Learn how to make a video the fun and easy way. Our video tutorials explain video production techniques, lighting and audio for video, how to create special effects using editing software and much more. It's one of the easiest ways to learn about video production as well as pick up on new video tips.
When you have a too-loose drag on your tripod head, or are working with a rickety, old or cheap tripod, a little support can give you a smoother pan. Enter the rubber band trick — easy and effective. Sometimes, it's the simple things that make us think, "Oh, nice!"
Premiere Pro CS6 is packed with some great new features, we talk about two of our favorites; dynamic timeline editing and adjustment layers. Both these features will make your post-production workflow go faster.
Video producers driven to DSLR use because of their interchangeable lenses and amazing images, but those who miss the traditional camcorder look, feel and functionality will be delighted with the NEX-VG900. We take a hands-on look at Sony's newest professional level Handicam.
One of the most exciting features of the Sony FS700 is the ability to capture super slow motion. We shot some of the fastest subjects we had available, including a hummingbird beating its wings, at up to 960 frames per second.
intensiKey allows you to bring your greenscreen footage into pre-made 3D virtual sets. It bills itself as powerful, yet easy to use. With it's robust keyer, well designed virtual sets, simple interface and clear purpose, it really does deliver on that promise.
The Hewlett-Packard Z1 all in one workstation houses components that can be easily removed. What isn't shown is how bright and fine images and video look on screen, and the ability to add a second monitor is simply powerful.
How to fix on-set goofs, change virtual sets, or make your action heroes fly through the air amidst gunfire, snowflakes, or magic dust.
Rotoscoping is one of my favorite things in Visual FX. I know that sounds crazy, but the results of rotoscoping can be so rewarding. Doing the actual work can be tedious, but, when it's all said and done, you can sit back and be proud of your accomplishments.
The technique of shooting outdoor night scenes in broad daylight has been around since the early days of film. It is commonly called Day for Night (DFN), and you can spot it in films like It's a Wonderful Life, Planet of the Apes and Jaws; documentaries like The Creation of the Universe; and, of course, the French film, Day for Night. At times, the effect is obvious; at others, it is not.
How often do we still hear the term, filming, when everyone really means videotaping? While we easily forgive friends or even clients as they repeat this misnomer, there is a certain underlying expectation that is hard to quantify. Projects shot with film simply look better. In most cases, the look that only film offers is synonymous with quality, large-budget productions.
The goal of this tutorial is to demonstrate some basic tools in developing a DVD motion menu from scratch. In our example, the motion menu will play back for 30 seconds, and the specifications will be NTSC format, using a 4:3 aspect ratio. For this tutorial, we will be creating a typical "main menu" from a feature-length movie project. The menu itself will display a 30-second clip from our movie, as well as three buttons for navigation. The three buttons will be Play Program, Scene Selection and Bonus Features.
I like to use Visual FX to enhance the story I am trying to tell. If they have a purpose, make the shot look better and help tell a story, why not use them, right? The problem is that many people don't know where to start. A few years ago, I was one of those people. However, by learning some Visual FX, I am now gearing up for my next film - a story I've been wanting to tell, but previously could not because I did not have the budget or knowledge of Visual FX. By learning a few Visual FX, I can now tell this story while keeping my budget extremely low.
In the annals of cinema history, Thomas Edison is considered the father of the first motion picture cameras and his assistant Edwin S. Porter made the first narrative movies with one shot cutting to the next. The idea of match cutting on motion has been around since D.W. Griffith started to advance the editorial arts that began with Porter. Transitions, especially in the form of cross dissolves entered the moviemaking tool kit within a few years.