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.
It’s easy to get smooth, breathtaking footage with a brushless gimbal, but balancing them can be a bit tricky. In this video we show you how to set-up, balance and operate the Argo 3-axis gimbal from Came-TV. Leveling and balancing takes time, but with patience and a steady hand, you’ll be ready to capture smooth and, precise free-floating stabilized camera shots. #AD
Are your low angle shots shaky, uneven, lacking variety, and just not up to the quality standard you’re okay with? Whatever it may be, we’re going to show you some tips on how to get better low angle shots, with a Benro Hi Hat. Low camera angles are fun, can look very professional and don’t require a lot of expensive equipment. Getting good camera angles will add variety and that always makes editing easier and a good hi-hat like the Benro makes sure your shots are consistent. #AD
We define diegetic and non-diegetic elements and demonstrate how they can be used to convey complex cinematic ideas. Learn to better control the emotional and intellectual response of your audience by understanding the mechanisms behind it.
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.
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.