This is a video interview with El-Deane Naude, Senior Product Manager, Imaging for Sony Electronics. He presents Sony’s latest product releases at NAB, including an extended demo of a new camera monitor, then provides an insightful description of the different levels of AI and how Sony is using AI in its products.
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 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.”
I wrote last week that a bug in Final Cut prevents dynamically updating Photoshop images in Final Cut when they are revised and saved in Photoshop. At some point, Apple will fix this. But, for now, here’s a workaround, first …
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.
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.
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.
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.
You probably learned this trick years ago, but I only discovered it last week: You can instantly correct color casts in Photoshop with a single mouse click! (I mean… who knew???)
There’s a hidden rating feature in Final Cut Pro that can help you organize your clips. It’s been there since FCP was first released over a decade ago. However, in recent years, Apple has deemphasized this to the point you …
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.
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.
I’m confused. What’s the difference between a “format” and a “codec?” The answer is that sometimes these are the same and sometimes these are different. Here’s a good way to think about these.
In Apple’s recent introduction of their M3-series chips, the screen shots revealed a hidden story. Apple launched their most powerful computers ever – but Final Cut was nowhere to be found. What happened?
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 …
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.
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.
The new Color Conform in Apple Final Cut Pro takes a really complex subject – matching color spaces – and makes it accessible and easy to use. Here’s how it works.
Recently, while writing a review of the BenQ PD2725U monitor, I realized that I have described how to change color space settings on external monitors incorrectly for years. Here’s the key rule you need to know.
About a month ago, I purchased a BenQ PD2725 monitor because I wanted a color accurate monitor for scanning still images and video editing. Based on what I’ve learned and seen, I’m comfortable making color and composition decisions based upon what I see with the BenQ PD2725U.
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.
Animated GIFs are short animations that are posted to a web site and viewed in a web browser. Not only can you create stunning animation in Motion, this short tutorial illustrates an EXTREMELY fast way to automate the process.
In the old days, to monitor video to see exactly what it looks like for color grading required an external video monitor. Today, that’s no longer necessary. Here are three different techniques to view full-screen video from cheap to high-quality.
The news presents events in the real world to help viewers understand what it going on. A documentary deconstructs real people and real events to explain and illuminate them. Given the state of AI, how do you convince viewers that your images and sounds are not fake?
Changing the playback speed of a clip is a fast and easy way to create an eye-catching visual effect. In this short video, Larry Jordan shows the differences in image quality using five different techniques to create slow motion in Final Cut Pro.
Topaz Video AI delivers dramatic results, with a great deal of promise for the future. It’s not cheap and not all features work well. But, for the most part, this is an outstanding tool to improve image quality. Here’s my detailed review.
The Apple Studio Monitor is an amazing display. But, as a monitor, it has too much — and too little. This could be the perfect monitor for you – or it could be far more than you need. It’s complex. Here are my thoughts.
Topaz Photo AI almost works magic enhancing still images. Here’s a detailed review of what it does and how it works. It isn’t cheap, but the results are worth it.
This tutorial looks at how to get the best image quality out of still images that don’t move (i.e. animate) in Final Cut Pro. You’ll find these results surprising – there’s only one key parameter that affects image quality.
Still photographs, slides and digital images are a common component in many video projects. In this short video Larry Jordan shows how to animate their movement, including moving on curves, in Adobe Premiere Pro.
Still photographs, slides and digital images are a common component in many video projects. In this short video Larry Jordan shows how to use Topaz Photo AI to improve the look – and resolution – of still images.
Still photos, slides and digital images are a common component in many video projects. In this short video tutorial, Larry Jordan shows how to use keyframes inside Final Cut Pro to animate still images using straight lines and curves.
Still photographs, slides and digital images are common in many video projects where editors often need to bring them to life. In this short video tutorial, Larry Jordan shows three simple, AI-based, Photoshop tools to repair still images for video projects.
Masks allow us to select a portion of a video image. In this short video tutorial, Larry Jordan shows a variety of ways to use color, shape and draw masks in Apple Final Cut Pro to create visual effects or fix problems.
Shaky video footage can cause an audience to get motion sick watching your program. Fortunately, Apple Final Cut Pro provides three ways to smooth shaky footage. Here’s an illustrated tutorial on how these work.
“Ask Larry Anything!” is a free-form conversation about video editing technology.In this short tutorial, Larry Jordan illustrates how to read the video scopes inside Apple Final Cut Pro and, by extension, Adobe Premiere Pro, because they share similar scopes. He also provides a table describing where to set skin tones to make people on camera look “normal.”
One of our favorite – and most wide-ranging – sessions returns with “Ask Larry Anything!” Presented by Larry Jordan, this is a free-form conversation based on questions submitted by viewers. In this short video tutorial, Larry shows you how to read the video scopes in Adobe Premiere Pro, then how to use them to match skin tone colors.
Color management for HDR media in Premiere Pro is rapidly changing. For now, it’s a mess with too many color settings that need to be changed manually, with color results that vary inconsistently between clips. iPhone video is a special problem. Here’s what you need to know.
Picking a high-quality computer monitor for video editing is surprisingly confusing. Here is Larry Jordan’s explanation of what specs you need to look for, which you can ignore, and what criteria he uses for picking computer and video monitors.
