Working with stereo audio can be a difficult task. The amount of trust you place in your ears can leave your head spinning. Luckily Magnetic Stereo brings an easy to read visual component to stereo audio. In this quick tutorial, we show you how to visually see your unbalanced stereo channels and how to balance them with both manual and automatic controls.
If you ever edit video that was shot with a stereo mic (like the Rode iXY, Rode Stereo Videomic, Stereo Videomic X, the Zoom iQ6, or Zoom H4N field recorder), then you may run into a common problem: interviews that have unbalanced stereo channels. Magnetic Stereo, a plugin for Final Cut Pro X, fixes this problem by balancing your stereo automatically. Here’s a quick intro video that describes Magnetic Audio and its main features.
Dale Grahn explains how the iconic look of “Saving Private Ryan” came about in a strange manner.
We have an entire series of interviews with Dale based on his work in the film industry. To check out each of those, click here.
To see Dale in action, check out Dale Grahn Color for the iPad at dalegrahncolor.com.
Dale Grahn on color timing “The Ring” by not creating “looks” and focusing instead on what makes things creepy.
To learn more from Dale, check out our app Dale Grahn Color for the iPad at dalegrahncolor.com.
Dale Grahn tells the story of color timing Toy Story for Pixar.
To learn more about our Dale Grahn Color iPad app take a look at dalegrahncolor.com.
“All you need is six buttons,” he said. “We can revolutionize the industry.”
It was a bit hard to believe. Color grading was a highly technical, semi-mysterious science. Power windows, HSL keys, tracking masks, eyedroppers, scopes, giant control surfaces in dark suites – our understanding was that you needed power tools to even play the game. A lot more than six buttons.
Nevertheless, it was difficult to discount what Dale was saying. Dale Grahn was a color timer – the film world antecedent to the digital colorist. And he wasn’t just any color timer – he had crafted the look of Saving Private Ryan, Gladiator, Munich, and hundreds of other films. When Apocalypse Now needed to be re-timed for Apocalypse Now Redux, they went to Dale Grahn. When Steven Spielberg needed a color timer, he went to Dale Grahn.
Dale doesn’t immediately slice up the image and start tweaking it. As a color timer, you don’t have those tools. You have to look at the image as a whole, and work with it on its own terms. It’s an absolutely, fundamentally different way to look at an image. Sometimes, that’s a lot more limiting than working with digital tools. Power windows are handy.
Often, the best way to approach these questions is to get back to basics. With, for instance, just six buttons.
“The goal is to learn how to think color,” Dale had said when we first met. It makes sense to us now.
This is just our first collaboration with Dale – we also have some some very exciting tools for film and video editors in the works. For now, we hope you enjoy Dale Grahn Color for iPad. With the app launched, we finally have time to site down with a hot chocolate and try to figure out why, in that one lesson, Dale added those two points of cyan…
To learn more check out http://www.dalegrahncolor.com
Vimeo Video School has been regularly releasing quick little tutorials on some complicated DSLR subjects. Their most recent definitely fits right in that category, crop factor. Crop Factor is how different lens and sensors (full frame and APS-C) can effect your frame. It’s slightly difficult to put into words but the video above definitely gives some pretty concrete examples of it’s effect.
To check out a more in depth look into crop factor take a look at Vimeo Video School’s latest post.
I’ve been helping out my siblings with a video for my family. A segment of the video is a simple slide show with a voice over. They were looking for a Ken Burns look for a few photos. Fortunate for them, FCP X has a nice Ken Burns effect that’s pretty easy to use.
Thanks to GeniusDV for the the post
Say you’re working on a project and you’re not exactly sold on some of your b-roll. You have a bunch of shots that could work, but don’t really have the time to insert each of them and recut. FCP X offers a quick solution in the audition tool. Simply drag your footage down over your original clip and FCP X will add them to your addition. Click the little spot light on you footage and you’ll be able to test out each of the clips. It’s a pretty handy tool.
Thanks to Premium Beat for posting the video. They’ve been releasing fantastic tutorials over the past few weeks.