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Today's Top Tutorials

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Adobe Premiere Pro
Balancing Audio Levels for Multiple ClipsBalancing Audio Levels for Multiple Clips

You have lots of clips in your timeline which are all different volumes. How do you quickly match the volume of all the clips so that they are all matched? This quick tutorial will show you the tricks to know in Premiere Pro and Soundbooth to get the job done!

Tutorial, Video Tutorial
Andrew Devis
Adobe Premiere Pro
Premiere Pro Video Adrenaline: Edit to the BeatPremiere Pro Video Adrenaline: Edit to the Beat

In this Premiere Pro Video Adrenaline tutorial, Richard Harrington shows how to edit a group of video clips quickly to sync them to an audio clip by using markers and the automate to sequence command.

Tutorial, Video Tutorial
Richard Harrington
Adobe Premiere Pro
Rolling Titles in Adobe Premiere ProRolling Titles in Adobe Premiere Pro

There are some special tricks that once you know will make your scrolling credits easy to make and look really professional. In this tutorial I show the tricks and hints for rolling credits.

Tutorial, Video Tutorial
Andrew Devis
Adobe Premiere Pro
Premiere Pro: Matching CamerasPremiere Pro: Matching Cameras

In this tutorial, Andrew Devis shows one approach to matching footage from different cameras. Sometimes, as editors, we receive footage from our clients that is from different cameras which may not have been set up in the same way. This can lead to a jarring effect when viewing the footage back as you switch between cameras which can distract your audience - a very big foe-par! But, matching cameras can be a difficult and frustrating process. While the solution Andrew demonstrates isn't instantaneous and will require time to master, once mastered, it will enable you to quickly and effectively solve problems to (at the very least) ensure your audience isn't distracted when you switch cameras.

Tutorial, Video Tutorial
Andrew Devis
Apple FCPX Techniques
FCPX: OMF The Hard WayFCPX: OMF The Hard Way

If you love to export an OMF and your audio mixing in Logic, and wonder how to get your audio out of FCPX, join David Battistella as he walks through this workaround. Use this tutorial to take advantage of the four track output from doing a QT movie export, get a split track version of your cut into Logic or ProTools, and sweeten your audio as you wish.

Tutorial
David Battistella
Art of the Edit
A Beginner's Guide to Building a Budget 5.1 Editing SuiteA Beginner's Guide to Building a Budget 5.1 Editing Suite

As TV producer Jonathan Bird readied his first 6K feature for the fulldome-theater market, he needed to starting working with 5.1 sound. It turns out that it was trickier than just connecting his computer to a home theater receiver! Here's his trial-and-error progression to success.

Editorial, Feature, People / Interview
Jonathan Bird
Adobe Premiere Pro basics
Premiere Pro CS6 Techniques: 1 IntroductionPremiere Pro CS6 Techniques: 1 Introduction

In this first tutorial, Andrew Devis introduces his new series on Adobe Premiere Pro Basics (CS6 & above) with a look at the CS6 user interface (UI) and a comparison with the CS5.5 UI, along with a brief comment on what to look for when capturing your own footage.

Tutorial, Video Tutorial
Andrew Devis
Apple Final Cut Pro
FCP: Export Multiple Channels of AudioFCP: Export Multiple Channels of Audio

In this video tutorial, Creative COW leader Shane Ross details how to export multiple channels of audio, both to tape and to a Quicktime movie. If you want to export more than just the standard of two channels that Final Cut Pro is set up to do by default, this is the tutorial for you.

Tutorial, Video Tutorial
Shane Ross
Adobe After Effects
Using the Echo Effect with Animated LayersUsing the Echo Effect with Animated Layers

In this video tutorial, Creative Cow leader Aharon Rabinowitz shares some tips and tricks for working with the Echo effect.

Tutorial, Video Tutorial
Aharon Rabinowitz
Cinematography
The Ultimate POV ShootoutThe Ultimate POV Shootout

Douglas Spotted Eagle has a broad experience base with POV cameras designed for action shots. Rather than choosing one catch-all, must-buy cam, he will provide information about which action-camera is best suited for specific criteria which can be then used to help you make informed purchasing decisions.

Editorial, Feature, People / Interview
Douglas Spotted Eagle
Apple FCPX or Not: The Debate
Hawaiki Keyer 2.0: A Tutorial IntroductionHawaiki Keyer 2.0: A Tutorial Introduction

After 25 years as an editor, compositor, and VFX artist, frequent Creative COW poster and tutorial author Simon Ubsdell knows what he needs from a keyer -- and knew he wasn't getting good enough results from FCPX or Motion. Discussions in COW forums led him to create the highly regarded Hawaiki Keyer. Enthusiasm expressed by COW members for its latest release led us to ask Simon for a tour. If you're keying on a Mac, you're going to want to check this out.

Tutorial
Simon Ubsdell
Adobe Premiere Pro
Advanced Titler & Feathering a Track Matte as a Mask using Adobe Premiere Pro CS5.5Advanced Titler & Feathering a Track Matte as a Mask using Adobe Premiere Pro CS5.5

This video tutorial presented by Jon Barrie details some of the uncommon knowledge about the Titler Tools and how to simulate a feathered mask using a Track Matter technique using Adobe Premiere Pro CS 5.5.1.

Tutorial, Video Tutorial
Jon Barrie
Adobe After Effects
Part 1: Scripting for After EffectsPart 1: Scripting for After Effects

In this tutorial, Jesse Toula will walk you through the basics to scripting for After Effects. Part 1 will go over the basic JavaScript concepts that will be needed to create your first script. This tutorial will not turn you into an expert, but it will give you a starting point and a basic understanding of the capabilities of scripts and how they can help improve your work-flow.

