Check out these 5 amazing programs that can enhance your post production workflow but won’t cost you a penny.As a freelance editor I’m often working from a variety of different edit suites and most of the time if these programs aren’t installed when I get there, they will be by the time I leave. The following are 5 amazing programs that are not only 100% FREE but also worth their weight in gold in the amount of time and effort they can save you.MPEG Stream ClipMPEG Streamclip is without doubt one of my favourite transcoding programs. It does a bang up job of taking most files and formats and converting it into something useful that you can actually edit with. Best of all you can very easily set up batch transcodes and it is incredibly robust at just churning through your files. I’ve set huge batch lists going over night and never had a single one fail. Download it free from www.squared5.com today!For a quick tutorial on transcoding material in MPEG Streamclip check out this previous post on Premiumbeat. One quick word of warning – MPEG Streamclip doesn’t have a timecode pull through and doesn’t preserve reel names, so these will be stripped from any files you create. Speed Tip – Use the I and O keys to set In and Out points. Then while your clip is exporting feel free to keep playing in your video to find your next subclip. This is especially useful if you’re clipping a clients DVD to make a sizzle reel and time is of the essence.5DRGB AVC/H.264 Transcoding5DRGB has been around for a long time and has become a firm favourite among many DSLR shooters because it arguably creates a better looking image by bypassing Quicktime all together when transcoding your AVC and H.264 footage. Further benefits are that it will pull through timecode in the original files or add it from the .THM files.It is also 64-bit and will make the most of your Open-GL video card. All this makes for faster transcoding.For a view of a workflow using 5DtoRGB 1.5 with Avid Media Composer 6 check out Jason Myres H.264 to DNxHD tutorial. For a thorough overview of its features and using 5DtoRGB with Adobe Premiere Pro check out this excellent tutorial from Chris Marino (below). The original 5DtoRGB is still free (the lite version) – the Batch version is $50 from the App Store and will do batch processing. Download the free version from Rarevision’s site. Flashgot – Firefox PluginFlashgot is my favorite ‘media downloader’ plugin which essentially allows for 1 click ripping from a client’s site. ”Can you grab a clip from last year’s presentation – we don’t have the files anymore.” Sure.Flashgot only works with Firefox and I’m sure there are tons of other plugins that essentially do the same thing but this is my favourite because it never fails. Open up the page you want to download from, start the file playing and then click the little flashing filmstrip icon and it will start downloading. Roberts your mother’s brother.iextractmp3Once you’ve gotten your web file downloaded you could use MPEG StreamClip to export the audio/video but I often use iextractmp3 as a simple drag and drop audio ripper.Essentially it is an incredibly simple program that will extract the audio from an FLV file (like an YouTube file) which you can then do what you like with.AdaptorAdaptor does pretty much what all the other apps do, rolled into one. It will download your files from the net and also transcode them. It has a slick looking interface and comes with a variety of presets to make life easier.Adaptor also does batches, will give you a file size estimation and can export your files direct to an iTunes playlist for easy syncing with your iPhone or iPad (might be useful for producers who want ipad dailies?)What free apps are essential in your video and film editing toolkit?Share in the comments below!
Learn how to create ‘Walking Dead’ inspired titles in this Apple Motion video tutorial.If you’ve ever seen the AMC series The Walking Dead than you’ve probably had these two questions: “Why are the zombies so easy to kill” and “How can I create those awesome intro titles!?”Well, in the following video presented by FinalCutKing we will get the answer to at least one of these questions! The video tutorial shows us how to create “Walking Dead” inspired intro titles in Apple Motion. It covers a wide range of techniques, including:Using Blend ModesUsing TexturesWorking with TextWorking with KeyframesYou can download the project file from the Walking Dead post on FinalCutKing’s website.This video was first shared by FinalCutKing on his YouTube Channel. Thanks for sharing!Want to watch more about Motion & FCPX? Check out more tutorials on the PremiumBeat blog.Have any tips for selling this effect? Anything you’d like to add? Share in the comments below.
Keep your equipment safe when shooting in cold weather.Winter is upon us. So, in light of the recent polar vortex, we’ve rounded up our best tips for cold weather photo and video shoots.1. Avoid ‘Cold Soaking’“Cold Soaking” is allowing your camera to become as cold as the environment around you…and you want to avoid this. Allowing your camera to reach sub-zero temperatures is a recipe for disaster as most cameras aren’t created to withstand subzero temperatures. Keep your camera in it’s case/bag until it’s time to shoot. In extreme temperature scenarios it may be beneficial to include additional insulation in your camera bag.2. Carbon Fiber TripodIt doesn’t take a rocket scientist to figure out that a cold metal tripod in cold weather is a bad idea. Instead of freezing your fingers off try using a carbon fiber tripod. Carbon fiber tripds are great for shooting in extreme temperatures. They’re also extremely lightweight when compared to their metal counterparts.3. Bring Extra BatteriesBatteries drain faster in cold weather. So next time you have to shoot in extreme cold make sure you pack 2 to 3 times your normal supply of batteries.4. Use Hand WarmersSmall hand warmers are a lifesaver in cold weather and they can serve a variety of other purposes. For example, a small hand warmer can be placed in your camera bag to regulate the temperature.5. Bring ND FiltersSnowy is bright even in overcast weather. For this reason you should bring your ND filters along. ND filters cut out incoming light and allow you to use a wider aperture even in bright conditions. This is really important if you are wanting to get a shallow depth of field.6. Gradually Go from Cold to WarmProblems may arise if you quickly go from a cold environment to a warm one – condensation can form on your camera and lens. It’s best to allow your camera slowly to adjust to room temperature. One trick is to keep your lenses in Ziplock freezer bags, allowing them to acclimate to the temperature change before opening. Adding silica gel packs in the baggie can help cut help alleviate any humidity.If condensation gets inside the camera or lens body it can permanently damage the hardware. In these extreme scenarios it is best to let the camera completely dry out before attempting to use it again.7. DehumidifiersOne way you can significantly cut back on condensation is to put a dehumidifying pack in your camera bag. Just as you might imagine, these packs are designed to absorb moisture making your camera less likely to experience damage as a result of condensation.Lens cap manufacture BRNO make dehumidifying lens caps that have silica gel built-in. If you’re going to be doing a lot of outdoor cold-weather photography or filmmaking it might be worth it to get a few.8. Get a Coated LensMost modern day lenses come with special coatings that allow them to withstand the elements. This is especially important when shooting in cold weather as it is easy to get things like snow and condensation on the lens. If you’re considering renting a lens check out if it has a specialty coating on it.9. Winter-Proof CasesThere are a few winter-proofing camera cases that you can buy to protect your camera gear, including the Camera Duck which goes for about $130 on B&H. Camera Duck also sells large warmers designed to fit over their weather covers.Even if you don’t want to spend the money on a winter cover, a waterproof case is a worthwhile investment.Have any other tips for shooting in cold weather? Share in the comments below.
