Feb 09 2011

FCE = 40D = Buy Final Cut Express

Category: Multimedia & Video, Technology InsightsEthan G. Salwen @ 9:12 am

If you work on a Mac and don’t have Apple’s Final Cut Pro (FCP) ($1,000) or Adobe Premiere ($800), please buy Apple’s Final Cut Express ($200) — as soon as you can.

Note: If you have any of these programs, or have a professional-level editing application installed on your PC — like Premiere — please stop reading.)

Note: If you are currently loving (or hating) Apple’s iMovie, definitely keep reading

Final Cut Express is 2.3 million times more powerful than iMovie, and working in it will teach you Final Cut Pro. Just buy it!

Final Cut Express is 2.3 million times more powerful than iMovie, and it will teach you Final Cut Pro. Just buy it!

On Photographers and Video Editing

In 2011, if  you are a serious photographer you are getting involved in creating motion content, whether you want to or not. I’m presuming you want to, and so sooner-than-later you will likely end up working with a high-end video editing program, like Final Cut Pro or Adobe Premier. Or as a director or producer, you be overseeing people working in such programs, so you’ll want to have an understanding of them.

Career issues aside, you will want to at least have the editing skills of your clients, such as Mac users using iMovie like gangbusters to produce home movies of all manner.

The Limitations of iMovie

When researching “Adventures in Motion,” a number of photographers tole me:

• The tools don’t matter — it’s about the story.

• Start out simple — use a program like iMovie, at first.

This is totally true, and I made a ton of little movie projects in iMovie, like “Milonga de Sal y Pimenta.” I had a blast, I learned a lot, but then I got totally stuck.

I won’t bore you with the technical limitations of iMovie, but trust me, they are very real, very frustrating. iMovie is geared to be so lighthearted that you just can’t force it to be serious. In iMovie I couldn’t even make a this simple movie or even this quick experiment.

For serious photographers, one of the biggest downfalls of iMovie is that it keeps you from progressing into the more complex aspects of editing that — actually — are very basic.

“FCE = 40D” Explained

The working title for this post was “Final Cut Express Rocks!” but I decided to go more cryptic, with “FCE = 40D,” which is shorthand for this non-techie analogy of why you should buy FCE:

Final Cut Express is exactly like the the Canon 40D, if you are currently working with a Canon ELPH point-and-shoot.

Think of it this way: You are making great images with your easy-to-use ELPH (iMovie), but you want to get more serious about your photography. So you realize it’s time to buy the Canon 5D Mark II (Final Cut Pro). However, even if you do have the extra $800 bucks for the 5D, the fact of the matter is that it’s overkill. What you need is is a used Canon 40D! (Final Cut Express)

Besides the fact that the 5D is video-enabled (which will actually distract you from learning SLR basics), from the point of view of still photography fundamentals, the 40D and the 5D are the same camera. They really are. There are tons of things you can do with the 40D that you can’t do with the ELPH, but there is nothing in still photography you can do with the 5D that you can’t do with the 40D.

So it is with Final Cut Express. If you working in iMovie, upgrade to FCE as soon as you can. From your point of view, it will just like working in Final Cut Pro — overwhelming and exciting.

My (Stupid) FCE Quandary

After I got held back by iMovie, I began a long, nueratic process of trying to compare FCP and FCE, not wanting Continue reading “FCE = 40D = Buy Final Cut Express”

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Jan 05 2011

Transition Ideas & Themes With Image Sequences, and 9 Other Critical Multimedia Editing Strategies

Category: Multimedia & VideoEthan G. Salwen @ 6:20 am

AfterCapture Blog_110105_MediaStorm’s Ten Ways To Improve Your Multimedia Production Right NowI made a mistake in my post last Wednesday, but that’s OK. Correcting the mistake has turned into a windfall of the learning. The mistake (now corrected) was that I told you (incorrectly) that the 10 tips from Eric Maierson/MediaStorm came from “MediaStorm’s Ten Ways To Improve Your Multimedia Production Right Now,” when in fact they came from “MediaStorm’s 10 More Ways to Improve Your Multimedia Right Now.” The “More” is critical, and I was silly to miss it, especially since it made me overlook Maierson’s first 10 tips, which are as concisely invaluable as his second ten. I highly suggest you read them.