Tutorial, Video Tutorial
Jesse Toula
Adobe After Effects
Camera Mapping in After EffectsCamera Mapping in After Effects

In this tutorial, Andrew Devis shows how to create parallax with a single item. Parallax is when items in a image appear to move in different ways to other parts of the same image. For example, the foreground items in view appear to move at a different speed or perspective to the background items in that same view. This can also be used to create the illusion of depth as different parts of an image can be projected to appear in different planes to other items. By using camera mapping we can project the image or footage onto screens we have set up which are at angles such that some items in our image or shot are at a different perspective to other items. This means that when we add a camera move into our scene parallax is achieved as the screens move in a different perspective to each other. Although a little tricky to set up at first, once used a few times this effect can really bring flat images to life and give a real sense of depth to your work.

Tutorial, Video Tutorial
Andrew Devis
Apple Final Cut Pro
Fixing Assets in FCP using XMLFixing Assets in FCP using XML

In this FCP tutorial, Matt Lyon will provide a step by step guide for fixing a major issue with the way Final Cut Pro imports audio and still image files using a FCP XML file and TextEdit. Incorrectly imported assets can lead to serious problems down the road, especially with Media Manager. Matt also provides a guideline for re-importing audio and still image media correctly, as an alternative to the XML fix.

Tutorial
Matt Lyon
Apple Final Cut Pro
FCP: Add Visible Timecode to Quicktime ExportsFCP: Add Visible Timecode to Quicktime Exports

In this video tutorial, Creative COW leader Shane Ross details how to export a Quicktime movie with Final Cut Pro with burnt-in Timecode. Let Shane guide you through the easy steps of three different ways to adding visible Timecode to Quicktime Exports.

Tutorial, Video Tutorial
Shane Ross
Adobe Premiere Pro
YC Waveform Graph in Premiere ProYC Waveform Graph in Premiere Pro

The YC Waveform graph in Premiere Pro gives us a graphical display of the Luminance (brightness) and Chrominance (color) of our footage and is an essential tool for correcting and improving the look of our image by giving us empirical data about the changes we make rather than just relying on our eyes. In this short tutorial, Andrew Devis introduces the YC Waveform graph and shows how to use it as a reference for brightness adjustment of a shot.

Tutorial, Video Tutorial
Andrew Devis
Adobe Premiere Pro
Subclips: What? Why? How?Subclips: What? Why? How?

Subclips are essential when you need to organise a long piece of footage into smaller, more manageable chunks so that you can keep track of your project. In this Adobe Premiere Pro tutorial, Andrew Devis explains what subclips are, why you may want to use them and how to create and edit them.

Tutorial, Video Tutorial
Andrew Devis
Adobe After Effects
Bessie PotterBessie Potter

In this video tutorial, Creative Cow contributing editor Michael Park demonstrates how to make a dark, cloudy Title reveal similar to the one seen in the Movie Which Must Not Be Named. All textures and fonts are available in the project download as well as the final CS4 project file.

Tutorial, Video Tutorial
Michael Park
Adobe After Effects basics
AE Basics 1: Workspaces in Adobe After EffectsAE Basics 1: Workspaces in Adobe After Effects

AE Basics - A Creative COW series for new users of Adobe After Effects. Lesson 1: In this first tutorial, Andrew Devis introduces After Effects workspaces - how to modify, save, reset and delete them - as well as showing how to move panels around to create a custom workspace just the way you want it!

Tutorial, Video Tutorial
Andrew Devis
Adobe After Effects
Force Motion BlurForce Motion Blur

In this tutorial, Creative Cow leader Aharon rabinowitz shows you how to add a motion blur to effects that dont support this feature. Also covered is adding blur to video footage that has been sped up, and an introduction to CyCores updated Effects - CyCore FX HD.

Tutorial, Video Tutorial
Aharon Rabinowitz
Adobe Premiere Pro
Premiere Pro CS6 Techniques: 98 Ultra Key Part 1Premiere Pro CS6 Techniques: 98 Ultra Key Part 1

The Ultra Key in Premiere Pro is a way of quickly and efficiently 'Green/Blue Screening' or 'Chroma Keying' footage elements shot against a colored background. In this tutorial, Andrew Devis shows a slightly more advanced way to set up to use the Ultra Key in Premiere Pro which involves matting out areas of the footage that either have items to be removed or have nothing but the chroma color in them (i.e. no action in those areas). Andrew goes through the process of creating a matte that just has the item to be keyed while keeping a good soft edge to the footage by using other effects in Premiere Pro. He then creates the final matted piece and applies the Ultra Key and goes on to shows how to adjust that matte after the Ultra Key has been applied.

Tutorial, Video Tutorial
Andrew Devis
Adobe After Effects
Virtual 3D Sets with After EffectsVirtual 3D Sets with After Effects

Rob Mize demonstrates techniques for creating a virtual set in 3D space. He shows how you can build sophisticated, detailed environments, where your actors appear to interact with their 3 dimensional surroundings. Build the set of your dreams using nothing more than After Effects, a few textures and your creativity.

Tutorial, Video Tutorial
Rob Mize
Adobe Premiere Pro
Premiere Pro Video Adrenaline: Equalizing Color & ExposurePremiere Pro Video Adrenaline: Equalizing Color & Exposure

In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington tackles the equalizing command. If you have a clip that's washed out or too dark, this is the perfect effect to correct your levels.

Tutorial, Video Tutorial
Richard Harrington
TV & Movie Appreciation
A Distinctive LOOK For 'The Grand Budapest Hotel'A Distinctive LOOK For 'The Grand Budapest Hotel'

In his third time working with Wes Anderson, LOOK Effects VFX Supervisor Gabriel Sanchez helped implement the director's singular vision on The Grand Budapest Hotel.

Editorial, Feature, People / Interview
Tim Wilson
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