I was asked if it was possible to get the Glow Effect without Boris Continuum Complete. Had I been a smart-ass, I would have replied: “Sure, buy Sapphire!”
But I’m trying not to be, so I came up with something that looks kinda similar, and I called it Film Flash, because “Glow Part 2″ seemed lame.
In this tutorial, I’ll use a Blur and the Color Effect to create that Film Flash.
In this episode, we’ll transition into a title by starting with a blur and then slowly letting it focus.
To do this we’ll have to look into how titles actually work, redoing it as a simple Matte Key and then manipulating Key and Fill to achieve out goal. You see, it’s fun for the whole family!
And if you were hoping for Media Composer 5 content: As soon as I get my hands on the new version, there’ll be some. Might take a bit, though, sorry.
This week’s episode features a request from Youtube user Instantslugger, who wanted to know how to do a curtain transition within Media Composer.
Turns out it’s not that hard. We’ll do it using Avid’s Paint effect and a Matte Key, plus I’ll show you how to make the transition reusable and real-time.
Everybody knows the Timewarp only applies to video. But what if you want to change the speed of your audio as well?
In this episode, we’ll do just that with the help of a couple of different AudioSuite plugins that come with Media Composer.
In this episode, we’ll create a nice Glow transition using a Boris Continuum Complete Effect that ships with Media Composer.
Avid’s Bob Russo highlights some of the new features in Media Composer 5, including native RED and QuickTime support, the interface’s new ProTools-like “Smart Tool” and new real-time normalizing plug-ins. He shows you how to link directly to RED, ProRes QuickTimes and Canon D7 QuickTime files without transcoding or rewrapping.
In the final installment of the Color Correction series, we’ll highlight parts of a shot by using a vignette.
Then, I’ll go through some Color Correction options that I hadn’t mentioned in previous episodes.
In this episode, we’ll continue matching one shot to another. We’ll do it manually, and we’ll use Avid’s curves.
One of the most common tasks when doing color correction is matching two shots. So this week and next, we’ll do exactly that.
As always, I like working with the curves in Avid, but you should be able to use the skills learned in this tutorial when using the Color Wheels as well.
Sorry for splitting this tutorial into two episodes, but I try to keep the length of the podcast around ten minutes — this one would have been too long.