Web Influence on the Future of Music DocumentariesLearn from industry experts what the future holds for the music doc genre.Austin Convention Center – Room 153:30pm – 4:30pmCultural Connections: TV, Digital and the New MainstreamWhat does the future hold for media?Austin Convention Center – Ballroom E5:00pm – 6:00pmFor more information regarding any of these sessions check out the film section on the SXSW website. We’ll see you there.Are you going to SXSW 2015? Let us know what you’ll be attending. Saturday, March 14Hyper-Reality TV and Online Video are a Perfect FitMorgan Spurlock and Dermot McCormack share insights into the future of reality TV online.Austin Convention Center – Room 18ABCD9:30-10:30AMThe Future of Film Criticism: Diversify or DieHow does high-end film criticism fit in with an online audience?Austin Convention Center – 16AB12:30PM-1:30PMHacking Technology for Your Indie FilmNew technologies are ushering in new methods for distribution.InterConenential Stephen F. Austin – Capital Ballroom B12:30 – 1:30PMStudio Star Power: How Casting Really WorksLearn how Hollywood casting directors use talent to drive film production.Austin Convention Center – Room 17B12:30pm – 1:30pmCinema Culture: The Power of Communal ExperienceA curios look at how to film world should appeal to millennials.Austin Convention Center – Room 151:10pm-1:25pmWhy the Future of Film Depends on Social MediaIf your film isn’t on social media it’s dead. Find out how to effectively use social media to the filmmaking processAustin Convention Center – Room 152:00pm-2:15pmThe Link Between Social Media and Box OfficeHow do retweets translate to movie tickets?Austin Convention Center – Room 152:20pm-2:35pm A Conversation with Jeff Nichols and Michael ShannonJeff Nichols and Michael Shannon share how collaboration helped them create “Take Shelter” and “Mud”.Austin Convention Center – Room 16AB3:30PM-4:30PMDIY Filmmaking Tips and TechniquesPractical solutions for low budget films.Austin Convention Center – Room 153:30pm-3:45pmA Guide to Live Action 360 VR Filmmaking360 degree footage is helping to make VR filmmaking a reality, here’s a quick overview of how it’s done.InterContentnial Stephen F. Austin – Capital Ballroom B3:30pm – 4:30pmIs This Normal? A Look at Success in Indie FilmWhat does success look like in the indie-film community?Austin Convention Center – Room 17B3:30pm – 4:30pmStory of a Working-Class ScreenwriterLearn what a day in the life of a screenwriter looks like.Austin Convention Center – Room 153:50-4:05pm Tuesday, March 163D Printing in the MoviesLearn how Hollywood is using 3D printers to create props and sets.Four Seasons – San Jacinto9:30am – 10:30amHollywood to Silicon Valley: Making a MegahitWhat makes movies successful in the 21st century?Four Seasons – Ballroom AB9:30am – 10:30amThe Future of Concerts on TVConcerts are dwindling in popularity on TV, find out how industry experts are trying to save this genre.Four Seasons – San Jacinto11:00am – 12:00pmWho’s Going to Fund Your Web SeriesYou’ve got a great idea now all you need is some money to see it through, so where is that money going to come from?Four Seasons – San Jacinto12:30pm – 1:30pmBoyhood Post-Production: 13th Year of a 12 Year MovieHow do you edit a film that has 12 years worth of footage?Austin Convention Center – Room 16AB2:00pm – 3:00pmMaking Art While Entertaining the InternetHow to get mass audiences to enjoy your artistic work online.Austin Convention Center – Room 17B2:00pm – 3:00pmOther People’s Money: Investors and CrowdfundingYou don’t have to choose between investors and crowdfunding.Austin Convention Center – Room 9ABC2:00pm – 3:00pmSomething from Nothing: The No-Budget WayLearn how to create a film without a big budget.InterContinetal Stephen F. Austin – Capital Ballroom B2:00pm – 3:00pmIntellectual Property in Film and Interactive MediaWho REALLY owns your work?Austin Convention Center – Room 9ABC3:30pm – 4:30pmOnline Success Without Cat Videos or Crotch HitsThere’s a fine line between giving your audience what they want and losing integrity.Four Seasons – Ballroom AB3:30pm – 4:30pmShorts Filmmaker Meet UpMeet-up with other short filmmakers at the SFA Bar.InterContinetal Stephen F. Austin – SFA Bar3:30pm – 4:30pm Sunday, March 15The Cast of Community on Moving to DigitalLearn what digital distribution means for the cast of the hit show “community”.Austin Convention Center – Room 18ABCD11:00am – 12:00pmFor Hollywood, The Future is Not Evenly DistributedLearn how Hollywood creates scarcity in an online world.Austin Convention Center – Room 1512:30pm – 12:45pmTo Window or Not to Window: Film Release StrategiesThere are a lot of different ways to release your film in the 21st century.Austin Convention Center – 17B12:30pm – 1:30pmGoody Guys vs. Bad GuysWhy do audiences love bad guys in movies?Austin Convention Center – Room 1512:50pm – 1:05pmCan A Film Be Banned in the US?Free speech doesn’t mean movies aren’t censored.Austin Convention Center – Room 151:10pm – 1:25pm 10 Lessons From a Decade Behind the Scenes at PixarLearn how experts at Pixar help to create magical stories.Austin Convention Center – Room 17B3:30pm – 4:30pmA Conversation with Sally FieldAcademy Award winner Sally Field shares insights about her 50 year career.Austin Convention Center – Room 16AB3:30pm – 4:30pmHit A Home Run With Content Creation and StreamingHulk Hogan (I kid you not) shares how to create interesting and engaging content.Four Seasons – Ballroom AB3:30pm – 4:30pm Heading to Austin for South by Southwest? Check out the 64 can’t-miss sessions for filmmakers or video pros attending SXSW 2015.It’s that time of year again! Since 1987, South by Southwest has showcased the best in music, film, and interactive design, and this year is proving to be no different. Whether you are a filmmaker, screenwriter, or just an interested fan of film, SXSW 2015 will be an amazing opportunity to grow your skills and learn from leaders in the industry.This year, like years past, there will be hundreds of sessions, screenings, and events which is great – though it can certainly be overwhelming. To make the information a little more digestible, we’ve rounded up our favorite SXSW sessions for filmmakers. The list is ordered by date:Friday, March 13An Insiders Guide to SXSW FilmLearn how to maximize your time at SXSW with this helpful first day session.Austin Convention Center – Room 16AB2:00-3:00pmA Conversation with Ryan Gosling and Guillermo Del ToroA casual conversation with Guillermo Del Toro and Ryan Gosling, featuring discourse regarding Gosling’s directorial debut “Lost River”.Austin Convention Center – Vimeo Theater3:30-4:30pmFilmmaking Cues from Top Sports CinematographersLearn how sports cinematographer bring storytelling to the MLB and NFL.Four Seasons – San Jacinto3:30-4:30PMSuspension of Disbelief in Virtual RealityLearn how VR developers are helping to blur the line between artificial and reality.Hyatt Regency Austin – Zilker Ballroom 45:00-6:00PM Monday, March 