avid Media Composer Multi-Cam

In this video tutorial, editor Jon Christenson shows the basics of setting up a multi-camera edit in Avid Media Composer. This type of edit in Media Composer can be set up using timecode, in & out points, or the start of clips. In his example, he uses a clap from three clips to set a sync point for all clips. From there, he uses multiple bins to sort out his clips he wants in the multi-cam, as well as a bin for grouped clips. Utilizing the Fast Menu in the bin, he chooses Group Clips to create his multi-cam edit. Once he has his multi-cam clip set up, he sets up his buttons to make the multi-camera edit more streamlined and efficient. Then, he can do a multi-cam edit by pressing a key mapped to a specific angle. Although I don’t use Media Composer as much as I should, I have to say they have a robust system for multi-camera editing.

Final Cut Pro X Multi-Cam

In this video tutorial, Apple certified and GeniusDV trainer Jon Lynn shows us how to set up a multi-cam edit in Final Cut Pro X. In this program, you first select the clips you want. Then, you right click and select a new multi-cam clip which brings up a dialogue menu. Once you have your settings, use the Angle Viewer and click on the angles you want to cut to while playing back the multi-cam clip. In my experience, I found this multi-cam system very fluent and easy to use in comparison to Media Composer. Although it has a different paradigm than other track based editing systems, the multi-cam functions in FCPX are extremely robust.

Adobe Premiere Pro Multi-Cam

In this video tutorial, Lynda instructor Jeff Sengstack demonstrates how to set up a multi-cam clip in Adobe Premiere Pro CC. There are two ways to set up multi-cam clip in Premiere Pro. I typically set it up from the timeline level where I have my clips set up as needed. The other method is doing it from the project browser, which is the method Jeff uses. With the clips he has selected in the project browser, he right clicks and selects Create Multi-Camera sequence. From the dialogue menu, he can choose how to sync his clips. Once that is taken care of, you should get a new sequence clip in the browser. Now, he can begin cutting the multi-cam clip in his timeline using the available tools. I’ve found Premiere’s multi-camera abilities to be the best of the track based NLEs. I have used Final Cut Pro 7’s multi-camera function before and found it hard to wrap my head around. Premiere’s multi-cam function always seemed to work for me.

As you can see from these videos, multi-camera editing is relatively easy to set up, depending on your NLE of choice. Trying to cut without multi-cam functions is possible, but can be tedious and frustrating in longform projects. I know from earlier experience, I tried to bypass using multi-cam editing and wasted hours fixing things that could have been addressed sooner had I learned how multi-camera editing works. I highly recommend you learn multi-camera editing in your NLE and save yourself some time on those long and complex edits.

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How to Create Nested Sequences

A Team NLE

Timelines, or sequences as they are known in certain NLEs, are the foundation for editors to arrange their footage into a comprehensive narrative. Timelines allow us to insert video, audio, titles, transitions, and more to take us from point A to completion. However, there comes a time when you are editing in your preferred NLE and having a lot of tracks or connections clutter your timeline. In a situation like this, creating a sequence within a sequence, or nesting, will consolidate your assets into one. Every major NLE has the ability to create nested sequences, or compound clips as they are called in Final Cut Pro X. With the video tutorials below, I will highlight this technique so that it can become a part of your skill set.

Avid Media Composer

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In Avid Media Composer, the act of nesting is known as collapsing. As Avid guru Kevin P. McAuliffe shows us in this tutorial, when your timeline gets heavy in effects and clips, collapsing items in a sequence can be much more effective than using video mixdowns. In order to collapse your video/audio assets, select all that you want to include and hit the collapse button, or a custom keyboard shortcut. Once your assets are collapsed, you can step into the collapsed sequence, or double click and modify your clips as needed. If you are a Final Cut Pro or Premiere Pro editor, Media Composer’s method of nesting may seem a bit confusing at first, but with time and practice it starts to make sense. One of the drawbacks of a collapsed sequence in Media Composer is that you can only see one timeline at a time.

Premiere Pro

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Adobe Master trainer Maxim Jago shows us the process of nesting clips into a sequence in this PeachPit tutorial. Nesting sequences in Premiere is very similar to Final Cut Pro Legacy’s process. Select the video and audio assets you want, go to Clip> Nest and it will ask you to name your nested sequence. Once you’ve given it a name, it will appear in the timeline as one clip, as well as the project browser. I like this form of nesting because I can cycle between open sequences with ease.