Maierson’s Editing & Educational Prowess

I’m eager to send major kudos to Maierson, both for his editing genius and for helping us lesser multimedia editors in understanding how he approaches the process.

Beyond the two posts mentioned, Maierson was nice enough to respond to my last post, greatly helping me advance my understanding of what it means to “edit rhythmically.” Very nice of him, indeed.

One great quality of Maierson as an educator is that he links his tips to samples in projects hosted on MediaStrom, so we gain the chance to understand what he is saying in action. This is no small matter. As he wrote when telling me about editing rhythmically, “It sounds a bit oblique written out like this. . . ” Indeed. Samples are required for advancing learning.

Learning To Transition Ideas & Themes Watching “Black Market” by Patrick Brown

Of Maierson’s first 10 multimedia editing suggestions, the one that most caught me attention was #5: “Use image sequences to transitions between ideas or themes.”

“What?” I thought. Maierson explained:

Think of image sequences as paragraph breaks between two big ideas. Sometimes these sequences need only be two photographs long, or on occasion even one will suffice. See the poaching sequence in Black Market for an example.

I loved the idea, but it wouldn’t have meant much if I hadn’t carefully watched “Black Market” by photojournalist Patrick Brown. “Black Market” is powerful, sad and important — classic in-depth photojournalism brought to much fuller affect (and to a much wider audience) thanks to the use of beautifully executed multimedia (produced by Brian Storm and Eric Maierson). And the numerous, well-crafted transitions between ideas are critical to the success of the 10-minute piece.

Watching To Learn, Without Completely Understanding

As I watched “Black Market” I was following Maierson’s advice, carefully on the lookout for the poaching sequence that would help me understand how to use image sequences like “paragraph breaks between two big ideas.” However I admit that I wasn’t sure exactly where to look, even though he had mentioned the “poaching sequence.”

Many times before the poaching sequence arrived I found myself noting breaks between paragraphs, transitions between ideas — especially beautiful transitional moments in the time line at 4:05, 5:00, 5:48 and 8:46 — and so I wasn’t clear if I was totally understanding Maierson’s point, even though I felt like I was seeing it in action.

I’m almost hesitant to share these specific moments in the time line of “Black Market,” as you might head right to them, looking for the answer. But what I’m learning from Maierson’s teaching is that there is no one, specific answer.

I often offer up multimedia and video samples as great inspiration, saying, “Here! Watch this!” But perhaps inspiration on its own is not enough — not if it doesn’t foster our thinking in ways that help us to improve our craft. Maierson is showing me that the best way to learn multimedia is not to:

A) Just watch and be inspired, and also not to:

B) Watch expecting a specific lesson to simply sink in, but instead to:

C) Watch with an idea of what can be learned — with a little guidance from the likes of Maierson — and then try to figure it out myself.

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Dec 29 2010

Stick with the Blink, and 9 Other Critical Multimedia Editing Strategies

Category: Multimedia & VideoEthan G. Salwen @ 12:27 pm

AfterCapture Blog_101227_Stick with the Blink_1“Make edits with a purpose,” Eric Maierson advises in “MediaStorm’s 10 More Ways to Improve Your Multimedia Right Now.” After noting questions we should keep in mind to keep editing purposeful, Maierson shares nine other strategies that offer the best, most concise advice I’ve encountered for improving my multimedia editing.

Definitely check out Maierson’s post for invaluable editing insights.

Still No Rhythm, But At Least No Dissolves

To be honest, I don’t totally get what Maierson means by “edit rhythmically,” although it sounds really good and although I did check out the sample he suggested. (The “Town Bar” section of Driftless at the 1:37 mark.)

I do totally get “Delete all dissolves between images.” As Maierson explains:

The eye sees cuts. When we look from one object to another, we see a blink. We don’t see one object then dissolve to another. Remove all of your image dissolves and your work will improve immediately.

