In this interview, Larry Jordan and Victor Ha discuss when is the time to step up to a camera from a mobile device, FujiFilm’s emphasis on color and film emulation, and how the process of creating images has evolved over the last few years.
In this interview, Larry and Phil discuss the mind-bending graphics that Pixotope creates, why it uses the Unreal Engine, and the need for graphic designers – at every level – to find ways to improve on their best work..
In this interview, Larry and Gary discuss the challenges of accurately tracking camera pan and tilt changes when shooting on an LED volume stage and how Cartoni is providing tripod heads that track this and send it to the computer. As well, Gary shares his thoughts on how to pick the right tripod for your work.
In this interview, Larry and Simon discuss making the transition from still photography to moving images, how he finds clients and the key points he made in his keynote speech at the conference.
In this interview, Larry and Ian discuss digital sculpting, overcoming the fear of “the blank page,” and new releases from Maxon.
In this interview, Larry and Colin discuss the emerging Creator Economy, the challenges of being an influencer, and the key ideas behind Colin’s panel presentation at the NAB Show New York.
I’ve been a fan of Lume Cube lights for a long while now. Last week, I purchased the Studio Panel Lighting Kit, which contains two LumeCube LED panel lights, with tripods and barn doors. Here’s my review.
Sometimes, creating a custom effect can save you a lot of time – especially if you need to use it over and over. So, here’s an example of how to create a template in Motion, using a variety of useful Motion effects, that you can use directly in Apple Final Cut Pro. (I included both the movie and the Motion project.)
“Ducking” is the process of lowering the audio level of background music or background sounds during dialog. Resolve has a blindingly fast way to do this automatically – without keyframes. It’s called “sidechaining.” Here’s how it works.
Joel asks: “I want the logo to enlarge, eventually getting to the point where a single letter fills the screen, and at the same time, the logo area gradually becomes the concert video. How do I do this?” There are at least three ways. Here’s an illustrated approach to all three.
I think a lot about teaching. More specifically, I’ve been reflecting on the challenges in teaching technology. And I’m starting to think we, as teachers, may be making it harder for our students to retain information due to the way we teach. Here is what’s I’ve learned in the classroom.
Saturation and vibrance control the amount of color in an image. What’s the difference between them and which should you use? This tutorial shows how to use them for video.
Artificial intelligence is causing seismic tremors of fear and loathing throughout the entire creative community. So this week I decided to find out what’s real, what’s hype, and what we can do about it by interviewing Sam Bogoch, Founder/CEO of Axle AI.
Adobe updated text and graphic styles in the March, 2024, update. A “style” is a format, like a template, that is applied to text or captions. This tutorial explains how they work.
Looking for reputable video or audio plugins that “the pro’s use?” Recently Larry Jordan surveyed his audience to learn the answer to that question. Here are the results.
Not all slow motion looks the same. In this short video, Larry Jordan illustrates the four different ways to create slow motion – including the brand new Smooth Slo-mo in Final Cut Pro 10.8 – and the different looks each of these options create.
In this short video, Larry Jordan shows how to improve the look of your video using the new Color Adjustments effect in Apple Final Cut Pro 10.8.
The 10.8 update extended the number of ways we can organize timelines in Final Cut Pro to three. This tutorial shows you the options, their strengths and weaknesses and how to create them.
As I was writing about using Auditions in Final Cut Pro to compare different audio clips, I started wondering whether we could use auditions to compare different visual effects. The answer is that we can, but the process is not intuitive. Here’s how this works.
Auditions are a little-understood feature in Apple Final Cut Pro which quickly allow instant comparisons between clips. While comparing video clips is probably the most common use, even more helpful is using Auditions to compare audio clips. Here’s how.
It’s not that I don’t like learning new things. I truly enjoy testing and reviewing new products. Exploring new features. Discovering new technologies. But, golly, it’s hard to get started learning. It seems I have an “Inertia Obstacle.” And, I suspect I’m not alone.
Recently, I was asked to narrate an audio book on learning design. I needed to look for ways to convey this information aurally, while keeping the conversation casual and the content accessible. It was an interesting challenge. I learned a lot – here are the highlights.
There you are, immersed in creating your next epic – Ghost King Arising – when you are struck by a thought. “What, exactly, does a ghost king sound like?” Here are two audio effects in Apple Final Cut Pro – Alien and Spectral Gate – that you can use to answer that question.
Last week, Misha Tenenbaum, host of “TV Matters” interviewed me about my teaching practices, philosophy and thoughts on what makes a successful teacher. I really enjoyed the depth of his questions and the chance to share what I’ve learned over my career.
Here’s a behind-the-scenes look at how we shot interviews at the 2024 NAB Show. This includes gear, people and process.
