Adobe’s Creative Cloud has an education discount for $20/mo for the first year, valid until March 11th. So, no time like the present to dive into editing! I’m pretty inexperienced with Adobe, but there are some lovely resources out there.
Adobe has great documentation for the entire creative suite, AdobeTV for when you’re too lazy to read (here’s the CS6 & Creative Cloud Feature Tour for Video), and to help you keep enthusiasm while drowning in tutorials a series of Customer Stories: Video, Film, and Audio
There is honestly so much documentation that it’s overwhelming, so let’s break it down.
– Getting Started with Premiere – good road map of links
– Text Documentation and Tutorials
– Adobe TV (and some playlists)
Shooting and Editing DSLR Video using Adobe Tools
– Adobe TV
– Discovering Adobe Story
– Adobe Story CS5 Feature Tour
– (ep) Go from Script to Screen: Story & Premiere Pro
– (ep) From Script to On Set Production with Adobe Story
– Getting Started with Adobe Photoshop Lightroom 4
– Learn Lightroom 4
– What’s New in Lightroom 4
Working with DSLR Video in Lightroom 4
Some 3rd party resources mid way down
While we’re at this, here’s some promising looking plugins for Lightroom
During all of this I learned something important: Lightroom and Premiere cannot read all metadata off Canon DSLR video files. Date taken is fine, but no ISO, aperture, or exposure information is read. Apparently it’s a proprietary cat fight, but there are workarounds.
And now that we’re done with this, have a cappuccino tribute to grumpy cat and some incredibly adorable kids and their parents.
I just saw Limitless [imdb, wikipedia, trailer – though I prefer the shorter one on imdb] and am having a love affair with the cinematography. It was directed by Neil Burger and the DP was Jo Willems. Randomly both are involved in filmed movies I am waiting for: Burger is doing Divergent, and Willems is doing the next Hunger Games. My understanding of whether the director or the DP creates/styles/frames the shot is shaky at best, but however it was decided I love it because the visual basically shows the story in exactly my thought process. Take this clip for example: she gives his keys back and then breaks up with him. The motion and focus on the keys, then the pan up to the face as the character realizes what it implies, and then the pan/cut to her reaction to his reaction. He’s thrown by the gesture and his shot moves a lot, close to disorienting, but her shot is steady as is her resolve. I kind of wish it was a straight pan from his face to her’s, but that’s really only something I thought about after I rewatched the scene a few times.
The whole movie utilizes perspective and moving shots, playing with varied levels of disorientation, to signify how the drug changes perception. The color schemes of the shots also change, but I found that secondary to the physical set up of the shots. I will to make some more gifs and write another post (or two).
Limitless: its journey from novel to movie – by Alan Glynn, the author of The Dark Fields, the book, the movie was based on
Throwing my hat in the ring: RadarNow is essential if you’re outside in finicky weather. I used it all the time during frog fieldwork. And now for some inspiring imaginatively titled posts. There’s a lot of overlap, but generally the last 2-3 apps will be different.
Both Android and iOS
Randomly I found a 6.5 minute tutorial on how to use a slate app… that seems a bit excessive, but to be honest I haven’t seen the tutorial or used a slate app, so I could be completely wrong!
At some point I will go through all these and create an actual list… but not today.
For someone with a professed interest in documentaries, I don’t watch that many. I’ll watch 4 episodes back to back of my TV fling of the week (total 172 minutes), but I won’t watch a full documentary because of the time commitment to sit still that long (ADD, what?). I’m trying to fix that. Many of us have a desire to better our knowledge of the world (see this blog), but realistic effort tends to fall short, since most of us are intrinsically lazy bastards (and some have lives).
This is the realism acknowledged and addressed by the New York Times’ Op-Docs. Each documentary short is 5 minutes or less and the couple I saw really make use of the visual medium.
Solo, Piano – NYC – Could be a poignant short story, but simple, low quality pictures are far more effective, especially at the end. I wish they had run video instead of stills, but I can see how it would be logistically problematic.
Soda Ban Explained – Though covering current news events, this short was in the same style generally found on vimeo, utilizing stop-motion, hand-cam, and visual gags. It presented information in an engaging manner, with good visuals, instead of dry droning talking heads. That’s the problem with TV news, it’s presented like radio. Except for the weather, the scrolling stock market numbers, and the occasional mugshot, I might as well be listening to the radio.
This is a story of good advertising and good acting. Basically everyone had their shit together here. I saw the poster featuring Russell Tovey’s face and thought I would love it and bought a ticket without reading the preminse. Then I was sure I wouldn’t like it. Then suddenly I loved it. It’s all very Shaun of the Dead. I thank all higher powers that this movie wasn’t made in USA featuring drunk college frat boys, Will Ferrell, and Jack Black. I can envision that movie and it isn’t pretty.