So the world is already sick of hearing Adele’s Hello. That is understandable, considering it has been played to death on pretty much every communication medium known to man.
Why then would I want to contribute to the agony of humanity? Because I stumbled on an amazing video montage that has recreated the song using nothing but lines from films… and that stuff takes time man! So it is worth the pain of the song to share some love and kudos where it is due.
Here’s to you Matthijs Vlot!
People, it’s time to share some free stuff! And by free stuff, I mean my opinion and a lifetime of collected information, as that is really all I have to offer.
I was chatting with one of my Australian friends in New Zealand, and he asked me what I thought might make for decent FREE editing software. I think that any self respecting screen junkie like you and I ought to be able to have an answer to that kind of a question.
If you think that a “good” answer to that question is either iMovie or Windows Movie Maker, you may need professional help.
As it stands, I don’t use the free stuff. I am media-professional that is a PC-based (*gasp*) Adobe CC user (*double gasp*). I know, I know. I just happen to like having a powerful machine for a fraction of the cost of an Apple equivalent, and I like the interconnectivity afforded by the suite of Adobe products. Nevertheless, there is some pretty powerful stuff that is available for free: and today I want to offer you the same two suggestions that I gave my friend.
This is my number one suggestion by far. To be honest, Resolve has a reasonably steep learning curve for the beginner: you won’t create a masterpiece by simply playing around with it for an afternoon. With that being said, a masterpiece is possible if you’re truly interested in learning how to harness all the power that Resolve can offer.
Despite being the Lite version, there are hardly any features missing compared to the Studio version. Sure it won’t do multi-camera editing or 3D, and you don’t have access to some minor features such as noise removal, but other than that, this is the same stuff the big boys use.
Lightworks has been used to create Hollywood movies such as The Wolf of Wall Street, so it has some credibility. Like Resolve, there is a free and a pro edition, with the main difference being the output formats and the resolution (you are limited to 720p with the free version).
The editing tools in Lightworks are powerful though, and even though both versions offer a limited range of special effects like transitions, TV programmes and Hollywood movies rarely use anything other than fade from/to black – so it shouldn’t be a problem. Aimed at professional video editors, it is a fascinating tool. It doesn’t do a lot, but what it does is pretty excellent.
And that is it. I know that I’m not giving you easiest to use options here – but that was never the intent. The point was to show you that there are two incredibly powerful editing tools at our fingertips – and they will cost us nothing more than the time it will take to learn them. So long as we are willing to pay that price, the potential outcomes are amazing.
Now, this is a rare occasion for me… blogging just for the sake of blogging. Still, I would feel like I need to go on the record with this. The reason I want to share about this today is because I just watched the new trailer for Captain America: Cival War. As was expected, it’s looking really great!
Fact is, I have been a long-time fan of superheroes: and two of the greatest – ala Superman and Batman – have always risen to the top for me. As such, there is always a little piece of my heart that wants the DC Universe to kick ass with its productions. Christopher Nolan taking the helm of the Dark Knight certainly took it leaps and bounds into the right direction. Still, that was pretty much a self-contained entity with no cross-over into the rest of the DC Universe.
Marvel has been the comic magnate that has captured both the television and film markets with consistent, higher quality productions. Their Cinematic Universe has intentionally set about exploring the wider hero roster (it really didn’t take them long to branch out beyond X-Men). Comparatively, the DC Cinematic Universe is only just cracking open its roster beyond Superman and Batman. Even then, the two-horse show is still being trumpeted around with the anticipated Batman v Superman: Dawn of Justice.
And so while I – along with millions of fans globally – lap up all that the MCCU has to offer us for now – I can’t wait for the DCCU to really kick things up several gears!
If you are an amateur videographer, you may never have heard of Jack Foley. In our digital age, we seldom have to consider making sound effects for ourselves. This has not always been the case, however. In a time before you could download unlimited audio files off of the Internet – sound effects for radio dramas, films, and television actually had to be created.
This shouldn’t surprise you, but props and sets don’t usually react the same way acoustically as their real life counterparts. Jack Foley understood this, and it was where his genius shone. In an effort to lend a more realistic sound-scape to a production, he developed a process whereby authentic sound effects could be created in real time alongside the footage. It also proved to be an excellent means of supplying the more nuanced sounds that microphones would miss anyway (the rustling of clothing, or the slight squeak of a saddle when a rider mounted his horse). Such was his aptitude, fellow workers say that the results of a Jack Foley session were as good as editing together twenty audio tracks.
