Geoff is experiencing consistent jerkiness during pans of any speed on multiple cameras when shooting PAL video. Take a look and see if you can solve the problem.
Here’s a very fast technique that can reduce (or emphasize) wrinkles in an actor’s face – without resorting to plug-ins. Watch as Larry Jordan illustrates how this adjustment works – improving how an actor looks instantly!
This short video showcases the differences between using Lift – Gamma – Gain and Shadows – Mids – Highlights to change the gray-scale values of a clip. These differences are significant, powerful, and highly useful, as Larry Jordan illustrates.
Recently, FxFactory updated their flagship product, FxFactory Pro, to version 6. To learn more about this update, I emailed Niclas Bahn, head of Business Development at FxFactory.
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 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 Chris discuss what Panasonic Connect is, the difference between mobile phones and Panasonic’s cameras, and the features required for a camera geared for live events.
In this interview, Larry and Bram discuss the new Quantum Dot technology for HDR monitors, the challenges of bringing prices down, and when is the best time to invest in a high-quality HDR monitor.
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.
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.
There is a LOT you can do to customize the Viewer in Final Cut Pro. And it all starts with discovering what the View menu can do.
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.
Andy Wilson asked an interesting question recently. He wrote: “I shoot outdoors in sunlight in HDR on my iPhone 13 Pro Max (so nothing gets overexposed) and edit on a SDR timeline for publication to the web. I find that …
Virtual production has really changed the way films are made. It’s a major shift that’s redefining the entire industry. In this overview, written by Margo Chelsey, learn how virtual production can benefit your next project.
Understanding what video scopes tell us about our images is essential to creating great looking images; regardless of which video editing software you are using. In this article, I explain the basics of the waveform monitor and vectorscope, how to read them and how they affect color correction.
This is a video interview with Peter Marr, Manager of Education, Field & Sales Support for Canon. Here he presents Canon’s announcements for NAB, discusses Canon color science and suggests tips on picking the right camera for your project.
This is a video interview of Tony Wisniewski, Senior Marketing Manager for Zeiss. Here he showcases their latest lenses, along with explaining what you should look for when choosing or renting a cinema camera lens.
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 Mark Ditmanson, President of Prompter People. Here, he introduces his company, presents their latest teleprompters and showcases a portable prompter for iPhones and DLSR cameras.
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 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.