Final Cut Pro X

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In Final Cut Pro X, the process of creating nesting sequences is called creating compound clips. In this tutorial, master trainer Jon Lynn shows us the process. You can create compound clips from the timeline as well as the Event browser. Select the clips you want in your timeline and go to File -> New Compound Clip (press option + G). You can also select your highlighted clips, right click and select new Compound Clip. Similar to Avid Media Composer, I would have to “step in” to see the assets in the compound clip, and since FCPX doesn’t allow you to see multiple timelines at once, we’ll have to wait for further improvements.

Overall, the art of nesting a lot of content into its own sequence is something that comes in handy on small and large projects. Even with all the innovations made by these primetime NLEs, nesting is a technique that won’t be going away anytime soon. I strongly recommend you learn how to nest content into its own sequence in whichever NLE you use.

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New Features coming to Avid Media Composer and Adobe Cloud

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With IBC taking place in Amsterdam last weekend, users of Adobe Creative and Avid Anywhere were greeted with a slew of updates from their favorite programs. These updates include an interface overhaul, native support for many 4K formats, codec releases, and more. Although, currently, we are hearing more about the production side of things from IBC with new camera releases, I believe the next iteration of programs from Avid and Adobe will definitely make things more competitive for professionals in post. I want to highlight the updates coming for Avid Media Composer and Adobe Premiere in the coming months.

Avid Media Composer

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It was announced by Avid that they are bringing Resolution Independence to the next iteration of Media Composer. What that means for editors is that they will be able deal with 4K media faster and much more efficiently than before. Based on their new Resolution Independence architecture, editors will have the most complete and flexible end-to-end workflows when in post. Below is a list of new features coming to Media Composer that will definitely make it a viable option for 4K offline/online editing:

– AAX plugin support.

– Ability to mute individuals clips (similar to enabling and disabling clips in Premiere and FCPX).

– Disabling video tracks.

– Copying and dragging video segments.

– End of trim indicators.

– AMA media associated with projects.

– A new codec known as DNxHR (Digital Nonlinear Extensible High Resolution). It will support formats of 2K, 3K, 4K, and Ultra HD. There are five flavors of this codec which include DNxHR LB (low bandwith), DNxHR SQ (Standard Quality), DNxHR HQ (High Quality), DNxHR HQX (10 bit), and DNxHR 444.

– Proxy timeline which allows editors to change resolution more fluidly from your original media (and render your effects to proxy media) from full quality to either 1/2, 1/4, or 1/16.

– 4K Full screen playback support.

– Features to come include: background rendering, enabling Mac GPU acceleration, in addition to the existing Windows based GPU acceleration support. Seeing the list of features that are coming to Media Composer, Avid is showing that it is committed to maintaining their spot as the NLE of choice for high end post production. Looking at some of the features from the list, some of them have existed in FCP legacy and Premiere Pro for years. Some of these new features may be requests from switchers who felt that Avid needed to evolve to stay competitive with rival programs Premiere and Final Cut Pro X. I don’t know if that is for sure, but I know the features that are coming to Avid will alleviate the headaches that users may have endured over the years.

Adobe Premiere Pro CC 8.1

Premiere Pro CS6

Avid isn’t the only NLE that will see a massive update in features. Announced last week, Premiere (as well as other video/audio applications) will see a UI refresh, as well as a bundle of new features for high end workflows. Here is a list of features coming to Premiere Pro CC from the Adobe website:

– Search bins for allowing editors to build new bins automatically, based on metadata searches within a project, with results showing as aliases of the original project items.

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– Timeline search improvement which makes it simple to find and select clips within a sequence based on specific criteria, such as Clip Name or Marker comment.

– Multiple project workflows utilizing multiple Media Browser panels which can be open simultaneously, allowing fast browsing of other Premiere Pro and After Effects projects for easy access to their media and sequences.

Multiple-Project

– Source Monitor Timeline View allows editors to preview sequences from other projects, getting direct access to their components to quickly bring into the current active project. Editors collaborating over shared storage will find working with each other’s projects is now a great deal easier.

– Consolidate and transcode project for archiving purposes

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– Render and replace clips and After Effects compositions when dynamic linking.

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– GoPro Cineform codec as an intermediate codec between platforms.

– Support for many 4K and Ultra HD workflows.

– Improved masking and tracking with a free Bezier path tool.

