As a man who has spent the last decade creating videos, I can tell you that nothing is impossible in the world of video. If someone asks me “Can we do X?”, the answer is always yes. That is, of course, not the same answer I would give to someone asking me “Can we do
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With a bottom-of-the-barrel budget, a commercial client asks you to quickly create stylized looks and artistic transitions for their production that no one has seen before. With no animator or graphics artist on staff they’re depending on you to whip something up fast, creative and cheap…big surprise.
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Lackluster camerawork and weather problems has taken the life out of your b-roll in an otherwise lively production. These are the shots that set the whole mood. You need to amp it up and create a feeling.
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You have a surreal scene-and for mood, you want to bring out the blue of the dress your star is wearing while diminishing the other colors in the scene…but a color corrector can’t really give you the control (or the speed) you’re looking for without time-eating tweaking.
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Your producer just came into the bay in a snit: the car commercial you’re doing this morning has a glitch…the car that was shot is not the new color scheme your ad is supposed to be hyping, and the commercial is due yesterday. You don’t have a budget for a colorist…you’re on your own.
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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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