Jack Foley has been dead for almost 50-years, but the technique he developed is still a popular option for professional productions. And in a lovely homage, those who employ his technique are still known as foley artists. Thus we finally make it to the crux of today’s post. While informative (hopefully), it is a chance to share an excellent short that takes us on a little journey with a fictional foley artist. I am sure that you will enjoy it.
Wow. That is the best place for me to begin talking about this piece. Just wow.
Commissioned by the film-making camera accessory giant Zacuto (and shot simultaneously with Revenge of the Great Camera Shootout 2012), this 20-minute Emmy-winning piece by director Steve Weiss – Light & Shadow delves into the creativity and passion of more than 30 of the most legendary cinematographers of our time.
If you are interested in film, television, online video, or pretty much any kind of visual storytelling – then you need to have this in your life. You really do. It is seriously inspiring.
Although I have an interest and passion for film and TV, there are some days where I just want to share something that is a bit funny. Today is one of those days, and I want to do a #FBF that merges my passion with some humour. Be warned though, there is a bit of swearing so it may be deemed NSFW.
Most people have heard of the Epic Rap Battles of History. If you are one of the few that haven’t, you are missing out on some funny stuff! Well in today’s flashback, the ERB team made a battle that pits directorial giants Spielberg and Hitchcock against one another. But it then took a surprising twist! Such fun.
Most of the material that I share has to do with the visual side of videography and cinematography, and that is mainly because it is where my own personal interest lies. With that being said – I read material and watch clips that branch out beyond those limitations quite frequently too, as there is so much interesting stuff to delve into when it comes to production.
So today I am going to take a bit of a diversion from my usual programming, and share a clip on music in film: specifically a PBS Newshour report that explores the Wizard of Oz classic Somewhere Over The Rainbow. Number one on the “Songs of the Century” list compiled by the Recording Industry Association of America – there is no doubt that it has an enduring legacy. But why? Well, the premise offered by composer Rob Kapilow is quite a clever analysis which I am sure you will enjoy.
“Words makes you think a thought. Music makes you feel a feeling. A song make you feel a thought.” – Yip Harburg (paraphrased).
One of the things that I enjoy about film and television is seeing how different directors and DP’s style their work. Even if we have never consciously considered the styling used – once it has been pointed out, we will generally have an “oh yeah!” moment. This phenomena is precisely why I enjoy the following clip by Spanish editor Jorge Luengo Ruiz.
Inspired by an interview with DP Michael Slovis of AMC’s Breaking Bad fame, Luengo Ruiz highlights a key stylistic shot used throughout the show by montaging them all together into a short 4-minute piece. Care to guess what it is before clicking play?
Alright, I don’t usually post these kinds of videos: but today I’m making an exception because it’s on point for me right now.
So, I have seen the Drake memes that have been hitting the net over the past little while – but I was never interested enough to find out where they originated from. Well, as I was channel surfing last night I finally found out: Channel 4 were playing the video for his song Hotline Bling (yeah I know, colour me slow… only 4-months behind the release!). My reaction? Zuh!? It has to be one of the worst music videos that I have seen in recent times. Honestly. I felt somewhat dumber having watched it.
So I was very happy to have some of my sanity restored this morning when I logged onto YouTube and saw that that the team at SNL had (rightfully!) done a parody of it. It might not bring you mental clarity – but it may bring you some joy on an otherwise thankless and uneventful Monday. Please enjoy responsibly.
Ever wondered what might happen if you attached a really old-school lens onto your mirrorless camera? I have. Fun fact, Mathieu Stern (Mathieustern Production) has wondered about this too.
Releasing the first part of his new web-series on Monday, Stern – a French web video producer and photographer based in Paris – is focusing solely on what kind of “weird” lenses can be mounted on a mirrorless digital camera. The premise is simple and elegant: what visuals can come of such mismatched pairings?
In this first clip, Stern tests a 1910 folding camera lens on a Sony A7II: going through several steps, an Eastman Kodak Kodex / Topaz Boyer Paris f6.3 120mm is finally let loose upon the digital landscape! If you’re familiar with the properties of old lenses, you probably won’t be too surprised by the look of the final footage. Nevertheless, I still find the finished result nostalgically pleasing.
Waiting 2B Scene 
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