16Breaking the Fourth Wall: Audience Participation in the Digital AgeLearn how new technologies are helping to make audiences a part of the filmmaking process.Four Seasons – San Jacinto11:00am – 12:00pmCanon Spotlight: The Cinematography of ComedyComedy masters share how they use modern cameras to help add laughs to their films.InterContinetal Stephen F. Austin – Capital Ballroom B11:00am – 12:00pmExploring Storytelling in the Digital AgeLearn a few new ways to tell stories in the digital age.Four Seasons – Ballroom AB11:00am – 12:00pmForget Screens: Immersive Content Lives EverywhereLearn how artists are using projection mapping to take video from screens to walls.Austin Convention Center – Room 18ABCD11:00am – 12:00pmHow Potato Salad Killed/Saved CrowdfundingA professional discussion about the future of crowdfunding.Austin Convention Center – Next Stage11:00am – 12:00pmCreating the Shows That We LikeLearn how ‘The Last Man on Earth’ is using unique concepts to make audiences laugh.Austin Convention Center – Room 16AB12:30pm – 1:30pmA Drama Nirvana: How to Create a Multiplatform HitYou don’t have to just get your film in theaters for it to be a success.Four Seasons – San Jacinto12:30pm – 1:30pmFinding A TV Partner in A Digital WorldJust because we’re in the digital age doesn’t mean there aren’t benefits to distributing your docs to broadcasters.Four Seasons – Ballroom AB12:30pm – 1:30pmFor Those About to Lock: The Editing WorkshopLearn how to fix mistakes in the editing bay.InterContinetal Stephen F. Austin – Capital Ballroom B12:30pm – 1:30pmHow New Technology is Changing War Zone FilmmakingLearn how filmmakers make powerful films in disaster zones using only a camera.Austin Convention Center – Room 1512:30pm – 1:30pmIndependent Directors on Working with ActorsA relationship between director and actor is vital.Austin Convention Center – 17B12:30pm – 1:30pmTool-Kit for Crafting an Interactive DocumentaryA quick guide to interactive web-based storytelling.Austin Convention Center – Austin Suite12:30pm – 1:30pm House of Cards from Page to ScreenScreenwriter Beau Willimon shares how took “House of Cards” from page to screen.InterContinetal Stephen F. Austin – Capital Ballroom B3:30pm – 4:30pmHow to make a LAIKA Film In 300,000 Camera ClicksLearn how animators from Laika created The Boxtrolls, ParaNorman, and Coraline.Austin Convention Center – Room 153:30pm – 3:45pmInternational Filmmakers Meet UpFilmmakers from around the world meeting together to build relationships and network.InterContinetal Stephen F. Austin – SFA bar3:30pm – 4:30pmHand-drawn Animation: Magic Between the SheetsLearn how hand drawn animation brings classic animation techniques to the 21st century.Austin Convention Center – Room 153:50pm – 4:05pmPixar’s LAVA: Telling a Story Through SongLearn how Pixar uses music to tell the story in their latest “Lava” short.Austin Convention Center – Room 154:10pm – 4:25pm Art of Amazing: 4K Film from Conception to ViewingLearn how 4KAustin Convention Center – Room 152:00pm – 3:00pmHow Next-Gen Filmmakers are Changing HollywoodLearn how services like YouTube are changing the film landscape.Austin Convention Center – Next Stage2:00pm – 3:00pmSound Designing Authenticity in DocumentaryA discussion about creating believable soundscapes in documentaries.InterContinental Stephen F. Austin – Capital Ballroom B2:00pm – 3:00pmDIY Theatrical Distribution for Independent FilmsDistribution services are expensive. Learn what the distribution process looks like for indie-films.Austin Convention Center – Room 17B3:30pm – 4:30pmFilm Finance and Distribution in 2015Learn a few ways to distribute your film in 2015.InterContinetal Stephen F. Austin – Capital Ballroom B3:30pm – 4:30pmShould You Develop Your Film Into a TV Series?TV has come a long way in the last few years with more and more TV series taking filmic approaches to storytelling.Four Seasons Ballroom AB3:30pm – 4:30pmGame of Thrones: Creating Immersive EntertainmentLearn how the filmmakers of Game of Thrones brought their world to life on and off screen.Four Seasons – Ballroom AB5:00pm – 6:00pmInfinity and Beyond: Pixar and 20 Years Since Toy StoryA few things Pixar has learned in their 20+ years of animation.Austin Convention Center – Room 18ABCD5:00pm – 6:00pm
Stabilization devices such as a Movi or Steadicam aren’t always an option. Luckily, there are other ways to capture walk-and-talk shots smoothly.Images from EasyrigI’ve used both Steadicams and Movis countless times. Under the right circumstances, they by far offer the best solutions when it comes to covering a walk-and-talk shot. That said, having worked on many low-budget productions that couldn’t afford to rent a steadicam/operator package, I’ve learned to improvise with far simpler tools out of necessity.Typically I’ll default to one of these two options when attempting to shoot a walk-and-talk scene when I don’t have access to a Steadicam or Movi:1. EasyrigFor those of you who haven’t used an Easyrig — it’s a relatively inexpensive harness-like device that allows you to clamp your camera to an arm that extends over your head:The Easyrig isn’t intended to be used in place of a Steadicam. It was really designed to take the weight off the DP/Operator’s shoulders when shooting handheld material with a heavy camera. That said, in a pinch I’ve had to use one in place of a Steadicam and was able to get really solid results. It’ll never be as smooth as a proper Steadicam, but if you’re on a wide enough lens and take your steps carefully, you can get some great shots. Here’s a video from the gang at No Film School that covers some of the ins and outs of working with an Easyrig.2. Keep It on the SticksAlthough a traditional walk-and-talk/tracking shot is accomplished by literally walking with your talent, certain scenes can be covered just as effectively on a tripod. As long as your actors are walking relatively straight ahead and not rounding any corners, keeping your camera on the sticks may be the easiest and the most effective way to capture your scene without struggling with a messy tracking shot.You may choose to start on a long lens, straight back from your talent and simply pull focus as they walk towards you. Alternatively, you could start on more of an angle to the talent and pan with them as they start on frame right (facing camera), and cross all the way to frame left (facing away from camera). If you really want the tracking shot, here’s another tripod-based way to go about it that would work for a walk-and-talk scene, courtesy of Fenchel and Janisch:Neither of the above techniques is a replacement for a Steadicam or Movi, and I’d never recommend making any choice simply based on your budget. But in a circumstance where you absolutely need to cover a tracking shot, but just don’t have the means to do it, an Easyrig or simply shooting on a tripod are reliable options.Got any nontraditional, lo-fi, DIY camera stabilization tricks up your sleeve? Let us know in the comments below!