This is a video interview with David Dowling, Chief Revenue Office for Pixotope. David describes the VR image they created for this year’s Super Bowl. He uses this to explain what the company does, their latest releases and how smaller shops can use it effectively.
This is a video interview with Moritz Meisel, Head of Sales for DoPchoice. He discusses the company’s lighting diffusion products, their latest products at NAB and why diffusion should be part of your lighting kit.
This is a video interview with Gorky Bolanos, Optics Product Manager for Tiffen. Here he showcases their latest announcements, including full support for Tiffen filters on iPhones, along with a new magnetic filter attachment for DSLR cameras. He also explains what a starter set of lens filters should include.
This is a video interview with Jim Tierney, CEO & Chief Digital Anarchist for Digital Anarchy. Jim discusses his latest plug-ins and the squishy nature of using AI in software; for example, what does AI even mean?
A video interview with Pierre Jasmin, Founder and CEO of RE: Vision Effects. He describes the latest updates to their visual effects tools, their focus on customer feedback and the key products of his company.
A video interview with Angus Mackay, Product Marketing Manager for Matrox Video. Angus describes Matrox image hardware and technology, their latest announcements and the challenges of displaying high quality images.
A video interview with Mitch Gross, Global Director of Product Marketing for Aputure, on their range of lighting products, new releases for NAB and the difference between lighting for smaller projects and film.
A video interview with David McGavran, CEO of Maxon, on their latest release of Cinema 4D, along with his thoughts on the impact of AI on creative artists.
A video interview with Dan May, President of Blackmagic Design – US, where he reveals more than 16 new products at NAB, including a 12K cinema camera, 6K pocket camera, the latest version of DaVinci Resolve and other new hardware.
Here’s a list of the companies we are interviewing at the 2024 NAB Show along with links to watch them.
A secondary color correction adjusts the color of something in the frame – like changing the color of a shirt. In this short video, Larry Jordan shows how to create these in Premiere Pro.
One of the harder tasks in color grading is changing the look of a clip when the lighting color itself changes during the shot. In this short video, Larry Jordan shows how to use color keyframes to change the color grade during a shot using Premiere Pro.
LUTs are a color lookup table. In this short video, Larry Jordan explains what LUTs are, how to use them to change the color of your clips, and how to properly set the new Color Settings panel in Premiere Pro.
In today’s world of digital video, the Broadcast Safe effect (or Video Limiter in Premiere) is gathering dust in a corner. But, there is a BIG benefit to using it when you have a lighting problem to solve, as this tutorial illustrates. This trick works for all the major NLEs.
In this short video, Larry Jordan shows how to create and motion track a shape mask to change the color of objects in a frame. He also shows how and why to use the Broadcast Safe effect.
Masks hide things – even in video. In this short tutorial, Larry Jordan shows how to use shape masks and color masks to change the color of objects in a video.
In this short video, I show how to change the color of a single object in a frame. This is called a “secondary color correction.”
3D 3D Video Polygons, from Luca Visual Effects, creates highly-adjustable eye-catching 3D effects and transitions that push the boundaries of 3D in Final Cut Pro.
Recent updates to Apple Final Cut Pro added several more mask effects, three of which I illustrate in this tutorial: Corner mask, Graduated mask, and Image mask. Here’s what they look like and how to create them.
DaVinci Resolve is a state-of-the-art color tool for video. Whatever you can imagine doing with color, Resolve can do. But, oh. my. goodness. It is complex. Here’s an overview of how to use it.
Hawaiki Keyer 5 is a high-quality, infinitely-adjustable chroma-key plugin for Premiere Pro, After Effects, Final Cut Pro and Motion. Offering controls that simply aren’t available on other keyers, when you need to create a truly clean chroma-key, even with substandard production, you need Hawaiki Keyer, from FxFactory.
I created a green-screen shot that was impossible to key because the foreground elements kept keying out due to reflections. Here’s how to use a solid matte in Adobe Premiere or Apple Final Cut Pro, or even DaVinci Resolve, to fix this.
Background Remover, from FxFactory, removes backgrounds behind people without requiring a green screen or a stationary background. It works in Apple Final Cut Pro & Motion, along with Adobe Premiere Pro and After Effects. It creates amazing results effortlessly and quickly. Here’s a review.
Recently, I needed to create the effect of a spotlight on a wall in Premiere. The only problem was that the only image I had to work with was a brick wall in sunlight. Here’s how to create this effect in Premiere.
In this tutorial, using Adobe Premiere Pro and BorisFX Continuum 2023, we’ll explore how to explode an image into thousands of particles then, even more fun, how to coalesce thousands of particles into a solid image o video.
