Adding gun muzzle flashes and blast sounds to your shootout scenes is easy to do in post production. Learn how to build intensity using post-production editing techniques.
Hi there. Today on VidCast, we’re gonna take a look at who’s sitting behind my car, and I mean it. To do this effect, first we had our subject react to the pressure of the gun blast to give our gunshots a more realistic look. This helped us sell the effect. We captured screenshots of our subject so that we could align the flares up properly.
Then we used Adobe Photoshop to make our gun flares by using the brush tool. We added a few colors and then used the motion blur effect to give the perception of blurred movement. We added three individual flares to represent the front, side and over the shoulder point of views of our gun blast scenes.
Back in Adobe Premier, we then overlaid our flares on top of the scenes. The trick here is to only insert the overlaid frames for a short amount of time. This allows all of our foley, which we inserted later, to sell the effect. Well, as you can see, we’ve already learned a lot about –
We added some bullet shells that we made in 3D Max to add a touch of realism. We’ve put the final touches on the scenes by adding some ferocious gunshot noise to get the sound of our gun blast, the shells hitting the ground, ricochets and the impact of the bullets hitting the car and the windshield. Now we have our effect, and it looks as violent as it can be.
For more information on gun flares, join us online at www.videomaker.com. In our next segment, we will explore what happened to the guy behind the car. Until next time, stay away from my car.
There are always lots of new lenses announced at NAB every year, but this one was truly special. Most of us can’t even afford to rent some of the lenses on the show floor, let alone the camera to use them. Canon’s Compact Servo 18-80mm T4.4 is the exception. While the $5,225 price tag is nothing to scoff at, it’s a steal when compared to Canon’s other EF servo zoom lenses, which approach $30,000.
An optional add-on to the Compact Servo 18-80 is a zoom rocker grip.
The visual style of your video is usually in the director’s head from the start of production, so what happens when you bring the footage into your editing software and you can’t get it to look quite right? Well, when it comes down to crunch time, as editing tends to, any solutions that are "as easy as it gets," are often the ones that editors rely on. You need to get the right tool, and you know that big young Internet has plenty to offer, but do you really want to be searching for, learning and purchasing something you’re checking out for the first time the same day?
Testing the S-Gamut3.Cine Slog3 colour profile in the Sony a7S II. Please note this is 4K down scaled to a 1080P timeline. Canon 16-35 F4 Set to F11 on both cameras. Shutter speed used to get correct exposure. White balance 5500K
We've been screaming about this for years, but Simon Cade at DSLRguide has put it into words more eloquently than we've heard in quite some time. Simon strikes down all the buzz words we industry geeks tend to throw around like dynamic range, aliasing and 4K, but emphasizes that the they all take second fiddle to storytelling.