5:30 – Doors OpenAs fans enter the arena (in an alarming amount of red Blackhawks jerseys) we head to the elevator bay and go back down into the control room. The room is abuzz with chatter over little game-time details. Danby places his laptop into his bag, and together we walk out to meet with the game personalities to go over last-minute notes.As we turn the corner we encounter several players, like Tyler Seguin and John Klingberg, warming up by playing soccer in the tunnel. We walk past the team and head into a dressing room. There Danby meets with the Celena Rae, the on-camera personality that hosts game promotions and giveaways. She also leads the crowd in the STAR-Spangled Banner.We head back out into the tunnel and towards another elevator bay, which will take us to the media level. As we near the elevator, Danby gets word that they have found a fan in a Sharp Blackhawks jersey who is willing to exchange for the signed Stars jersey. We hop on the elevator and head up to the top level.In the press box we run into the arena DJ, Michael Gruber. “Grubes” and Danby talk about a few of the planned bits and the soundtrack for the game. The two are hopeful for a good game. “We should kill them tonight,” says Danby. To which Grubes replies, “Hope so. If not, [the production crew] will kill it.”Danby leads me down the corridor into his corner office. From here, he will direct the entire in-arena experience.6:00 – Warm-upsIt’s just after six o’clock and Danby is getting situated high above the ice. He shares the corner box with the lighting technician, who is already setup for the game. Danby stretches and then puts on his headset as fans are finding their seats. He has a direct communication line to the control booth, as well as specific crew members scattered throughout the arena.Danby hits the talk button to verify that the warmup video is ready and that the crew is set. He looks up to the scoreboard and notices that the nose of the Chicago logo is cutoff. He chuckles and calls down to visual effects director Jeff Neal to say he enjoys the little jest.6:18 – Danby calls for VIXI to go onto the video board. VIXI is a broadcast platform for social media. Fans can send photos of themselves at the game via Twitter or Instagram. Once approved by the staff, the images are sent into a revolving slideshow on the video board. The slideshow will play until production begins.6:20 – The first video of the night hits the board, an advertisement for the NHL, followed by a promo spot for Fox Sports. Beside Danby is a preview monitor showing the feed from four cameras, two font packages, and the Crossfire system — dubbed XFIRE A and XFIRE B. The camera crew is already on the hunt for Chicago fans in the crowd. When interesting characters are found, they will make note of the section number so they can cut to that fan later in the game.6:28 – Danby says it’s go time for warm-ups. We get word that the Stars players are walking out of the locker room. The lights go out. Cue Music – Cue Lights – Take Camera 1. We are now live as the players hit the ice for warm-ups. I leave Danby at his post and make my way back down to the control room for the first period.GAME TIME – First Period6:42 – In the control room, Terri McCormack is already calling shots, rapidly cutting between the four cameras that are up during warm-ups. Most staff members in the room are rocking back and forth in their chairs, dancing to the music in the arena. On the preview monitors, we see a child received an autographed hockey stick — the footage is immediately saved to be shown later during the game. The same goes for a family of three: the dad a Stars fan, mom a Hawks fan, and a baby at their first game.6:45 – Warm-ups are now over. The teams leave the ice and we cut to an XFIRE package with another NHL ad.6:50 – The director is calling for stats from the font operator, while also asking for a heads up when the player is on screen. The Zambonis are making laps as the previously mentioned Winnipeg and Colorado highlights play on the board. The highlights roll into a packaged interview with Patrick Sharp before returning to VIXI fan photos until the call comes in for the opening graphics.6:56 – Terri McCormack wishes everyone a good game and begins the countdownTen seconds! Five. Four. Three… Dissolve! Roll!Cue Crossfire and the Stars opening package plays. The lighting technician turns on the fog machines attached to the giant star lowering from the rafters. Once the star is in place, the crew waits for their signal.7:03 – I can see the players are lined up in the tunnel on the preview monitor. All of a sudden, the booth loses the feed from Camera 9. McCormack tells the cameraman to cycle his power.7:04 – “Now taking the ice, your Dallas STARS!” We cut to Camera 3. The crowd watches the back of Captain Jamie Benn exiting the tunnel and skating onto the ice. We cut to XFIRE for the player intros.7:05 – Camera 9’s signal comes back just as the national anthem begins. Celena Rae sings beside a military member, as the director cuts to Camera 9 for player reactions.7:07 – Dissolve to a graphics package as cameras move into their positions.7:08 – The puck drops and things get intense fast. Seconds into the game, the Stars are called for a penalty. The XFIRE Penalty Kill elements hit the video board immediately — but it doesn’t matter. Chicago scores thirty-four seconds into the game.Perhaps the most interesting note out of that rapid run: the crew still reacted as fans. They’re disappointed in the start, but still hopeful the team can quickly turn things around.During the stoppage after the goal, the director calls for a close-up shot of Jamie Benn. When the camera sets, they take the shot and add a lower third. They stay on Benn until the puck drops, and then they cut back to the TRUCK.That’s the standard routine for game play. During play, the TRUCK camera is primarily used. This wide shot follows the action of the ice. As soon as a whistle blows, they cut to a close-up for any of the other in-arena cameras. When a particular shot is needed, a call is made down to the camera crew to find a player.As the TRUCK is once again fed to the video board, McCormack calls, “Goose on the whistle. Find me Goose.” Goose is the nickname given to Stars defenseman Alex Goligoski. As soon as the whistle blows, they cut to a close-up of Goligoski and add a lower third with his game stats.During longer breaks, video bits start to roll.7:32 – The puck flies out of play. “Replay! Anyone got it?” asks McCormack. “Working on it. Ready Blue,” comes from the other side of the room. “Take Blue.” Blue is the name of the second replay desk. Out on the video board, the crowd can already see the replay in action.7:33 – During the stop in play, the director cuts to XFIRE. A previously taped video of the mascot beating up a Chicago fan plays as the cameras prepare to cut live to the fan giving up his Sharp jersey. The board goes live during the jersey exchange. The mascot, Victor E. Green, takes the Blackhawks jersey and begins to wipe his bottom. The entire booth starts to laugh and misses a cue for a cut. “Ah! Well, there goes the Emmy for tonight.”7:38 – “Damn,” echoes throughout the control room as Chicago scores for the second time.7:40 – Cheers erupt as Tyler Seguin scores for Dallas. XFIRE plays the GOAL elements on all the ribbon boards as the cameras cut to fans around the arena.FONTS! 91 Seguin Ready? Replay! Ready with the Seguin goal? Go!7:45 – Chicago scores a third goal. “C’MON!” roars from the back of the booth. With little time left in the first period, Chicago will head into intermission with a 3-1 lead.7:55 – Players leave the ice as XFIRE plays local advertisements until the replay team is ready.7:57 – The first period replays are now on the board.During intermission, the entertainment team will take the ice, as everyone in the booth resets for the next period. At this time, I exit the control booth to roam the arena for the remainder of the game.GAME TIME – Second and Third PeriodDuring the second period, I make my way down to the Zamboni entrance to catch the camera crew at work. Armed with a Grass Valley LDX 80 Series camera and an apple box, the cameraman stands at ice level catching many of the action shots.Opposite the Zamboni entrance is the Ice Girls entrance, where an in-arena cameraman captures both game footage and crowd reactions. As I head to his vantage point, a police officer asks my intentions. He finds it hard to believe I’m there to watch a cameraman and not the ladies. I’m pretty sure I’m the first person to ever say so. As luck has it, we score a great photo of the cameraman capturing footage of the crowd that is sent live to the video board behind him.The second period draws to a close. Chicago has taken a commanding 5-1 lead. I’ve kept my eye on the video board, only to notice that some of the extra jokes planned at Chicago’s expense have not been shown. They’ll be shelved for a later game against the team, one in which the Stars have a better chance.The second period highlights are sent to the video board, then the packaged “Chicago fans texting” video plays. The big reveal of a Chicago fan texting while on a blind date with a Stars fans scores big laughs.During intermission I head back up to the platinum level to catch Josh Bogorad live on Fox Sports. He is accompanied by a single cameraman and a producer timing out the commercial breaks.I make my way past fans and toward the broadcast booth as intermission wraps up. There I catch a reporter from WGN in Chicago finishing his recap of