Without trying to sound to biased, I’m someone who leans more on the Premiere Pro spectrum than the other NLEs, and I’m especially excited for these new feature updates. Within four months of this new release, the Adobe team has provided lightning fast updates which shows the community that they are committed to making the user experience the best it can possibly be. Features I’m really interested in are the improvements to the Mask and Tracking feature, and the Render and Replace option. Being able to apply masks using the Pen Tool is a dream come true. The Render and Replace option will allow users to bring AE comps into Premiere and render them into codec without having to go to the render queue. Also, I’m interested in trying the multi-project workflows so I can bring in other timelines from other projects in read only mode and take what I need. That will definitely provide a better user experience in the long run. Overall, we’ve seen that the people behind Avid and Adobe are bringing updates that embrace a future of high resolution and efficiency for the post production community. Each have added features that will make the user experience more bearable as we embrace the 4K reality and beyond.

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4 Features Wanted in Next Premiere Pro CC Updates

Premiere Pro CS6

I’ve been a professional editor for over seven years now and I have had the chance to do both linear and non linear editing. I remember the days of getting footage off tape, dealing with decks on livecast shoots, and more. However, I used the NLEs of the A-Team players (Avid, Adobe, Apple) and they have all come a long way. These days, I lean more towards being a Premiere Pro editor with a good understanding of Final Cut Pro X. I’m extremely impressed with the progress Premiere has made over the last five years, and I can’t wait to see more. I do, however, have some features I would like to see in future releases of Premiere Pro.

Title Tool Revamp

I have used the title tool in Avid Media Composer as well as the one in Final Cut Pro legacy. Both title tools provide less than optimal conditions for simple edits. Final Cut Pro X has the title tool advantage these days because everything is now a Motion Template. Premiere Pro’s title tool is slightly better than Media Composer and FCP Legacy, in my opinion. When you use the title tool in Premiere Pro, it opens up in a separate window. It allows you to create a title from scratch, utilizing the tools available, along with layer styles and a variety of templates.

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My problem with the Premiere title tool is that it is not as intuitive as I would like it to be. You have limited options for creating titles, which are relegated to static looks or roll/crawling text. For some users, it can be difficult to create more complex titles because of the lack of a layer system. This is why some people resort to using Photoshop and/or After Effects to take care of their title needs, such as lower thirds, bugs, or end credits. I’m all for using the accompanying programs in the Creative Cloud, but I believe an NLE should have strong title tools. Users should only reach for Photoshop or After Effects when your title needs exceed the capabilities of the program. Here is how I would like title tool to function in future releases of Premiere. I would take a few cues from NewBlueFX Titler Pro 3. The video below showcases the ability to create a title or lower third graphic template and quickly modify it across your video. Ideally, I would like it to have a layer based system similar to Photoshop. This way, I would know when I am modifying an element, as well as have it appear as a multi-layered item in the project panel. It would be nice if they could find a way to have text animation presets similar to After Effects. I could minimize my need to go to After Effects for something that mundane. Overall, a Title Tool revamp would definitely help alleviate some of the frustrations users have when using title tool.

Dynamic Link Proxy/Live Text Evolution

I’ve always had an uneasy relationship with Dynamic Link in Premiere. It could have been my computer specs or something else, but I’ve always found that it slowed me down as opposed to just rendering what I needed from After Effects, and making updates through re-rendering. One thing I would like to see that would help users who may not have high end computers, would be a dynamic link proxy to final render option. This would work by bringing an AE composition into Premiere, changing the option to be in full resolution or proxy format, and when the changes are locked in, give the user the option to render via Media Encoder into a format of their choice. Now, I understand that would take quite a bit of code to pull off, but under the new cloud format, it definitely gives both Premiere and AE teams something to work towards. The new Live Text Templates introduced in Premiere CC 2014 definitely show the level of innovation and cohesion users can expect with After Effects and Premiere Pro. I hope the next few versions of this feature will get to the level where it can compete with Motion templates. Knowing how much professionals rely on AE templates to complete projects, Premiere will be a force to be reckoned with if it gets to this level.

Effects Panel Additions

One of the things I love about Premiere over FCP legacy is that I don’t have to double click a clip to adjust things like scale, position, rotation, or blend mode. Click it once and it shows up. I especially like what they did for the 2014 addition of Premiere Pro with Master Clip Effects. However, there are some items I would like to be added. I can only assume the Premiere Pro team is working towards the ability to move between keyframes with a keyboard shortcut. I would like the ability to have either Track Matte Key, Set Matte, or Image Matte Key as a part of the Effect Controls panel so I can easily do compositing from track to track. The benefit of this would be not solely relying on those filters, and I could more easily manage my compositing efforts when I move clips with those filters enabled.  If anything, I would place it in the same category as the opacity parameter. Another thing I would like is for the motion parameter to have similar abilities to Media Composer’s 3D Warp filter, with a hybrid allowing you to turn layers 3D in After Effects, as seen in the video below.

