Chapter: Compositing Tools and Techniques
Topic: Filters and Plug-ins
Very few of you Premiere 5.1 editors out there, I’d wager, have ever given Premiere’s Filter Factory a second thought. If you’ve ever selected it in the Filters window, you probably either figured it doesn’t do anything or dismissed it as being way too complex to waste your time on. Wrong on both counts. Premiere’s Filter Factory is very similar to the plugin of the same name found in Adobe Photoshop. That is, it allows you to enter in parameters for visual effects and then save these as a completely separate plugin, one that bears your name and copyright information. Basically, it provides the engine for creating your own keyframable Premiere filters, which you can then reuse and even redistribute to your colleagues.
Chapter: Image Acquisition
I have made Home Depot work lights into a great lighting package, and they aren’t flimsy moth catchers either. Indeed they aren’t as portable, but I will put them up against any halogen kit.
TAGS: work light, egg crate foam, aluminum foil, floor lights, stands
“Lots of folks use Adobe Illustrator to create art and titles which they then import into their editing application. Coincidentally, these are also the people who then complain about artifacts in the DV codec.” This article discusses the problems of using over-sharp Illustrator files for video. It does not apply if your editing or compositing application antialiases the imported image. John Jackman explains how to use Photoshop to antialias the Illustrator file to make it more video friendly.
TAGS: sharp, alias, anti-alias
Chapter: 24P Film or Video
Topic: EDL, Change Lists, Matchback
Matchback is the same process whether it is on a Media Composer or an XpressDV, or with an EDL and MediaMatch or Slingshot. Matchback has been in use for almost two decades, originally developed to allow a film to be cut on video. Early on, the cutlists were made by reading the KNs from the burn-in and using a lock box to have the video follow the syncbloc.