It’s not the budget, it’s where you put the camera!

Equipment doesn’t make the image; people do. I proved this on a music video recently where we had more people than equipment.

In LA? Hire this editor!

I’m decompressing from “Maelstrom” and catching up on email that accumulated during the shoot, and I notice that Los Angeles-based editor Sharon Franklin is looking for gigs. She says,

Ideally, I’d love to get on a feature film or television series. I’m especially interested in working on projects for Discovery or The History Channel. I am a member of the Editors Guild, so I’m qualified to work union jobs. In fact, that would be my preference.

She’s one of the most “natural” editors I know. She has a sense of style and rhythm, but she doesn’t force them on the material: the story always comes first. I’ve seen some of the source material she’s had to work with, and she can pull coverage and continuity out of thin air. You could do a lot worse than have her cut your show. Contact Sharon Franklin at (310) 927-6220, or editrixstar at yahoo dot com

(We now return you to your regularly scheduled program, already in progress… “Maelstrom” notes will follow in the next three days, before I head off to CineGear Expo...)

Distressing Text Edges - Photoshop for Video

Instructor Richard Harrington shows you how to use a patterned image to degrade the edges of your text for a unique text effect in Photoshop. 

Compression Artifacts & Pulldown

This started as a quick post about how to gain finer control over the compression settings in the QuickTime dialog. But before we can get there, we first need to talk talk about how 3:2 pulldown works. (Trust me; it all ties together; it was also a good little mystery.)

I recently gave a training session at a local studio, and at the end they were invited to trot out their Barney Stumpers (questions about why something went wrong, how something works, etc.). For one stumper, a user had some footage with 3:2 pulldown, and after pulldown was removed, he noticed that an after-image of the previous frame appeared in the next frame after an edit. Why?

Motion Quick Tip: Importing Illustrator and Photoshop Files

When working with Motion, you’ll often import content that was created elsewhere. For example, Illustrator and Photoshop are two powerful applications for creating and manipulating images. They both work very well with Motion, but to get the best results, you need to know about setting in Motion that isn’t necessarily obvious or easy to find.

Photoshop Disasters

One of my favorite sites that I like to check out on a regular basis is Photoshop Disasters. The site is a freakshow gallery of Photoshop gone wrong.  The site is driven by user submission and acts as both entertainment and education.  There mission:

“Have you seen a truly awful piece of Photoshop work? Clumsy manipulation, senseless comping, lazy cloning and thoughtless retouching are our bread and butter. And yes, deep down, we love Photoshop.”

Be sure to check the site out, it’ll make you look at things a little differently.

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