This was very nice to learn. I’ve been laying down stills into timelines, adding dissolves, I’m not really sure how to handle them. Thanks to Maierson I now know I’ll produce better projects by keeping it simple and just sticking with the blink.

P.S. — Eric Maierson Chimes in on Rhythm

Eric Maierson was nice enough to chime in and help me with my confusion over his suggestion to “edit rhythmically.” Definitely take a moment to read his fantastic comment below — very good stuff, which as he says, “sounds a bit oblique written out,” but which I am starting to see, hear and feel.

Maierson wants us to avoid the (boring) result of only editing to the beat, as in, “Da-da-da-da-da-da-da.” Instead, he says we should make “edits work around the other elements. That way you get a nice flow and the music of your edits sound more like da-badadum-da-badumdum-da-da.”

Yes, this does sound oblique (even more than in Mairson’s comment), but I did as Maierson suggested and went back to the 1:37 mark of the “Town Bar” section of Driftless, and I realized that, as he says, there are many more elements in play then I had thought. The visual cuts are on a beat, but not every beat, and musical phrases play out, waiting for the next, best beat for the cut — after a break in the the dialog.

This seems light years beyond my current editing abilities, but seeing, hearing and feeling the rhythm of the “Town Bar” edits is very exciting.

Thank you, Eric!!!

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Sep 10 2010

The Value of Shutting Up

Category: In-Camera Techniques, Multimedia & Video, ViewpointEthan G. Salwen @ 11:30 am

AC_Blog_100910_Shut Up_1More than once Gail Mooney has advised photographers new to video to shut up when recording audio interviews. I got the point — I thought. If we are not quite, in general, or jump to quickly to the the next question we risk making a mess of our audio files, making editing a real bitch, possibly losing precious soundbites. That made sense. But I’ve discovered that Mooney’s advice actually is much more deeply valuable than had thought.

When Mooney was here in Buenos Aires finishing up her “Opening Our Eyes” reporting, she invited me to help her and Erin Kelly (her daughter/project partner) with one on their interviews. My job: to help with translating. Mooney gave me a quick prep talk before the interviewing, insisting that I shut up as much as possible, and advised me to nod my head, make eye contact and try to encourage further talking — on the subject’s part — by not doing any talking on my part.

If you’ve ever met or been interviewed by me, you’ll know that one of the hardest things for me to do is shut up. I talk, talk, talk, talk.

But then, on location interviewing Maria Eugenia Cuyas, with Mooney working the camera and Erin and I asking the questions, I saw the value of shutting up in action. It wasn’t — as I had thought — just about not jumping on top of the interviewees final words. It was about eliciting much more interesting, expansive answers by using the power of silence.

A Chance to Shut Up for The Master

On Mooney and Erin’s last day in Buenos Aires, I was honored to have the chance to interview them both. That’s right, in the “making-of” video short Mooney created on returning home, she and Erin are responding to my questions — and even more, to my silence. They had tons on their mind, and just needed a little prompting.

The more silent I forced myself to be, the more Continue reading “The Value of Shutting Up”

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Sep 06 2010

Fast & Smart Video Editing with Gail Mooney

Category: Creative Process, Multimedia & Video, Workflow & DAMEthan G. Salwen @ 11:45 am

AfterCapture_Blog_100906_Mooney on Editing_1There’s no right or wrong way to edit video, says Gail Mooney. Nonetheless, Mooney clearly knows great ways to get a quality video out the door fast, as proved by the video featured in my last post. As soon as I saw it go live — less than 48 hours after Mooney returned home from the road — I shot Mooney an email asking her how the hell she did it so fast. Her answer:

“When pinched for time, the trick I’ve learned is that it helps to listen carefully and remember the good soundbites. Then you go looking for them, rather than having to scroll through everything.

