All tagged 2017-10

YCImaging: Music Video Effects Tutorial in Premiere Pro | Pt. 2

4 MORE of my favorite music video effects and how to do them! Works in MOST PROGRAMS, Adobe Premiere Pro CC+, Final Cut Pro X, Sony Vegas, etc. Easy and professional music video effects you can do in almost any editing software! —YCImaging

After a very popular music video effects tutorial, Chrystopher Rhodes a.k.a. YCImaging is back again with four more music video effects. These effects can be done in most editing software and do not require third party plugins.

Chrystopher calls the first effect at 0:28 the "clip zoom" which uses the Transform effect to snap zoom around the frame. Simply animate the Scale and Position settings of the Transform effect to zoom in on areas of interest in the frame. This effects works beautifully thanks to the Shutter Angle or motion blur in the Transform effect. Chrystopher turns this on at 0:59 before keyframing his zoom.

The second effect is the "flash build" at 3:17 and it works especially well as a transition. Chrystopher creates this by keyframing the Brightness in the Brightness & Contrast effect. He creates the build by finetuning the speed of the effect using the Velocity graph in the Effect Controls panel. Click the twirl down button to the left of any parameter to access the Velocity graph. Create builds or ramps to the end of the outgoing clip and the beginning of the incoming clip to create the transition.

Next is the "mirror" effect at 7:02, which of course uses the Mirror effect in Premiere Pro. This effect depends on your shot and personal taste. Adjust the Reflection Angle and Reflection Center until you find the right look. Chrystopher recommends transitioning the mirror effect in and out at 8:22, and he uses the Additive dissolve in this example.

Lastly, something that’s very common in music videos is “high-hat cuts”, also known as stutter or flicker cuts. Chrystopher shows how to create the standard version of high-hat cuts at 9:53. This is done by cutting up a clip and removing every other frame. At 11:17 he gets creative and adds some rotation, scale, Brightness & Contrast and Invert effects.

Adobe: How to use AdobeStock Video in Premiere Pro (Search, Download & License)

In this YouTube live replay, Jason Levine, Principle Worldwide Evangelist for Adobe Creative Cloud: Video/Audio, shows how search, download and license Adobe Stock all within Premiere Pro.

Jason opens his live stream with all the typical introductions followed by a couple examples of videos edited using Adobe Stock footage. He really begins at 6:26 with the Library panel, the doorway to Adobe Stock inside Premiere Pro. Here you can search the Adobe Stock library and preview clips in your default browser. The ability to playback Adobe Stock clips directly in the Library is *hopefully* coming soon.

You don't have to license Adobe Stock footage in order to download and play with it in Premiere Pro. Jason shows how to audition footage from the Adobe Stock site in Premiere Pro at 9:19. The first step is saving the preview to your Creative Cloud library. This adds the clip to your Library panel in Premiere Pro. From there you can add the clip to your project which will download a high-resolution, watermarked version of the clip. 

The heart of the Adobe Stock workflow in Premiere Pro, and what makes it unique, is it keeps all your intrinsic and stylistic clip effects completely intact. You never have to resize or re-keyframe anything! At 27:09 Jason demonstrates how to license Adobe Stock footage directly from the timeline in Premiere Pro. The licensed version of the clip will replace the preview in the background, and all your adjustments will be preserved. Amazing, right? Adobe Stock is just the best.

Become an Adobe Stock contributor. 

Adobe: The Making of REMEMORY

REMEMORY - starring Peter Dinklage & Juliette Binoche - premiered at the 2017 Sundance Film Festival. The film's writer and director, Mark Palansky shares the project's journey from story to screen, and how Adobe tools like Premiere Pro and After Effects came into play. —Adobe

At 1:36, Mark says REMEMORY was cut in Premiere Pro because it was the NLE his editor, Tyler Nelson, was most familiar with. Tyler is Kirk Baxter's long-time assistant editor and part of the David Fincher editorial gang that cut Gone Girl in Premiere Pro. It's exciting to see Premiere Pro's success with Gone Girl bearing fruit in other films in this manner.

Premiere Pro's integration with After Effects also benefitted REMEMORY, says Mark. Keeping with David Fincher's style, REMEMORY has "more effects shots than you'd think." Mark expounds on this starting at 1:50. He says Dynamic Link with After Effects was particular helpful for creating proofs of concept on the fly during editorial. This immediacy allowed Mark and Tyler to act on their creative inspirations in the moment instead of "pinning it for later" or handing it off to an assistant editor.