You’re editing a crime show and suddenly a call from your producer: an interview subject has just gotten cold feet and wants to have their identity obscured. You could start the tedious manual keyframe blur tracking process, but that will take a while.
The clock is ticking…
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You have video from a dozen different sources that are all over the place, and need a speedy luma and/or chroma adjustment along with dependable waveform analysis. (While we know Media Composer has scopes in the color corrector, keeping the color corrector open just to monitor video levels isn’t practical or efficient.) You need to speed check through your timeline and quickly make basic adjustments.
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You have to quickly build a split screen…could be 2, 3 or any number of splits, and you’ve lost your templates. Though it’s fairly easy to layer, crop and reposition, it’s still a major headache and time-waster…
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In this blog series, 6-time Emmy winning editor Jonathan Moser reviews NewBlue’s arsenal of top problem solvers to save you time, money and the headaches of common post production problems… Part 1 of 24 Introduction Over the years, the demand on offline and finishing editors has risen exponentially—giving us a lot of stress and
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