Joseph W. bourke
Forum Replies Created
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This is an interesting discussion. These capabilities have been a reality since Windows Vista on the PC. I’ve done a couple of courses at our local library for people who have limited mobility as far as their hands and arms go.
I tested this “theory” out on both After Effects and Premiere, and, given the full featured capability of the voice commands, it works pretty well. There’s a feature called Mousegrid, which allows you to use the mouse just the way you would with your hands, by drilling down on a sector grid which appears on the screen when you say “mousegrid”. It can be as simple as saying “Mousegrid, 1, 10, 5, double-click”, and you’re running your software from the desktop, or say “Premiere Pro, Run”, and it’s there.
While I wouldn’t switch to editing with it, I can see some very real, and very helpful capabilities to the editing public. I know several editors who’ve ended up with carpal tunnel; this would allow them to continue with their work, albeit a bit slower, in some cases.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I’m not sure you even need this effect (unless it’s purely a creative decision), since the filmic language is so embedded in our psyche that a dissolve with a slight blur in and camera movement would sell the sequence (combined of course, with an establishing shot and maybe a reaction shot).
There’s a nice short discussion of POV here:
https://en.wikipedia.org/wiki/Point_of_view_shot
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Christopher is correct, but your workflow might vary somewhat depending on whether you are planning on motion graphics (for example, moving background in a lower third, that sort of thing), in which case After Effects is definitely the place to start with graphics.
You can bring your music track into AE and use it as a scratch track for timing, so that shouldn’t be a problem. If you got your Premiere project locked, then you could even send over your mixed VO and music to make sure your timing works. I am more fluent in Photoshop than I am in Illustrator, so I always use PS to create and lower thirds, bullet text, etc. that I’m working on. I find that as long as my resolution in PS is kept high, that it’s a quicker workflow for me. The plus is I can import layered files that I plan to animate right into AE, importing them as a comp, which preserves the layers. My general workflow is Photoshop/After Effects/Premiere.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Angelo –
The digital version of my article is now on the website:
https://magazine.creativecow.net/article/managing-broadcast-assets-with-adobe-bridge
I hope this helps out.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I would take this to mean that they want an adjustment layer which has the Broadcast Colors filter applied to it. It has presets for both NTSC and PAL as I remember, so you should be good to go. You’ll find it in the Effects/Color Correction pulldown.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Yeah, the big boys in lighting, such as High Output, carry both sheet gels and tubular gels which either go over the face of the fluorescent fixture, or sleeve each bulb individually.
When they do a shoot, these are all billed as expendables, so in some cases they just leave them in place when they’re done, especially if the shoot goes late.
Here’s a link to a tube gel supplier to give you an idea of what you’re in for. Sometimes the sheet gels are faster to set up, depending on the number of fixtures:
https://www.internetapollo.com/Products/Group/Gel+Tubes.aspx
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
David –
One thing to bear in mind is that currently html5 (as of May 2011) is only on 40 percent of the market is penetrated by html5 compatible browsers.
Flash still has 99 percent of the browser capability (minus, of course the Apple devices which don’t allow Flash).
Here’s a good article on just this issue:
So it’s not quite so simple as looking at how it will be displayed – that can indeed be done for any platform (with multiple codecs). The key is to decide which platforms are most likely to be used by your (or your client’s) target audience.
I currently create video productions for a client whose main target is other industries (a business-to-business marketing approach), and I encode and deliver in Flash, Quicktime, and H.264, for the web and portable devices (iTouch phone, iPad, Blackberry, etc.). This covers everyone my client is currently looking to reach. They want businesses coming to their website from a Mac or PC to be able to play back their videos, and for their sales team and managers to carry these productions with them on their phones and portable tablets.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Is there anywhere nearby you can rent HMIs cheaply? That would pretty much give you a daylight match.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Since this is a talking head, the star of your video will be the audio, so you want to make sure that you’ve nailed your audio setup (which you may well have all planned out), as far as riding gain – do you have an audio person as part of your setup – and are there any problems in the room as far as ambient goes. Is the room “ringy”, are you using a lav mic, or a boom? Stuff like that.
As far as video goes, be very aware that there’s going to be a trade-off with the color temperature of the window, not to mention the brightness, versus the color temperature of your lights. Generally it’s a matter of matching one to the other – either gel the whole window with a warming gel (if you’re using tungsten lights), or gel your lights to match the window (in which case you lose a fair amount of brightness in your lights). If you’re using CFLs with a 5500k color temperature, you might be able to get away with matching it to the window background, but test it during your setup – you don’t want to have to mask and grade the footage in post.
Also take a look at what the stop range of your camera/lens combination is, so you don’t have your background blow out. I’ve sometimes had to put neutral density gel over several panels of windows because the brightness far outweighs anything I could get from my lights. One other thing to thik about is time of day. The color temperature is going to be changing, especially if your shoot involves multiple takes.There are lots of things to think of here, but it mostly boils down to getting the skintones looking right, then making sure the talent stands out from the background, and that it’s not distracting. You also want to decide on whether you need a three light setup, and whether there’s room for the rim lights, as well as where they can be placed to not show in your shots. Then making sure the background isn’t too bright for your lights. Then matching the color temperature of your outside to your inside, no matter how you do it. You will most likely want to get at least a slight falloff of the background in terms of focus, not an extreme one, since then the background won’t be recognizable.
You should also think about camera movement during the interview. If you’ve got two minutes to cover, you may want to think about some pickup shots with over the shoulder reactions (if you want yourself in there as the interviewer – that depends on the style, and the client’s preference). If the context of the interview is the company, or its’ products, you may want to cut in some b-roll footage, because two minutes can be deadly boring, unless the speaker is really, really interesting, or a known celebrity in his/her industry. If this is pretty tightly outlined, you can plan in advance for where your cutaways will occur, and then add some camera movements (zooms in from maybe a waist shot to a head and shoulders shot, etc.), but don’t get yourself trapped by zooming in, and then having nothing to cut to, so you can get back to your medium shot. It’s all a matter of planning – and being ready for the unexpected. Good luck!
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Angelo –
The way I do it is to keep all of my elements/ideas/unused music tracks, etc., in a master folder called Art Elements. When I use an element which I won’t use for any other client, I move it into that client’s folder. If it’s a reusable element, I just access it where it lives, then when I do Collect Files in AE, or Manage Project in PPro, that file gets “collected” into the appropriate folder.
If you get the Creative Cow Magazine, I just did an article fot the July/August issue on digital asset management with Adobe Bridge. I use Bridge to keep track of everything, with a combination of keywords, labels, and appropriately named folders.
I have received the print issue in the mail, and I would imagine that the digital version (pdf) of the issue will be published soon on the Cow website (see the Magazine tab on the masthead.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com