There’s one element that makes it obvious you’re watching an amateur movie: the audio. Although nearly all camcorders or video recording devices capture sound as well as images, the quality is often very poor. Even HD camcorders that produce vibrant, high-quality clips are often let down by the low quality of the on-board mic.
The dolly zoom effect is very recognizable: the subject in the foreground stays motionless, but the background appears to change and zoom out so you can see more of it. To create this effect, you need to move the camera back as you zoom into your subject. The speed of the tracking back and zooming in must be the same for the subject’s size to remain the same. The effect works very well, but is very difficult to replicate with a consumer camera since the zoom controls on such devices are far from precise.
Being able to fly, walk on an alien world, or survive a disastrous accident is par for the course in most blockbuster Hollywood movies. But obviously none of it is real-- it’s all done with smoke and mirrors, or more precisely, chroma keying. The idea behind the process is that it’s easy to cut out a single color, rendering it transparent and allowing you to put something else in its place. Green or blue is used because both colors are the farthest away from all human skin tones. One of iMovie’s Advanced Tools lets you automatically remove a green or blue background from a clip. But how do you get such a background in the first place?
The reason iMovie caused furor back in 2007 (which in computing times is considered ancient history), was because it dared to challenge the basic concept of editing video. Prior to this metamorphosis, every video editing application looked pretty much the same: a section, usually at the bottom, showing all your chosen clips added together in a sequence, the first one appearing on the left, and all the others added to its right.
Like any other video editing program, iMovie is focused primarily on the visuals: you can see your clips broken down into a series of thumbnails, apply visual effects to them, alter saturation, brightness, contrast, and so on. But what would your favorite movie be without the musical score? Music is what makes your audience engage with the scene emotionally and without it, your movie can lead to a very bland experience.
Ready to kick off your week with some photo and/or video editing? Adobe is ready to help, with the company’s new Adobe Photoshop Elements 10 and Adobe Premiere Elements 10 now available in the Mac App Store for only $79.99 each in what the company calls a “special edition” version.
Creative types are always on the prowl for ways to enhance their work, regardless of whether it’s for print, online media or even video and film projects. Traditional camera filter maker Tiffen is happy to help extend those creative possibilities with a huge new update to their popular Dfx software.
Three months ago, Apple debuted their new vision for Final Cut Pro X, a radical departure from the legacy application that has dominated the professional market for some time. Now, on the heels of Adobe luring away customers to its own Premiere Pro solution, Cupertino fires back with the first update, adding back two critical features lost in the transition.
Not content with stealing Apple’s thunder as pro users shun Final Cut Pro X in favor of Premiere Pro CS5.5, Adobe has introduced an updated consumer-oriented version of their editing suite that threatens to encroach on iMovie’s turf. Now that Adobe Premiere Elements 10 is ready for its closeup, here’s a quick peek at what you can expect.
The controversy over Apple’s radical new Final Cut Pro X may have died down since its release at the beginning of summer, but that could have more to do with Adobe’s successful campaign to get disgruntled editors to switch to Premiere Pro and Production Premium CS5.5, which has seen a remarkable 22 percent year-over-year growth and a whopping 45 percent growth on the Mac platform.