the first two periods.The rest of the booth is set up for Dallas play-by-play and color analyst duo Dave Strader and Razor Reaugh. At the center of the booth is a table at which the pair stands. They are not featured on camera during play, so they are free to watch their monitors and keep up with stats. On the edge of the broadcast booth are two barstools, a single Grass Valley camera, and two ARRI 650 lights.I finally make my way up to the 300 section to see the two cameramen up in the fixed locations high above the fans. From their vantage point, they use Grass Valley cameras with a Canon DIGISUPER 76 or Fujinon DIGIPOWER 99 lens to capture the games. These two cameras are semi-permanent and used for both Dallas Stars and Dallas Mavericks games. As soon as the third period draws to a close, the cameras are covered and locked in position.The video board returns to a graphics package as fans exit the arena. It’s then I check my phone to see that the NHL Facebook account has already shared video of Chicago’s third goal.Just after midnight, the Dallas Stars have shared the Inside Edge video recap. By eleven o’ clock the next morning, the Stars Facebook page shares links to the game recap, post game interview with Coach Lindy Ruff, and final thoughts from Razor.Final NotesThough it was a tough loss for the team, the media department still offered fans quite a few laughs throughout the game. The speed of their production is nothing short of amazing, as this crew has every little detail down. By the time the recaps hit the web, they prep for their next home game.Production wise, this crew showed off tremendous talent. The culture has grown out of the leadership of both Jason Walsh and Jason Danby. The two make a very strong case for being the best producers in the league. The Dallas Stars invite PremiumBeat to an exclusive behind-the-scenes look at the video production and broadcast of an NHL hockey game.Images from Caleb Ward, PremiumBeatIt’s just past noon in Dallas, Texas. Tonight the Dallas Stars take on their division foes and defending Stanley Cup champions, the Chicago Blackhawks. This year, the Stars have been atop the league in a dominating form not seen in Dallas in decades.Though the team has seen its ups and downs the past few seasons, either just missing or barely making the playoffs, one thing has been consistent — the fantastic media team. From in-house video production, broadcast, and even social media, the Stars are seemingly unrivaled in the delivery of their content.Few NHL teams, like the LA Kings, have kept fans as engaged and entertained as the Stars. Perhaps the most well known thing about the media team is the constant stream of jokes coming from the Stars jumbotron.With all the excitement in the back office, tonight’s game resembles the potential playoff match this game will become. The following is a recount and inside look at what it takes to bring such an exciting match to the fans in the arena and to those watching at home. This is a look at the NHL Dallas Stars game day video production.12:30pm – ArrivalI’ve just arrived at the American Airlines Center (AAC). The venue was recently named the 4th busiest arena in the United States and 10th busiest in the world. Deep in the heart of Texas, the AAC hosts hundreds of events and concerts every year, as well as playing home to the NBA Dallas Mavericks and NHL Dallas Stars. The success of the venue has allowed them to constantly upgrade the arena with the latest tech, much of which I will soon get a glimpse of.I walk over to the administration doors and head through security. Upon entering the building I am met by the Senior Director of Game Presentation, Jason Danby. Danby will be my guide for the day, showing me around the arena prior to puck drop.A little bit on Jason Danby – He worked on sports game day packages throughout college, creating elements for football, basketball, swimming, and other sports. He landed a job with the Dallas Stars as an intern in the Public Relations department. He would later move into a role as a video editor with the team, working his way up to his current position. He just started his tenth season with the Stars.Danby leads me towards the control room, which is located on the ground floor underneath the north side of the arena. Directly over my head are sections 112 and 113. The tunnel is currently housing all the additional seating used for basketball games. We walk past some vending machines and the elevator bay, making our way into the control room.We enter a tech mecca absolutely filled with screens, workstations, a seemingly endless array of data servers, and a switcher board only rivaled locally by AT&T Stadium – home of the NFL Dallas Cowboys. Danby tells me that the success of the venue allows them to have equipment many sports teams only dream of. It also doesn’t hurt that the Dallas Mavericks share the space, as Mavs owner Mark Cuban is known for his dedication to creating the ultimate fan experience.It’s still early for a 7:00pm game, so the control booth is mostly empty at the moment. Danby and I jump into conversation, as this is the only downtime he will have today. We talk about his time working video boards in college and his growth with the Stars organization. For those of you with no knowledge of the franchise, Danby joined the Stars in the middle of a tumultuous decade.His first year with the team was after the NHL owner’s lockout of 2004-05. The lockout left a large impression on him, as he saw the team struggle to get fans back in the stands after an entire season without hockey. Unbeknownst to Danby at the time, those years would be incredibly formative in regards to fan engagement.As the years progressed, the Stars fluctuated as a team. They once reached the conference finals in 2008 and later flirted with playoff births, ultimately unsuccessful most years. In 2010, then-owner Tom Hicks’ company defaulted on a bank loan backed by the Stars and interest in the American Airlines Center. The team went bankrupt and was then managed by the National Hockey League. The Stars were auctioned off and purchased by Tom Galgardi, ushering in a new era for the team.When Danby switched into a production role, he was one of only a handful of crew members in the media department. Since the team found new ownership, the entire franchise has benefitted — and the media department has grown enormously. Danby is quick to credit his own boss, Jason Walsh, for the growth.Image via TM TelevisionJason Walsh has been with the Dallas Stars for nearly twenty years, now serving as the teams Vice President of Broadcast and Entertainment. Other teams in the NHL only manage their internal video production, and leave the television broadcast to a regional station. Walsh heads both the in-arena team and the broadcast team, something that sounds like it shouldn’t work — but in Dallas it somehow does.All video production, as well as radio and arena entertainment, goes through Walsh. On game days, Jason Walsh will work the broadcast truck as the lead producer and Jason Danby will run all in arena video and entertainment. Back at the team’s headquarters in Frisco, Texas, Walsh’s office is part of the media department cave. That office has grown under his leadership. Where the team would once hire contract editors and video producers, the Stars now have full-time employees in house.Quick side note on the office location: Frisco is 35 miles away from the arena, meaning the staff has to be incredibly prepared with all elements. The team uses XD discs, a VPN, and external drives a majority of the time — so if something is left behind in the office, it would take a staff member at least an hour to bring the material to the arena.Editors like Jerry Miranda, Hunter Harrington, and Kevin Harp produce hundreds of hours worth of content. In the office, a majority of the work is done in AVID on the ISIS server. The server includes footage from the past decade, while older material is archived on discs in storage. Additionally, editors have the Adobe Create Cloud, allowing them to do quick work in After Effects if needed.Miranda is known to edit videos with a “lot of heart and emotion.” He often produces the major opening videos seen on the center hung video board. Harp and Harrington produce many of the video bits and interviews seen in-arena. Harp also works as the production editor during games, working the Crossfire broadcast system that sends all element packages to the board. Many of those elements include the fantastic graphic packages rendered by Jeff Neal, the teams Director of Visual Effects.While Danby and I are deep in conversation, Kevin Harp has been loading all the footage into Crossfire — working with the audio technician to verify all that elements with sound are functioning correctly. For example, if a referee blows a whistle, Harp will have the Power Play graphics package ready to hit all of the boards. This includes the center hung boards, the ribbons around the arena, and the two large boards on the north and south sides.Also in the room is Shae Bryan, the production coordinator. She is currently finalizing minor details in the scripts and timelines. I can see her verifying the schedule, ensuring a future game is indeed at 7:00 and not 7:30. These are the little details she will hand over to the broadcast duo of Dave Strader and Daryl “Razor” Reaugh.As the four of us sit in the control room, I ask when we should expect the rest of the crew. I’m told “any minute now” — realizing that time had already been flying by.2:00 – Call Time for CrewAs we