A directory of resources inthe field of technical communication.

Event DV

18 found.

About this Site | Advanced Search | Localization | Site Maps
 

 

1.
#33544

Adding High-Impact Filters to Your Titles

Words go so well with video. They can give an emotional punch to a scene or simply announce what is going to happen next. I love using romantic quotes, Bible passages, and other forms of text in my work. The best part is that you can be just as creative with how those words are presented as you are in picking out the text in the first place.

McManus, Joe. Event DV (2008). Articles>Multimedia>Image Editing>Video

2.
#33535

Correcting Color in Sony Vegas

We’ll begin this series by discussing one of the most important features in any pro nonlinear editor: color correction. The first thing you need to do before beginning any type of color correction work is to determine what "correct" color looks like. Rarely does your computer screen display colors correctly.

McKnight, David. Event DV (2008). Articles>Multimedia>Video>Color

3.
#33545

Creating Perspective Shadows

Perspective—it’s one of the first things you learn about in any art class. The basic idea is that it’s the way your eye actually sees something, represented on a flat surface such as paper or a monitor. A simple example is drawing a group of objects: You represent an object in the distance by making it smaller, while making objects close to the viewer larger—make sense? In this tutorial, I’m going to show you how to create perspective shadows in Adobe Photoshop CS3. The result is dynamic, but the technique is a breeze!

Gray, Lawrence. Event DV (2008). Articles>Graphic Design>Image Editing>Technical Illustration

4.
#33534

Cut Lines: Creating Cool Compositions With Nested Sequences in Apple Final Cut Pro

In this installment of Cut Lines, we’ll look at cropping and rotating several images at once and how nesting your composition can make it easier to manipulate your images together.

Ozer, Jan. Event DV (2008). Articles>Multimedia>Video>Final Cut Pro

5.
#34204

Cut Lines: Using the AVCHD Format in Final Cut Pro

One issue with AVCHD is that (like HDV) it’s based on a codec that is not really built for editing in the way that DV is. DV is an intraframe codec, which means that each frame of video is compressed using redundancies within the frame itself, and thus can be reconstructed and interpreted by your computer’s processor without having to refer to other frames in the video stream to gather the necessary image information. HDV, being MPEG-2-based, and AVCHD, being H.264-based, use both intraframe and interframe compression, which means most of the frames in your video stream need to be referred to other frames to gather all the image information that constitutes the frame. Because all this cross-referencing is so processor- and memory-intensive, it can really slow down your editing.

McManus, Joe. Event DV (2009). Articles>Multimedia>Video>Final Cut Pro

6.
#33537

EventDV.net: In the Studio: Apple Final Cut Server

There’s a lot of mystery and misinformation surrounding Final Cut Server, and I’m going to try to sort that all out for you in this article. You can limit which members of your team can access its contents and what they can do with the contents, including who can make changes and who can only look at it.

Baiser, Ben. Event DV (2008). Articles>Content Management>Multimedia>Final Cut Pro

7.
#33540

Graphic Thoughts: Creating Great Backgrounds in A Snap

Recently, I had the chance to go with my in-laws to City Museum in St. Louis. What an amazing place to get lost in by crawling through inventively designed tunnels that go underground to many stories below the city streets. The most impressive thing to me was how the place was constructed—they used everyday items, such as metal storage bins, bottles, and gears (plus what looked like a million other items) to create elaborate mazes of artwork.

Gray, Lawrence. Event DV (2008). Articles>Graphic Design>Image Editing>Adobe Photoshop

8.
#33533

Graphic Thoughts: My Top 10 Photoshop Moves, Part 1

Almost every time I speak to an audience about graphics or Photoshop, I’m asked if I went to school to learn what I know about the application. The truth is that while I spent more than 3 years in an Advertising Art degree program, I ultimately switched gears and got a Bachelor of Business Administration degree in marketing (Mom and Dad were thrilled with this news!), and that was in the early ’90s—pretty much in the infant stages of Photoshop.

Gray, Lawrence. Event DV (2008). Articles>Graphic Design>Image Editing>Adobe Photoshop

9.
#33541

Have Demo, Will Travel: Presenting Demos Outside the Studio

When I was asked to write about the process in which I show demos of my company’s work, I initially thought of what I used several years ago to show clients my samples—a time when DVDs didn't even exist and my home office setup was not such that I could do demos effectively there. Those were days when I had to travel to a meeting with a VCR deck, a tube-style TV, a bunch of cables, a cart to carry everything on, and, of course, VHS tapes, all properly rewound to the correct starting points.

