It’s been a while since I have done a post, in the midst of Graduation and finally finding some hope of a good creative job I decided that Sound is what really makes a film. I have been working hard creating motion graphics and this gave me a really good opportunity to be more experimental and creative with sound so I thought it would be nice to share some tips I have come across.
For me sound design & recording comes quite naturally, my A levels where in music technology and I have been through the process of recording bands e.t.c (a skill I would advise any film-maker to gain). It’s often said sound is 51% of a film and I totally agree, an audience will tolerate bad video if the sound is good but never vice versa. Sound is particularly important to get right when shooting with a DSLR because most of the time you cannot rely on the sound these cameras take in, time and time again I see interviews shot with a DSLR looking amazing but sounding terrible, don’t fall into this trap: Continue reading
I my self once had to make the transition between FCP7 to Premiere (when cs5 came out) and I can honestly say I have never looked back. The workflow for me is a lot more intuitive and apart from the clear benefits (FCP is only 32bit) it also integrates amazingly within its own software. For those of you who use Adobe AE to finish your project you will understand what I mean (using popcorn island to move you XML files back and forth was such a pain). To this day I still however use Soundtrack Pro, (for my sound design) as a Logic Pro user it just clicks with me seamlessly. So, enough on my background, I wanted to post this because when I made the transition is was at times very frustrating, if only I had something like this to help me at the time……….
By Scott Simmons – Pro video Coalition
NOTE: I have narrowed this down to the top 14 I found most useful.
1) Will Premiere Pro CS6 output an OMF file for audio mixing?
Yes: File > Export > OMF will bring up this export dialog box to choose your preferred settings.
2) How to bring one timeline from one project to another?
The simplest method is you have a project open that you want to move a select sequence from is to just select the sequence and COPY. Then open the next project and PASTE. That will paste that new sequence into the edit. Note that all the media that is in that new timeline will get new items created in the project as well. Continue reading
Slow motion (with the new Sony fs700) is likely to become the new shallow depth of field, we are probably going to be seeing it everywhere. I love slow motion and I used it in my own short film Solvo Curso just a couple of months ago so (after a lot of asking) I though I would go through the entire workflow of how I achieved this, from the canon 550d shooting modes to the post production and how to best use Twixtor. It’s easier than you think and obviously you’re not going to be able to compete with real 2000fps but you’re definitely going to get that vital few seconds of super slow motion footage to create a really cool sequence. Here’s a nice example of what I mean: Continue reading
Colour grading is often overlooked by the amateur film makers but its something that can make or break the overall response of your film. A good story with good content is always key but time after time I find my self watching Vimeo films where someone has got their Canon 550D, shot a nice story with some good sympathy building around the characters and they totally skimp out on any kind of post production grading. For me its one of the strongest methods of pulling some one into the story your trying to tell. When you see a film at the Movies chances are its going to be heavily graded, especially a story that rely’s on some kind of fiction as its basis, i.e Terminator Salvation. This is a good example because its colour grading is very apocalyptic to suit when in time it is based, in fact, there’s only two real colours to the film, grey and green. Often people use simple 3 way colour correction methods to colour grade and try to pick out a natural skin tone colour. I feel you shouldnt hold back on changing people’s skin tones and effect the colour of the world the film is based. Start simple, level all the clips to match tonally and get all those skin-tones looking skin tone colour, then push your grade to suit the world your film is based within. A good colour grader will need know all of these tools:
- Lift, Gamma, Gain
- Shadows, Mid-tones, Hi-lights
- Blacks, Mid’s, whites
- Masks(vignettes e.t.c)
Remember when your shooting video and you know your going to grade it after make sure you shoot as FLAT as possible. What do I mean by this, no in camera sharpening , less saturation and no noise reduction. check out this video for setting your flat picture profile’s, this video also goes through some other settings you will need: Continue reading