await the arrival of the crew, Danby and I get into the creation of content. He explains the creation of his “11 Parameters” that were born out of the NHL lockout. He tells me about the first time he sat down and went through every single game day element that had been produced up to that point. If he had no emotional response, he immediately killed it.At the time, the team was simply listing information on the video board. List of starters, scratches, opponents rosters, safety warnings, etc. All of that content was removed. He tells me that shows can get cluttered really quick, so the ineffective stuff was to be removed and replaced with player content.This is one of the biggest steps the media team first took. Instead of showing a list warning fans to watch out for flying pucks, they filmed a player issuing the warning. That content worked on two levels. It accentuated the warning and got fans to pay attention, while also showcasing the player.Those videos worked and have since spawned dozens of other player segments played throughout games. The freedom the media department has allows them to take more risks. As they have received such positive reaction to their risks, they’ve been able to push the envelope further. This is where other teams in the league (and other leagues) struggle to compete with the Dallas Stars.This is show business. If it’s not entertaining, it’s not good. You have to find a way to may things entertaining. Most other teams lose it because of how corporate it is.The 11 Parameters include plenty of check points like “informative, entertaining, hockey-centered,” but most important is sponsorship. Content that is sponsored is guaranteed to play over bits that they may or may not have time for. By having so many players featured in segments, the team has found sponsorship increasing. That said, producing player content has to be scheduled months in advance.Content for the entire season is planned in the summer months, just after the NHL releases the schedule. They set focus on division rivals first, determining ways to poke fun at the team. It should be noted I said team, as the media department does enforce their own rules in regards to their jokes. They don’t identify individual players on the opposing team. They pick the appropriate way to make the best jokes without using adult humor. They know to push the line, but not cross it. If the Stars suffer a tough loss, fans can still leave the arena with a good bit or joke.After divison rivals, the Stars set eyes on other opponents. Recently they have taken to poking fun at the teams from Canada. They gained national headlines for their jokes about Justin Bieber’s arrest when playing the Toronto Maple Leafs. Against Vancouver, the Stars tortured their own fans by only playing songs by Canadian natives — Nickelback. Danby tells me that the Stars players were trying not to laugh after four songs – in total they played twelve.Tonight the team has a packaged bit targeting Chicago fans. When the Blackhawks last played in Dallas two months prior, the media team sent a camera man into the stands to capture Chicago fans texting on their phones. Tonight, they will premiere a bit showing what Chicago fans were typing on their phones.The success of the bits have also allowed more joke content produced with players. A majority of the player videos are shot during Media Day. Players like Antoine Roussel, one of two French born hockey players in the NHL, hosts Cinema of Antoine, in which he jokingly reviews classic French films. The Stars also have two goaltenders from Finland. Together they speak in the native tongue in Words With Finns. The goal is to get fans to guess what they are saying. Most recently the players said (in Finnish): “Words with Friends isn’t that popular anymore, but this is a great pun.”Danby tells me that the media team can never lose sight that this is all about the team and the players. The added benefit of this content — it appeals to the part of the crowd that is immune to sports.It’s a variety show. The video team is the wingman. We get [the players] to look good. Highlight them, or when they are down cause a diversion.The crew members are starting to arrive. One of the first to walk in is director Terri McCormack. Terri has called over 1000 Dallas Stars games. (She also directs the massive video board for the Dallas Cowboys, as well as countless television shows.) During the game, Terri is the one actually calling the shots. She will direct the entire crew in the control room and the in-arena camera crew.McCormack has a choice of nine camera angles during the game. Several camera crew members will be shooting with an array of Sony XDCAMs, including the Sony PDW700. Danby tells me that “XD is the way to be” and that he and Jason Walsh have been trying to make XDCAMs the standard within the NHL and Fox Sports. The team also just purchased a new Sony HSC-300RF. The camera crew also uses a Canon 7D to capture fan footage for bits. Additionally, GoPros are mounted in each of the penalty boxes.A majority of the crew has now arrived. The replay crew has jumped into editing highlights from the previous games against Winnipeg and Colorado. They are using the EVS replay system to create the content that will play prior to the game. They notice not all the footage is available, so Danby heads down to the broadcast truck to grab a copy of the game. He’s back in two minutes. Work continues immediately.Next to enter is font operator Ben Rebstock, who quickly grabs a seat and opens up Lyric Pro. The program allows him to edit all the text that will appear on screen. He immediately gets to work typing the names of the referees, starting players, and the Happy Birthday list. The text elements are layered over live video footage, Crossfire elements, or used to create original images. Rebstock is behind many of the humorous lists the Stars have become known for.3:00 – Birth of a BitNow that all of the crew has arrived, Danby announces that they will be shooting a bit in the control room for next week’s game on Valentine’s weekend. The premise is a contagious disease causes people to sexually play an inflatable saxophone to the tune of George Michael’s Careless Whisper. A prepackaged bit will play before cutting to live footage of the mascot handing out inflatable saxophones to the crowd, ultimately ending with a font package wishing fans “a very saxy Valentine’s day.”This will either be the worst bit, or a 6 out of 10.If the jokes don’t work in the edit, they will kill it. Without question, the whole crew is ready to get in on the shoot. They know that they have to really embrace it to sell it. For the next thirty minutes, Hunter Harrington shoots the crew with the Canon 7D. He will be the one ultimately responsible for shooting and editing the piece.After they wrap the bit, each crew member finishes up their final duties before heading to lunch. Terri McCormack meets with the replay crew to go over timing. The font packages are finalized, and the Crossfire system is all set for the game. Before heading to lunch, Danby makes a quick announcement praising one of the team members for their hard work over the last week. He hands them a game-used puck from the last Stars game.4:00 – Lunch BreakWe leave the control room to walk down the corridor to the lunch room. I stand in line with a cavalcade of staff members, from the facility crew to broadcaster Razor Reaugh. I grab some tilapia and veggies and head to a table to sit with Danby and some arena staff members. Over dessert, Danby tells me about all the little details that go into every game.It’s weird to plan so much ahead of time. But if something goes wrong, it’s my fault.It’s then I hear of the plan to find a fan wearing a Patrick Sharp Chicago Blackhawks jersey. (The Stars acquired Sharp from Chicago during the offseason.) The goal is to get a fan to take off their Sharp Blackhawks jersey and exchange it for an autographed Sharp Stars jersey — and of course catch it all on camera. After lunch, Jason Danby and Hunter Harrington convince me to be part of the Valentine’s Day bit. The original idea was to have me walk up to a ticket booth to purchase tickets for the game, but in an inspirational moment — the bit drastically changes direction. They want to convince the television broadcast crew to be part of the Valentine’s video. Without second guessing the idea, they grab the camera and we head up to the platinum level.5:00 – The Broadcast BoothThe platinum level is the middle tier of the arena. The section houses many of the venue’s box seats and corporate-sponsored bars and dining areas. It also houses all of the broadcast booths. On one side of the arena is a section for the play-by-play and color crews, and the north end houses the Fox Sports television booth.The Fox Sports booth is a semi-permanent fixture in the arena. The booth has a high-end broadcast table, a Sony HXC-100 affixed to a tripod, and two FloLight FL-220AW lights on each side of the camera. There are three large monitors — one used by the camera man, one used by the announcers, and one affixed to the table.It’s at the Fox Sports booth that I am introduced to Josh Bogorad, the television host of the Stares pre-game, intermission, and post-game reports. Together we will quickly shoot a part of the Valentine’s Day bit. Though he is initially hesitant, he soon buys into the concept. We wrap in a matter of minutes.As we pack up, a cheer of “STARS!” echoes from below. It’s the American Airlines Center staff moving into position as they prepare to open the doors.
