We all have an idea of how a non-linear editor works. You drag the files into the timeline, and move them around to create the interesting video you are intending to produce. But, if you're like me, setting up the project and to make sure no files go missing or aren't imported correctly can be a problem, especially if no one ever showed you how to do this. So I've put together a short way I do it, and then I've included a video to show how you can do it for a short film and how to sync audio. It's a video production starting kit.
J-Cuts can be described as having the sound enter the scene before the scene appears visually, or it can be used to play out a scene where the audio is used after the shot has ended. They're used in TV and movies, and they're a professional element that sets you and your style apart from those who just cut scenes together. This enables you to get a nice flow in your video, and it all blends and layers to make it more interesting and give your work more power.
As a photographer getting into video work, audio has quickly become the area where I had to learn the most. Anything camera related is very similar to photography, editing is not too complicated once you learn the software, but then there is the sound. Something we do not have when shooting still frames. One of the issues is how to make a track last the length of our video without having to spend too much time cutting it manually? Here’s the answer using Adobe Audition.
In this video by Andrew Saladino of the Royal Ocean Film Society, the importance of compelling sounds for storytelling is closely examined. With movie scene breakdowns from “THX 1138,” “Apocalypse Now,” “12 Years a Slave,” and many others, we are shown real examples of how the best in the business design their scenes to evoke precise emotions in the audience.
I've been focussing on my video transitions lately. I've noticed the big guys like Peter Mckinnon and Casey Neistat use transitions to create interest and make the videos a pleasure to watch. Now I already shoot for the edit, but I've never really focused on what else I can do to give my videos more punch, until this video. Zach Ramelan shows how you can use audio swells to achieve it. TV Shows have been using it for years, and you don't really notice it until you're told what it is.
DaVinci Resolve 14 looks very promising and more videos about it are popping up on YouTube every day. One feature that was left out in many demonstrations until now is the integration of FairLight for audio editing. With the new version of Resolve, it’s possible to edit sound within the software. No need for an additional costly plugin, or any round-trip of a sort. Let’s see how with Casey Faris.
A few weeks ago I shared some insight on using shotgun microphones for documentary style interview productions. This week, I’ve got a companion video that explores techniques for using lavalier mics, the standard go-to mic for most interview scenarios.
One of my goals for this year is to start working on videos again. A few of the projects I have in mind require a microphone to help capture better audio, since we know the built-in mics are not really that great. Jay P. Morgan's latest video from The Slanted Lens hits the web and couldn’t come at a better time for me.
I've always had this issue with regards to the sound design of video and how to actually get something that is usable for the video you are working on. It's either getting audio from a stock library, having a friend compose something, or making it yourself. And the latter is really very time-consuming, and I'd rather focus on the stuff I enjoy and am good at, like shooting photos or video. Once I watched the latest video by Film Riot, it seems like the problem of finding audio might be over.
Yesterday was a really muggy day here in New Jersey and my partner and I both had off. We came downstairs to the office and worked on a few things when I realized we should be going out in this crappy weather and making something of it. We thought of a few ideas together and one stuck with us over the others, that was to shoot a car video using our Sony a7s ii and DJI Ronin M.
Adobe Sneaks is the software company's behind-the-scenes sneak peek into ongoing projects that could eventually — if we're lucky — find their way into one or more products. This year at MAX, Adobe previewed a number of tools that should excite virtual-reality editors, desktop designers, and audio editors working on long-form speech formats.
It's not your average audio editor. Adobe is working on a piece of audio manipulation software that has a peculiar artificial intelligence built in. It's so smart that it allows you to fix verbal mistakes in a way never seen before. This functionality can be so helpful and, at the same time, massively abused.
Audi took advantage of Monday night's presidential debates with its "Duel" ad spot. Nearly the entire clip plays in reverse, allowing the chronology of the true story and how the action unfolded to the point at which you began to unravel itself in an action-packed scene. The rewound clip -- fit for a 007 film -- features quite the production, complete with excellent, blockbuster-born sound effects to sell every punch and shattering glass shard. But it doesn't take much studying to see this was hardly as easy as rewinding an otherwise-normal action sequence: it took great audio to create this spectacle.
In the wide world of video, one of the most important aspects of production is the sound quality. Sound sells the realism behind your favorite movies and TV shows. In fact, a lot of what you hear when you watch the latest blockbuster or HBO hit series isn't "real." It's created by Foley artists in a studio and mixed in later. This gives the editors maximum control over each individual sound, from footsteps, to gunshots, to engines. Of all the sounds, however, there is one in every feature film that just can't be faked: dialog.