library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_69 In this lesson, Kevin P McAuliffe shows you how to take a green screen shot with a lot of compression, and create a great looking key right from within your MC/Symphony timeline. Most editors choose to use the RGB keyer, but after seeing this tutorial, SpectraMatte will be your new “go to” effect for
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_68 Advanced Compositing TWO: Network Promo Effect. In this lesson, Kevin P McAuliffe shows you another great promo technique that you would see during primetime on one of the major networks. These Advanced Compositing tutorials are hugely important to take your work to the next level! Not only are they simple to do, but they
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_67 In this lesson, Kevin P McAuliffe shows you how to re-create the commercial bumper from The Bachelor, right from within the MC/Symphony timeline. Seeing how easy it is to recreate this look will have you scoping out other “looks” from shows, and finding unique ways to include them in your upcoming projects.
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_66 In this lesson, Kevin P McAuliffe shows you how to take an fire element with no matte, and not only create a matte from nothing, but also how to take that matte, and use it to reveal text for a lower third animation. When your client sees that this is something you can do
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_65 In this lesson, Kevin P McAuliffe shows you a technique that he uses in corporate video work, and that is how to not only slow your footage down, but create highlights that you can use to focus on certain areas of a shot. With a little forward thought, and the Marquee Title Tool, this
http://library.creativecow.net/mcauli… In this lesson, Kevin P McAuliffe expands on lesson one by showing you how to create variable speed motion effects inside your MC/Symphony timeline. Most people think that a technique like this requires either a third-party plug-in, or a compositing application, Kevin shows you how simple it is to create some very cool slo-mo’s.
This is the second part of the DS LUT tutorial. The proliferation of digital camera formats over the last decade has introduced entirely new color management concepts into a once straightforward editorial color pipeline. Although this tutorial by Igor Ridanovic of HDhead.com looks at Avid DS specific color management tools, it also lays down the
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_63 In this lesson, Kevin P McAuliffe shows you how to create some basic Motion Effects, i.e. – Slow Mo’s, and shows you a great technique that he uses all the time to create a dynamic “isolated” slo-mo effect.
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_62 In this lesson, Kevin P McAuliffe continues his look at basic color correction by talking about what to do in situations where the color of an image has been altered (incorrect White Balance, for example) from what would be considered “normal”. He gives you a basic overview of the color wheels and how simple
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_61 In this lesson, Kevin P McAuliffe shows you the basics of color correction by simply adjusting the Setup, Gamma and Gain values to take a shot that was totally washed out, and give it the punch to really make it stand out above all others. The best part about it, is the technique is
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_60 In this lesson, Kevin P McAuliffe addresses a common mistake that editors make when doing a simple fade out, shows you how simple it is to fix, and then goes over other “simple fade in/out editorial mistakes” that are easily correctable. This lesson is crucial, as these simple techniques will show your clients your
How and why, and when you should use the Avid Pan and Zoom Effect.
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_59 In this lesson, Kevin P McAuliffe shows you a fantastic technique on how to revert your 1080i footage back to 23.98 fps for compositing in After Effects (assuming it was originally shot 23.98), and then how to render it out of AE to back to 1080i. No transcoding of footage is necessary, just a
This previously missing gem with features editor Eddie Hamilton was recorded live on our stage at NAB 2012. Eddie shares his passion for the art of editing and gives a behind-the-monitor look at the techniques he used on the films X-Men: First Class and Kick-Ass.
Bob Russo explains how to use the Avid Artist Series Control Surfaces in Avid Media Composer and Symphony.
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