This would eliminate the need for the Basic 3D and flip filters, as well as allow users to do simple perspective rotation in a “3D” space. Right now, the Basic 3D filter isn’t as strong as its third party counterparts available from BorisFX, FxFactory, or GenArts. Along with the added Matte Key functionality, giving the motion parameter a hybrid of the abilities from After Effects and Media Composer would take Premiere’s animating and compositing capabilities up a notch.

More Tools in the Toolbar

I like the current tools that Premiere Pro CC 2014 has now. I can select items forward and backward with two track selection tools. I can add keyframes with the Pen Tool. I can zoom in on my timeline with the Zoom Tool. I wouldn’t mind some tools for manipulating images. A pan behind tool would allow users to move the anchor point of their image without having to use slider values. A crop tool would eliminate the crop filter altogether, and would give users the crop abilities similar to FCP 7. Overall, an addition of a few more tools would greatly help the editing process and would reduce the need for editors to make painstaking adjustments.

These are just a few features I hope to see, and with the way the various Adobe teams have been responding to their customers, it isn’t too far of stretch that this may happen in the near future. Right now, I rely on Premiere to make a living, and I have high hopes for what’s to come.

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Advanced Photo Animation Techniques

A Team NLE

How many times have you been involved in an edit where there are more photos than b-roll? I’ve been in that situation more times than I can count. The quick “pan and zoom effect” (aka the “Ken Burns effect”) seems to do the job. However, applying this technique to a handful of photos would quickly get boring and repetitive. For this reason, I’ve searched for new techniques I can use when I’m presented with a photo heavy project. These techniques include the Cinemagraph effect, 2.5D effect, and camera mapping effect. For these techniques, you can perform them in a range of applications such as After Effects, Motion, and Cinema 4D.

Cinemagraph Effect

A cinemagraph is a photo animation in which minor and repeated movement occurs. These are usually created by taking still photos and video recording them performing a certain activity (i.e blowing bubbles or dancing) so that it can be composed into a seamless loop of sequential frames. Below is an example of what a cinemagraph looks like. This term came to fruition back in 2011 when photographers Kevin Burg and Jamie Beck were using the technique to animate fashion and newspaper photos.

The folks of Vox Lab explain how to create a cinemagraph in the tutorial below. They demonstrate on a video clip of a class in session.

Under the right conditions and with proper planning, the cinemagraph is definitely a technique that can come in handy when you want to add some unique motion to your photos.

The 2.5D Effect

This effect goes by many names, such as Kid Stays in Picture, Dimensional Stills, and Parallax effect. Whatever you may choose to call it, it involves extracting portions of your image which can later be animated in 3D space to give the illusion of motion. The one thing about this technique is the amount of work necessary to extract portions of your image. Some images are easier than others, but when you properly extract portions of your image, animating it will be easier depending on how far you plan to go with it. Below is an example of what it looks like when animated.

In the tutorial below, photographer Joe Fellows shows you how to create the 2.5D effect. His technique goes a bit further than the example above, but it definitely adds more life to the photo than a simple pan and zoom.

The folks of Cineflare offer a plugin called Pop Out that helps speed the process of creating this effect. You can check it out below.

Camera Mapping Effect

Camera mapping is similar to the 2.5D effect, but the difference is this technique uses projection. With camera mapping, you can project an image or video onto a screen and give the illusion of depth by using zooming and angles. In the breakdown below, you see how the creator is able to take an image that originated in 2D, and by using multiple techniques essential to camera mapping, they were able to create the illusion of depth.

In this tutorial below, mograph artist Casey Latiolais shows us how to add some life into a simple 2D image by camera mapping in Cinema 4D. These techniques allow the 2D image he is using to have a much more life-like appearance than before.

Overall, there are lots of techniques available for animating photos that can help invigorate your projects. You don’t have to settle for the simple Ken Burns technique for every photo, and if you put in the proper preparation, you can create some stunning animations. Feel free to try any of these techniques the next time you are presented with a barrage of photos.

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Red Giant Universe

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As a plugin enthusiast, I have always been a fan of the offerings of Red Giant Software. They have industry standard plugins in color correction, particles, lens flares, motion graphics, workflow tools, and much more. Another great thing is that the people behind the products are working veterans themselves; such as Aharon Rabinowitz, Harry Frank, Seth Worley, Simon Walker, and Stu Maschwitz. The tutorials they provide are top notch as well as the promos they create. With NAB around the corner, Red Giant is releasing new products under a subscription based model called Universe. Check out the trailer below to learn more.

