Apply by April 1 - this Saturday! - for The Kalish visual editing workshop that deeply explores what it means to be a visual editor, leader, manager (because there is a big difference), and good colleague.
Want to talk AI? We’ll be doing that in June. Ethics? It’s one of our most critical sessions. Editing? We supply the assets.
Today I celebrate my 10 year anniversary at MediaStorm; ten years of working with some of the finest people in the industry. To commemorate, here’s a list of ten things I’ve learned and relearned during the last decade. The only way to make a great film is to obsessively care about every single detail from inception through export. Not every project will be great but you can still do great work on every project. You can edit only one film: the one in front of you, not the one you wish for. Filmmaking is a collaborative art form. Work with people you respect, and equally important, people you like. Don't wait until your deadline to ask for feedback. Get it many times along the way. Revision is not part of the process. It is the process. Creativity is not a limited resource. Giving freely replenishes the wellspring. By teaching others, you not…
This article is part of a series of posts with tips and tricks from our producers' experience working with Adobe Premiere Pro CC after years of working in Final Cut Pro. To read more about why we made the switch, check out this post. Knowing exactly what images and videos are used in the production of a film is a critical part of the MediaStorm workflow. We need this information in order to know which low-res footage needs to be purchased then swapped out with licensed hi-res footage, as well as which images must be toned then replaced in the timeline. Unfortunately, there is no easy way to do this in either Premiere Pro or Final Cut Pro 7. So MediaStorm built the Asset Parser. Using the parser is easy. First, you’ll need to export an XML file from your editing software. In Premiere Pro, make sure your final sequence is selected…
Sometimes having no limitations is the hardest obstruction. * To paraphrase the late novelist E.L. Doctorow., “[Making a movie] is like driving at night in the fog. You can only see as far as your headlights but you can make the whole trip that way.” * In other words, the only way out is through. * It’s hard to be spontaneous if you’re clinging to the some vague notion that what you’re doing is wrong. If you let yourself fail extravagantly, you might succeed beyond expectation. * "The first draft of anything is shit." - Ernest Hemingway * The unconscious mind loves to work out problems. You may feel doubt and uncertainty but your brain is busy untying knots. * Write down insights and ideas immediately. You’ll forget them otherwise. Seriously, you will. • The simple answer comes last, after you’ve worked your way through all the rest. It’s like sculpting: you…
This article is part of a series of posts with tips and tricks from our producers' experience working with Adobe Premiere Pro CC after years of working in Final Cut Pro. To read more about why we made the switch, check out this post. Two weeks ago Adobe released Creative Cloud 2015. And while Premiere Pro promises lots of new features, we at MediaStorm are always a bit gun shy about upgrading immediately, particularly when in the middle of a project. But if you can’t wait to dive in, here’s how to do it safely so that the new install does not overwrite your previous version. This way you can always revert back in case you find CC 2015 not to your liking. Click the Creative Cloud menu bar, then select the software that you’d like to install. You’ll be presented with a new update window. The key here is to uncheck…