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.
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 Freddy Vinehill-Cliffe, Product Specialist for NUGEN Audio. Freddy shares how their essential audio plugins for ProTools work, then highlights their latest updates.
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 Chris McLendon, Senior Product Manager for Vizrt. Chris presents their latest releases, and provides a description of NDI 6, how it is used and why it is needed. He also introduces Vizrt’s lower-priced line of products: Vizrt Go.
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 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.
When it comes to removing backgrounds using a green-screen key, not all video codecs create the same image quality. Here’s what you need to know to shoot and edit the cleanest keys.
Depending upon the settings you choose at import, Photoshop graphics update automatically in Premiere. But there are lots of exceptions to this rule. Here’s how this technique works.
In this short video, Larry Jordan illustrates the differences between Paste Effects and Paste Attributes in Final Cut Pro. He’ll also show their impact on keyframe timing.
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.
Video Walls 3.0, by Luca Visual FX, is an extremely well-thought-out, highly-flexible series of 3D video wall effects. The controls are detailed and the results are mind-boggling. Even better, though, the defaults work without any modifications, so if you are pressed for time, you don’t need to tweak anything to get an outstanding effect.
This guest post, from Zac Carr, goes deep into the advanced features of the Warp Stabilizer in Adobe Premiere Pro. He looks into several key advanced features of the Warp Stabilizer tool and discusses why they are indispensable for achieving smooth motion and high-quality results.
Many Adobe Premiere Pro projects use the same effects – and effect settings – over and over. Creating these each time you need them is a waste of time. Why? Because it is easy to create custom effect presets and reuse them as often as you need. This illustrated tutorial shows how.
Many projects use the same effects – and effect settings – over and over. Creating these each time is a waste of time. Why? Because Apple Final Cut Pro makes it easy to create custom effects, reuse them as often as you need, even share them with other editors. Here’s how.
Apple has improved object tracking in the 10.7 version of Final Cut Pro. While still not perfect, it is much faster and more accurate. Here’s how it works.
Picture This… Imagine clicking a button and having a high-quality, AI-generated image appear directly in your Final Cut or Premiere Pro timeline. It exists. Philip Hodgetts describes the software.
This morning, BorisFX announced a pivotal shift in strategic direction with the 2024 release of Continuum 2024 and updates to CrumplePop audio tools, becoming one of the first in the industry to integrate AI-driven effects into a visual effects plugin.
There is no doubt that we can create effects in Motion that won’t play in real time. But I was impressed that even complex effects with lots of moving elements did not tax an Apple silicon system. At all. Take a look.
Here’s what’s new in the October, 2023, release of Adobe Premiere Pro (v.24), with a link to Adobe’s release notes.
I’m working on a project this week which requires adding a variety of over-the-shoulder images to narration. Since production hasn’t yet occurred, I have two options: Shoot a monitor on set Add the graphics later in post Since shooting a …
3D text is exciting because of its depth and the variety of textures available for each surface. But the real excitement comes when you start to play with lighting. Here’s a simple tutorial on how this works.
One of the hidden challenges in Adobe Premiere Pro is to adjust a color grade during playback. The Lumetri color panel provides tons of color controls, but no way to change them during playback. But, there IS a way. Here’s how.
Lou asked: “Should I partition the internal drive of a Mac to get the maximum speed for video editing?” The answer is no – but not for the reasons you might suspect. Larry Jordan provides the details on maximizing system speed.
For video editors, any M-series Mac computer is a vast improvement over any Intel system. In this detailed review, Larry Jordan looks at setup and performance tests of the M2 Mac Studio computer using Apple Final Cut Pro.
With the 10.6.6 update to Final Cut Pro on the Mac, Apple introduced a new feature called Scene Removal Mask. What this does is remove a static background from behind an active foreground subject. Here’s how it works.
Apple Final Cut Pro provides powerful color tools that improve video. In this short video tutorial, Larry Jordan demos two quick color tricks that fix color casts and make sure skin tones are accurate.
Final Cut Pro provides powerful color tools that improve video. In this short video tutorial, Larry Jordan shows how to keyframe a color correction, plus an easier way to correct white balance problems.
Final Cut Pro provides powerful color tools that improve video. In this short video tutorial, Larry Jordan explains what LUTs are, how they can improve your images, how to use them – and what to avoid – plus, how to create a custom LUT for your next project.
With the 10.6.6 of Final Cut Pro, Apple removed the Fat EQ audio filter. The Channel EQ filter is recommended to take its place. It is even more flexible. Here’s an overview.
Audio is a huge part of any project. In this short video tutorial, Larry Jordan shows how to create audio fades across multiple tracks by setting master track keyframes.
Audio is a huge part of any project. In this short video tutorial, Larry Jordan shows how to create and modify audio transitions in Premiere.
Displaying video full-screen in Adobe Premiere is as easy as pressing a single key. However, for best results, when you have two monitors, this quick tutorial shows how to change preference settings to create a separate view and grading monitor.
Audio is a huge part of any project. In this short video, Larry Jordan presents three techniques you can use to repair problems with your audio.
If you are frustrated trying to make your audio sound better, the Crumblepop AI-assisted audio plug-ins will decrease your stress and improve your audio without requiring an advanced audio degree. And, when it comes to noise reduction, they can do magic.
A reader requested help in creating a video with burned-in timecode so he could send clips to a client for review. Premiere has supported this feature for a long times. Here’s what you need to know.