Universe is a subscription based community where users will have access to free and premium plugins. These plugins are power-based on the GPU of your computer, and offer near-real time quality. They operate from a tool known as Supernova. According to plugin developer Alex4D, Supernova is a development system that uses a javascript-like scripting language to access the Red Giant Universe Library; a collection of image processing libraries whose code is combined together to make cross-platform Universe plugins. Learn more about Supernova below.

While the concept of a subscription model may sound familiar as with the Adobe Creative Cloud, the folks at Red Giant software put a lot of thought and care into how this community would work so it would be something that everyone can partake in. As of this writing, Red Giant is offering a public beta and will probably change things in the coming weeks. There are four plans that are currently on their site. You can sign up for a free membership, which lasts forever, and gives you access to 31 free plugins and more. The next membership is a monthly plan of $10 a month which gives you access to 31 free plugins, 8 premium plugins, and more. The third membership is a yearly plan of $99 annually. It contains the same features of the monthly plan, but at a discounted rate. So instead of paying $120 over a one year period, you pay $99 upfront for the year. You can also choose to pay $399 for a lifetime subscription plan where you never have to worry about monthly or annual fees.

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The plugin offerings are quite incredible on both the free and the premium side. One premium plugin that stood out to me was the revamped HoloMatrix. This was created by Aharon Rabinowitz to reduce the steps it takes to create holograms. Originally, it worked more as an After Effects script with presets available to change the look. Now, it functions fully as a plugin, but is much more responsive. Take a look at the tutorial below how HoloMatrix works now.

One of the free plugin categories that stood out to me were the glows. I’ve played with many third party glow plugins, and while they each have their strengths and weaknesses, I found these glows to be very responsive to parameter change and easy to process, thanks in part to Supernova programming. Overall, I’m extremely excited for Red Giant Universe. I believe it will definitely be a game changer in the plugin industry and will set the bar for how plugins are created and delivered to the masses. I really appreciate the fact that Red Giant took the cloud concept and made it work for everyone. It’s also cool that they offer a strong array of free plugins under the lifetime free membership option, which I’ll be using quite often. I’m the NLE Ninja with AudioMicro asking you to stay creative.

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Blend Mode Compositing in Premiere Pro

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One of the many things I picked up from using Photoshop for the last few years is the power that blend modes have on your images. With blend modes, I can mix images with objects, colors, and more into interesting composites. I have been able to apply many of the same principles that I learned in video editing to create interesting compositions. Many simple visual effects can be achieved by using blend modes. Using blend modes such as Add or Screen on footage that has a black background (like muzzle flashes) can remove the background and give you access to the flash. In the three video tutorials below, I will breakdown how blend modes were used to take ordinary footage to amazing motion graphic compositions.

Character Callout Tutorial

In this video tutorial, I show viewers how to take a clip of a snowboarder and turn it into a character callout animation when he completes his flip. Many motion graphics elements from Rampant Design Tools were used on this tutorial, but to give them the full effect that I desired, blend modes had to be used. For example, I used a clip which had film scratches you would find on old filmstrips. These clips were created with a white background embedded into them. In order for me to focus black parts of the film scratches, I utilized the blend mode of Overlay to do so. Overlay allows me to focus primarily on the dark parts of the clip, which are the black scratches, and suppress the white background. In further examples of the tutorial, I used blend modes such as Add and Screen to make clips with black backgrounds brighter. With some tweaking of the opacity of each layer, I was able to create something completely unique for my animation which wouldn’t have been achieved had I not used blend modes.

Edit With Lines Tutorial

In this tutorial from the folks of Edit with Light, they showcase how their product can be utilized using a variety of blend modes such as Screen, Lighten, and Hue to create cool motion graphics. I found the Hue blend mode to be the most interesting because the clips come with multiple colors and creates a tint-like effect when placed on top of footage. The subtle touch using blend modes with the Lines product is quite amazing. With the demonstration shown above, blend modes are able to take the concert footage from ordinary to awesome with little effort.

Match Up Tutorial

In this tutorial, I showcase how to create a sports match up animation. Using clips from Rampant Design Tools, blend modes was a necessity to make each scene in the animation. In the first scene with the trophy, I used the Screen blend mode to isolate the lens flare transitions and the Add blend mode to create the background using XFilm. In the second and third scene, I was able to place the cutout models in the background using a combination of the Overlay blend mode and Screen blend mode. Blend modes were necessary to make this animation flourish.

Blend mode compositing is definitely a skill that most editors should be familiar with. I can’t count how many times using blend modes has helped me. It is something I think about whenever I approach a graphics heavy project. Blend mode compositing is not only available to Premiere Pro, but to other NLEs and compositing programs as well. I strongly recommend that you experiment with all blend modes to see what you can create.

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