https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2020-10-21 01:30:002020-10-21 01:30:00Tip #1107: Boris FX Tutorials
Earlier this year, Paul Saccone and Dion Scoppettolo co-authored the “Beginner’s Guide to DaVinci Resolve.” This PDF is geared for people who prefer to learn by reading, rather than watching.
Published just a few months ago, this covers all the key features of the software, including audio and effects, that you need to know to use Resolve effectively.
Paul was the Senior Director of Marketing at BMD until he left a couple of months ago to join Frame.io. Dion is a Senior Product Marketing consultant and still working with Blackmagic. Prior to Blackmagic, both Paul and Dion were part of Apple’s Final Cut Pro team.
For most projects, choose ProRes; though use H.264 where file size is critical.
Premiere continues to improve its proxy workflow, most recently by adopting the ProRes family of codecs across all apps, both Windows and Mac. When it comes to creating proxies, we can now choose between four different codecs:
If you want the smallest possible proxy file size, H.264 is the choice. However, this is not an efficient format to edit, especially on older computers.
My personal preference is ProRes, though CineForm is an excellent alternative.
The DNx options are specifically for 360° VR video, either monoscopic or stereo.
NOTE: Resolution refers to the frame size of the proxy file: full resolution, half resolution or quarter resolution. For most projects and rough cuts, half resolution is the best balance between file size and image quality.
UHD Proxies, in case you were wondering, use ProRes Proxy at 1/4 resolution, which makes the files efficient to edit, but small in size at 960×540.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2020-10-20 01:30:002020-10-16 19:13:52Tip #1096: Select the Right Proxy Format
If you’ve been hustling away on YouTube for a while now, chances are you’re already well up to speed on all the major tips for growing your subscriber base. (Publishing videos on the regular, cross-promoting on social media, making primo content, etcetera, etcetera).
But what if you’ve tried all of those things and you’re still flailing around in sub-1000 subscriber territory? And now you’re asking yourself “how do I get YouTube subscribers and push the needle forward?”
Here are the seven steps they recommend:
Enable YouTube’s Automated Pop-Up Subscription Link
Collaborate With Other YouTubers
Use Playlists To Retain Viewers
Make Your Thumbnails Simply Irresistible
Self-Promote in Facebook Groups, Subreddits, and Amazon Reviews
Fill Your Titles With Super Relevant Keyword Phrases
Make Video Intros a Standard Practice
Visit the article, linked at the top, for more details.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2020-10-16 01:30:002020-10-16 01:30:00Tip #1079: How to Get More YouTube Subscribers
These five videos illustrate different ways to handle blocking a scene.
This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is a summary.
When watching amazing cinema, there are many aspects you’ll notice right away and often remember forever — great lines of dialogue, breathtaking action sequences, and beautiful cinematography. However, one film element that often gets ignored, but is still crucially important, is blocking.
Before we go into learning from the masters, let’s go over some of the basics of scene blocking. Scene blocking covers everything that has to do with placement and movement between characters, props, and camera(s) for every shot and scene. Unless you’re shooting a documentary or a certain type of improvised action, most film scenes are tightly controlled, blocked, and rehearsed so that every movement and action is accounted for.
Finally, the most important part of any scene blocking is the camera. In many ways, the camera — which represents your audience and POV — is the primary character in your scene. Consider your camera placement, its framing, and any (or all) movements that you might employ, from simple pans to complex tracking shots, when working on your scene blocking.
In this article, Jourdan provides videos illustrating:
How to block a scene
How Hitchcock blocks a scene in “Vertigo”
How Scorsese blocked a scene in “The Wolf of Wall Street”
How Akira Kurosawa using blocking
How Kubrick, Spielberg and Inarritu blocked scenes
When you’re finally shooting your scenes with your carefully defined blocking in action, it’s helpful to treat each shot and scene as its own mini-movie. You have your actors ready to go in their starting positions, you have your lights set and queued up for any adjustments, and your camera is rehearsed and ready to move. Once you call action, you’re really just recreating the stage play that you’ve blocked and mapped out — now it’s your job to shoot it to the best of your ability.
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