“After I found the soundbites I wanted, I laid them out in a timeline and slept on it.  Came in this morning with a fresh mind, I cut out 60%.  From there it was easy: I just needed to hide my cuts with relevant b-roll (didn’t even look for the best) and color correct the clips to match (sort of). Really down and dirty and certainly not polished, but I wanted to get it out for the ASMP Best of 2010 online issue.”

OK. Good fast and smart answers for fast and smart video editing. But I wanted some clarification, and I figured that Mooney would have answers that would of interest to all you Faithful Readers who are trying to improve your video editing skills. Here are my follow-up questions and Mooney’s responses, which she gave me permission to publish, “bad work habits and all.”

Q: To remember the good sound bites, do you note timing or use some aid to locate them easily?

AfterCapture_Blog_100906_Mooney on Editing_2A: I rely on my memory and make mental notes when I am doing the interview.  The real zingers stand out.  But I do try to make a notation on my question list as far as at what point in the interview the remarks were made.  Looking at my watch – not very scientific but it gets me in the ballpark.  If I were working with a crew – I’d have someone keeping track of this by writing down the time code on the digital recorder or camera.  However, that is one big shortcoming of the Canon 5D Mark II – no time code!

Q: Can you clarify “go look for them, not having to scroll”? Are you saying you ONLY listened at first, not watching as well? And what do you mean, exactly, about not having to “scroll” through all?

A: Every “camera file” is a QuickTime file that I can Continue reading “Fast & Smart Video Editing with Gail Mooney”

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Aug 26 2010

Final Cut Express Newbie – Take Two – Very Basic B-Roll

Category: Creative Process, Multimedia & VideoEthan G. Salwen @ 7:58 am

Not only can you see one of the rooms in my home in Argentina in this video editing test but, gasp!, you can also see that I’ve actually figured out how to edit b-roll on top of one video/audio take. (”A-roll”?) The inability to perform this incredibly basic editing function in iMovie is what made me finally decide to buy Final Cut Express.

The reason I’m sharing this video with you (as I did my FCE compression test) is the same reason I’m posting these down-and-dirty experiments to YouTube: to help me get over my fear of new technologies, specifically in the realm of multimedia editing.

I over think way too much and often get stuck deep in the creative-technology mud. This time around I was about to get stuck with FCE, which looks like Final Cut Pro to me, and which made me want to crawl back to iMovie. I realized I could think and think and even practice and practice, but never make any substantial headway. What was called for was learning by engaging in quick, learn-one-skill projects and publishing them.

Sure, my tendency is to only share polished work, and sharing crappy experiments makes me go “gulp” in a very real way. What if someone actually sees this???

Yeah, what would happen? Nothing, I suppose, but thee real point is that I’ve noticed that photographers who share their experiments in a public manner advance much more quickly than those us who get stuck — over thinking and not creating, publishing, learning and moving forward.

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Aug 23 2010

Final Cut Express Newbie – Take One – Video Compression for YouTube

Category: Multimedia & Video, Technology InsightsEthan G. Salwen @ 11:39 am

After all my worrying, I finally buy Final Cut Express and to my virgin eyes the program looks just like Final Cut Pro — totally intimidating! To get beyond this I force myself to avoid all the possibilities and think about the most basic task I want to accomplish. Answer: Upload video footage from my Canon G9 to YouTube.

This past weekend I grabbed my G9 and pretty quickly had this:

Clearly this sucks. Horrible compression from hell. Worse than “dumb” iMovie would help me produce. However, I have succeeded in getting the footage in and out of FCE and on YouTube fast, and that was the point.

For “Take II” (below) I referred to a FCE tutorial on Lynda.com, and found some help on how/where to compress for broadband, getting this:

Not bad at all, but I wanted to see if I could find better, “ideal” settings I could use.

I found clear, awesome instructions on best HD compression for YouTube in Final Cut Express/iMovie from BIGlittleBROTHER in his awesome YouTube tutorial. I wasn’t shooting HD, but I thought I’d give it a try, and got “Take III”: Continue reading “Final Cut Express Newbie – Take One – Video Compression for YouTube”

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Aug 19 2010

Finally Going with Final Cut Express. Right Move?