Levy, Marshall. Event DV (2008). Articles>Presentations>Multimedia>Video

10.
#34203

The Moving Picture: Mistakes and All

The first and most common mistake made when producing for streaming is shooting in an interlaced mode. All streaming video is progressive. And if you shoot interlaced, you start with two fields that may not combine into one clean frame (even if you check the deinterlace box before rendering), especially when motion or sharp diagonal lines are involved. This can result in simple jaggies or bizarre artifacts, such as a table edge that looks like twisted wrought iron in a video produced by one of the largest retail chains in the world. Second, if you do shoot interlaced, remember to deinterlace the video. Streaming producers make this mistake all the time and end up with horizontal slices, almost like Venetian blinds in higher-motion sequences.

Ozer, Jan. Event DV (2009). Articles>Multimedia>Streaming>Video

11.
#33546

The Nonlinear Editor: On the Bubble

Not every tale of striking out on your own and following your bliss ends happily. In our industry, plenty of event videographers who’ve enthusiastically "taken the plunge" and quit the 9-to-5 grind to become video entrepreneurs have found themselves back in the work force within a few years, after their businesses failed. Sometimes the problem is ability, other times it’s lack of business sense or strategy; just as often, especially in trying economic times, it’s simply that a given market won’t bear another videographer who is unable to distinguish him- or herself from the existing competition.

Nathans-Kelly, Stephen. Event DV (2008). Careers>Freelance>Video

12.
#33547

Posting HD: How Much Power Do You Need for Speed?

When working with HDV footage in post, your computer is constantly trying to compile editable frames from frames that include only a portion of their own frame information, and thus needs to work a lot harder to process HDV natively than DV. Which raises the question: How powerful a system do you need to make HDV postproduction as smooth as DV editing is today?

Franklin, Marc. Event DV (2008). Articles>Multimedia>Video>High Definition

13.
#33543

Producing Corporate Web Videos

Website videos are a natural for event videographers. We use them to demonstrate our work to prospective clients, and they have proven to be a vital marketing medium to showcase our range of products. We might even post short video testimonials from happy clients or put our own talking heads on our sites.

Sweetow, Stu. Event DV (2008). Articles>Multimedia>Video>Business Communication

14.
#33542

Set Design for Online Corporate Video

In this article, I’ll discuss four design-related areas: how to create a simple set for in-house use; how to choose the best background for location shoots like case studies and testimonials; current trends in set design for internet-only media sites; how to dress your subjects for optimum compression. The importance of many of the set design principles discussed in this chapter relate to your distribution data rate. If the bitrate of the video you’re delivering is very high, say in the 400Kbps range for 320x240 video or 650Kbps or higher for 640x480, you have a lot more flexibility, since the compressed quality of your video will remain quite high. Once you sink below these rates, quality degrades. Choosing a poor background or set will only make the problem worse.

Ozer, Jan. Event DV (2008). Articles>Multimedia>Video>Business Communication

15.
#34202

Strictly Business: Marketing With Social Networking Sites

For writer, photographer, and video producer David Chandler-Gick, Facebook is a practical tool. "On a recent cross-country excursion to work with Cathy Steffan of Parallel Media Productions, Facebook served as a central hub to keep me in contact with friends and colleagues," he writes. "Accessing Facebook kept me in touch with what was going on, last-minute changes, and more."

Yankee, Steve. Event DV (2009). Articles>Business Communication>Marketing>Social Networking

16.
#33539

Time Remapping in Final Cut Pro, Part 1

This installment of Cut Lines is Part 1 of a two-part tutorial about Time Remapping in Final Cut Pro (FCP). We’ll take a quick look at Constant Speed Remapping and the mechanics that go into FCP creating it so that you more fully understand why your results look the way they do. My hope is that this understanding will enable you to visualize what the effect will look like before you even apply it, making your workflow faster and your creativity more enhanced.

Baiser, Ben. Event DV (2008). Articles>Multimedia>Video>Final Cut Pro

17.
#33538

Time Remapping, Part 2: Variable-Speed Time Remapping in Final Cut Pro

When I teach Time Remapping in the Apple classes I lead, we all work on the same clip. But I often find that giving this overview of the tools right off the bat helps my students grasp how to control Variable-Speed Remapping faster and easier.

Baiser, Ben. Event DV (2008). Articles>Multimedia>Video>Final Cut Pro

18.
#33536

Wired for Wireless

Now that I have had the chance to upgrade my wireless link in my studio network, I can report to you on how I did it and why.

Wardyga, Ed. Event DV (2008). Articles>Technology>Mobile

Follow us on: TwitterFacebookRSSPost about us on: TwitterFacebookDeliciousRSSStumbleUpon