Category: Multimedia & Video, Technology InsightsEthan G. Salwen @ 7:21 pm

AC_Blog_100819_Final Cut Express_1I finally decided to go with Final Cut Express 4 as my primary multimedia and video editing software after way too much thinking about it. I spent the $200 and a friend smuggled the program into the country for me a couple weeks back. (It would have cost twice as much locally, and might have been in Spanish.) In retrospect, I can’t believe I have spent so many months thinking about which video editing software to to use, grinding my teeth over the $200 cost of Final Cut Express (FCE), not at all sure if it would do all that I want.

I’ve been using iMovie (post version 6) exclusively for more than a year-and-a-half, and the program began to frustrate me almost immediately. iMovie is certainly simple but using it has felt like trying to edit with handcuffs on. I quickly found there were certain things — seemingly very basic things — that I simply could not do. (I was disheartened to read many reviews that said that the “improvements” to iMovie made the program much worse than version 6.)

However, I reminded myself that I was learning basic editing and producing pieces that were making friends and family laugh, and I couldn’t justify the expense of Final Cut Pro ($800) or Adobe Premiere ($800).

Final Cut Pro Wary

Even if I had the cash for Final Cut Pro, I’m not sure I would have shelled it out. Everyone says the FCP learning curve makes learning Photoshop seem like a breeze. About a year ago I had the opportunity to play around with Final Cut Pro on a friend’s machine and the experience left me shell shocked — completely intimidated. I didn’t feel like my hands were handcuffed; I felt like I had no hands. I just couldn’t do anything.

I was starting to appreciate the benefits of iMovie, but I really needed to advance, but I held off buying, obsessing about FCE’s functionality.

What’s Wrong with FCE?

Upgrading to FCE would seem to be a no-brainer, but I found lots of Continue reading “Finally Going with Final Cut Express. Right Move?”

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Jul 14 2010

Wide, Medium and Close – The Key to Crafting Cool Videos

Category: Creative Process, In-Camera Techniques, Multimedia & VideoEthan G. Salwen @ 3:24 pm

“When capturing motion and stills for use in multimedia it is essential to record all subjects in wide, medium and close-up shots,” Mary Lynn Price told me recently. As a video journalist focusing on “one-man-band” reporting, Price uses all three perspectives to carefully construct rich reporting experiences. One great example is her “Conserving Shackleton’s Historic Hut in Antarctica,” which she produced in 2008 for “Women Working in Antarctica.”

“The wide shot is the establishing shot, the medium shot clearly shows the subject, and the close-ups give us the ‘wow’ factor,” Price explains. She uses all of these to her storytelling advantage throughout “Shackleton’s Historic Hut.”

Even though it’s only five minutes, “Shackleton’s Historic Hut” asks a lot from Web viewers with short, fickle attention spans. Price holds our interest by presenting as much information as many, slower-paced TV documentaries would in a half hour.

Not only do get to know three different Continue reading “Wide, Medium and Close – The Key to Crafting Cool Videos”

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Jul 05 2010

Where To Find Royalty-Free Music

Category: Multimedia & Video, Online ResourcesEthan G. Salwen @ 4:55 pm

Like royalty-free images, royalty-free music can be found by the in amazing varieties and quantities on the Web. Just do a Google search, and you’ll see.

Ralph Clevenger, who inspired me to embrace royalty-free music, suggested I check out these sites:

AfterCapture Blog_100705_Find Royalty_Free_Music_2

Royalty-Free Music Suggestions?

Not really sure how I ended up using Premiumbeat.com for the $29.95 worth of music I used in my “Royalty-Free Buenos Aires,” but I was just experimenting, and I was left wondering. . .With all the royalty-free music sits and services, certainly some have got to be better than others. So. . .

If you are ahead of me on this royalty-free music learning curve — which wouldn’t be hard — are there royalty-free music services and basic concepts that you might share with me, and my thousands of faithful readers?

SmartSound and Sonicfire Pro?

As long as you’re Continue reading “Where To Find Royalty-Free Music”

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