High frame rates don’t always work well on the big screen, but they’re transforming the field of travel videography.Cover Image via Jacob + Katie Schwarz.When The Hobbit: An Unexpected Journey premiered several years ago, many cinemagoers noted that the film felt “different”: “It’s like being on a film set in person: all of the magic is lost. You get to see behind the curtain, and you’re no longer under a spell,…” “It looked too real,” and so on. These reactions are due to The Hobbit‘s frame rate of 48fps instead of the industry standard of 24fps. Filming at a high fps is also known as a high frame rate or HFR for short.The reason HFR looks more real comes down to motion blur — more precisely, the lack of it. The images, especially those with fast movement, look a lot sharper. Peter Jackson noted that he wanted an immersive experience, and many found the experience too immersive. It was almost as if the film disallowed suspension of disbelief. As James Cameron said, “3D shows you a window into reality; the higher frame rate takes the glass out of the window.”Despite all the reasons for using 48fps, the choice drew criticism, and in the industry, talk about how cinema could move forward with 48fps died down significantly (save for James Cameron and Peter Jackson). There are some aesthetics, like the motion blur that comes with 24fps, that are irreplaceable.However, while it looks like cinema will abandon HFR, for the time being at least, there is one genre of filmmaking that I believe benefits from HFR: travel videos.A travel video or travel vlog takes the viewer to the other side of the world for a glimpse at what life is like over the horizon. The video above from Jacob + Katie Schwarz could very well be one of the best examples of this notion.Watching the video at only 1080p on a 26-inch monitor was enough to project a sense of realism that I haven’t felt before. Let’s not overlook the fact the filmmakers used the Red Helium sensor and 8k resolution. The dynamic range coupled with the clarity of 8k attributes creates the beautiful imagery. The crisp detail, the vibrant color, and the fantastic cinematography all make this video an excellent example of travel videography. However, the feel of the footage derives directly from the 60fps frame rate. As one YouTube commentator has said, “HD 60 FPS is Amazing, 8k 60 FPS is like real life!” This leads us to wonder: has HFR found its place in travel videos? There are plenty of beautiful travel videos that crowd YouTube, but many have been shot like a film: 24fps, letterboxed, creative color grading. The results are a far cry from reality. If HFR removes “the window,” then it is the next best thing to actually being on location.What are your thoughts? Do you think the 60fps ruins the beauty of the short segment, or do you think that it helps bring you one step closer to the location? Let us know in the comments.For further reading on the science of HFR, I recommend these articles.The Science of High Frame Rates, Or: Why ‘The Hobbit’ Looks Bad At 48 FPS48 FPS and Beyond: How High Frame Rates Affect PerceptionWhy movies look weird at 48fps, and games are better at 60fps
Today we’re going to look at Accusonus’s ERA 4 Pro bundle and discuss how it operates within Resolve, focusing specifically on noise removal.As a solo filmmaker, I do my best to steer away from audio noise removal, as I’m never able to produce adequate results. As a result, I end up with a limited setup. Without a boom operator, I’m forced to tighten shots, keeping the mic in close to pick up that pleasing audio.However, I’m still prone to mistakes. In my recent short film (linked below), I made a slight…hiccup, should we say.Hopefully, you shouldn’t notice the issue (although I still can). But, upon recording the scene with the actress, I was misreading my audio levels. We’ll blame my incompetence on bright sunlight, lack of coffee, and filming in a rush before the car park filled with beachgoers. In doing so, I accidentally had my headphone level up and audio gain decreased. As such, it sounded like the actress was more than audible. But, if I had correctly checked the levels, I’d have noticed the gain was inherently low. Her voice levels recorded at around -30db. As a result, I needed to increase the volume in post, which also increased the noise — primarily that of the road and the windy tree.One of the primary aspects veering me away from any form of post-audio processing is that, well, I’m not that versed in advanced elements of audio processing. Give me a noisy image, and I’ll have those blacks rendered noiseless in a few minutes. Audio needs fixing? How about we crank up the soundtrack for this scene.ERA 4 OperationsI got my hands on the ERA 4 Pro bundle from Accusonus. So, we’re going to look at how it operates within Resolve, but specifically the noise removal. Of course, a few years back, Resolve added the Fairlight page. It’s a dedicated audio page that also came with its fair share of audio tools. However, if new users think the edit page has a steep learning curve, the Fairlight page is a different creature. While you can still add Fairlight plugins on the edit page, the controls are daunting for someone who isn’t versed in audio tools. ERA 4 looks to solve that with a simplistic approach to the design of the plugins and how the controls operate.They say,Say hi to the ERA Bundle Pro 4! Multi-patented, next-generation audio repair tools that offer both fast and high-quality processing. As a professional in post and music production, you deal with impossible deadlines. Our smart tools will help you save tons of studio time by doing most of the work for you. Get access to the fastest repair technology for complex audio issues.We’ve already covered a full breakdown of all the tools within the ERA 4 bundle for Premiere Pro — reviewed by Charles Yeager — and you can find that here. In Charles’s review, you can hear clear examples of every tool found within the ERA 4 bundle and how they perform. I think it’d be somewhat redundant to do another review in Resolve, because it performs exactly the same and looks the same as in Premiere. We’d essentially be reviewing the same beer but in a different restaurant.Instead, I want to look at how Resolve’s built-in DeNoiser compares to ERA 4’s in the level of simplicity.DeNoiser: Resolve vs. ERA 4This is the audio clip with nothing but a gain increase of 16db.Audio Playerhttps://s3.amazonaws.com/pbblogassets/uploads/2019/11/26053505/Audio-Poor-Quality.wav00:0000:0000:00Use Up/Down Arrow keys to increase or decrease volume.The audio would have worked if this scene was of an actress on a park bench. But, she’s inside the car with all the windows up, so it’s a little too noisy.You can apply both effects on the edit page by opening the effects library and scrolling down to the Audio FX panel. You’ll find Resolve’s built-in Noise Reduction under FairlightFX, whereas the ERA 4’s Noise Remover will be under VST Effects. Resolve’s DeNoiser isn’t bad at all. It’s great! It is, after all, a Fairlight VST. It’s just not very new user-friendly. When added to your audio clip, here’s how it looks. (Side note, you can get this pop-up box to open again by finding the effect in the inspector panel.)The graph provides a spectral analysis of the intended auto.We have a visual pop-up, If you tend to stray away from audio-based UIs, this can look like the operation controls to the Millennium Falcon. So, let’s break it down. The graph shows a spectral analysis of the audio being targeted — the purple/pink line represents the noise being focused.Underneath, the settings are divided into three sections: detection, soothing, and output.The threshold relates to the signal-to-noise ratio. Audio with a weak audio signal will require a higher threshold value.The attack is a setting primarily used in auto speech mode, and will control the duration in which the noise profile is analyzed.Sensitivity affects the value of the detected noise profile. Higher sensitivity means more noise is removed, but also more damaging to the audio needed to be kept.Ratio controls the attack time of the signal profile.The frequency smoothing will smooth the signal to compensate for harmonic ringing in the audio, after the noise has been removed.Dry/Wet controls the output mix of “dry” (or original signal) to “wet” (or processed signal).Makeup Gain is the tool you can use to compensate for the audio level that may be lost due to the noise reduction operation.There are also built-in presents based on various factors, and you can toggle to listen to the noise only.Again, it’s a great tool. Audio itself is anything but simple and requires just as much work as the visual. For new editors — or those slightly outside of the audio realm — it’s somewhat complicated. You can get excellent results, but quite like balancing a gimbal, it takes a lot of precision-balancing with the tuning knobs.This is the result.Audio Playerhttps://s3.amazonaws.com/pbblogassets/uploads/2019/11/26054510/Resolve-Fixed.wav00:0000:0000:00Use Up/Down Arrow keys to increase or decrease volume.ERA 4 Noise RemoverConversely, the ERA 4 Noise Remover ultimately simplifies the process while maintaining a high level of noise reduction.The ERA 4 Noise Remover will appear as a one-knob pop-up UI when you add it to an audio clip. It’s simplistic and automated. As stated by Accusonus,Most of the time, you don’t have to do anything else. Just dial in the amount of processing you want, and you’re done! But, is it as simple as that?The processing knob allows you to alter frequencies.Honestly? Yes.The value of the processing ranges from 0 to 100 percent, and the only task the user needs to do is refine that amount. However, underneath the processing knob is a selection of processing frequencies you can use to fine-tune the noise removal. For example, if the noise is the low rumble of vehicles from a distant road, select the low-frequency focus. An annoying hiss? Select the high-frequency focus. Alternatively, if the noise in your clip is the discrete but noticeable hum of an AC unit, hit the power icon.I usually love to demystify tools that “does exactly what it says on the tin” because, often, they don’t. However, the ERA 4 Noise Remover does precisely what it professes to. I’d love to know how, but they state that,Based on the multi-patented Accusonus noise suppression algorithms, Noise Remover simply works and allows for efficient removal of the most common noise sources.So, perhaps it’s a tightly guarded secret. While the bundle does come with a cost, it certainly jumps straight over the complexity of Resolve’s Noise Remover.This is the clip with ERA 4’s Noise Remover.Audio Playerhttps://s3.amazonaws.com/pbblogassets/uploads/2019/11/26054024/ERA-Fixed.wav00:0000:0000:00Use Up/Down Arrow keys to increase or decrease volume.I’d argue that the ERA 4 Noise Remover is a lot cleaner than Resolve’s. Resolve sounds like it removed a little too much high-frequency signal from the actress’s voice. Again, I would presume that it’s possible to get this level of noise removal from Resolve, you just need a better understanding of the audio workflow and interface. For those, like myself, who are not versed in this practice, the ERA plug-in is a great alternative.Now, to remove that distracting clicking noise. The road never ends.Cover image via Accusonus.Looking for more pre- and post-production tips? Check these out.A Guide to Structuring Your Scripts and ScreenplaysAn Introduction to Creating Great Video ThumbnailsThe Top 3 Ways to Shoot Vertical Video of Your Film ProjectThe Pros and Cons of Forming a Production CompanyThe Rise of TikTok and What It Means for Digital Video Producers
It doesn’t matter that you failed. It doesn’t matter that you lost the client, lost the opportunity, or lost the job. It doesn’t matter that you did your best and that your best wasn’t good enough. The events or the circumstances that led to your failing don’t matter either. There are only three things that matter now.First, you need to derive any lessons you can from your failure. The price of an education is experience. And the price of experience is failure. What did you learn?Second, it matters that you pick yourself up, brush yourself off, and step back into the arena. Your past performance isn’t necessarily indicative of your future performance. Lots of people failed countless times before finally breaking through. But to succeed in the future, you have to try again.But the most important thing I saved for last: You can’t lose your mojo. You are a value creator. You live by the Value Creator’s Code. Because you are a value creator, it’s time to reengage with the world and the opportunities in front of you with all the confidence in your abilities that you had when you tried and failed. It’s time to step back in with all of your mojo, all of your confidence. It’s time to reengage your head, your heart, and your guts. All of these things are still alive inside you. Or they could be.The world is waiting for you to make a difference. We’re counting on you. A lot of people are counting on you. Get your mojo working.
Podcast: Play in new window | Download (13.0MB)Subscribe: Apple Podcasts | Android | Email | Google Podcasts | RSSDr. Bob Wright has spent most of his life studying what it takes for human beings to transform themselves. I ask Bob about the differences between change and transformation, what it takes to liberate oneself, and how one develops new beliefs to replace limiting beliefs.Show NotesDr. Bob WrightTransformed: The Science of Spectacular Living (affiliate link)
People have a tough time deciding to change. Until they don’t. When their dissatisfaction reaches threshold, they make the decision to change very quickly.It is difficult for groups to make decisions. The more dysfunctional the group, the more difficult it is to gain consensus. The more aligned the group, the easier it is for them to reach consensus. An aligned group doesn’t have to have unanimity.In some groups, a powerful leader can pretend to gain consensus by holding meetings and allowing people to pretend to be part of the process. They know they are pretending. This provides you a glimpse into your future.The most vocal person in the room is often the leader, but isn’t always the most influential person. The person in the group that leaders and others ask questions is often the most influential.The person who remains quiet in group meetings is often the person who is most vocal when they are with a single person outside of a group. This secret agent can very quietly sabotage a change effort.The fewer people with a compelling reason to change, the less likely it is the change is made. People have a difficult time understanding how another person’s compelling need to change is also their compelling need to change.The number of people required to approve change increase in proportion to the size, the complexity, and the risk of that change.People who are left out of decisions often oppose a decision to change because their needs were not considered. This is true even when there is no reason for them to oppose that change.It is still possible for one person with authority to make a decision to change. When a decision is important to a larger group, the execution of that change is more difficult in proportion to the number of people who were left out of that decision.Some groups have trouble making a decision to change rely on an outsider to make the decision for them as way to eliminate the messy process of building consensus. This doesn’t eliminate many of the challenges, but it does sometimes allow the change to occur.When helping a group change, and outsider will sometimes unknowingly and unwittingly be used as a pawn in a proxy war. The outsider may be unaware he is making enemies.
We don’t like people who are inauthentic. We don’t like phonies, frauds, or fakes. We like people who are real, honest, and congruent.We also don’t like to do business with people who are only telling us what we want to hear so they can make a sale. We don’t appreciate someone using what they know about us to manipulate us, persuade us, or coerce us into taking action—especially for their gain.Do You Know MeIntimacy is difficult to automate. The fact that computers now know more about you than your doctor, your lawyer, your priest or rabbi does not mean that you have any level of intimacy with the company who owns the data. You may love Facebook, but it doesn’t love you back. Intimacy is something uniquely human, or at least limited to sentient beings, and something that isn’t easily replicated.The recommendation engine on an online bookstore isn’t the same as Brian calling to tell me he found a signed, first edition of Richard Nixon’s autobiography.Do You CareThe pre-written email that is sent after a computer determines that there is something of note in your communication that calls for an empathetic response is not the same as a phone call from a human being that personally reaches out to you.Empathy isn’t something that can be outsourced to microchips.Prospecting CampaignsThere are some communications that are so transactional that they can be automated, like communications that give you information without requiring any real conversation. Sales campaigns, especially campaigns designed to acquire a commitment for time, require a real conversation. That conversation is the only way one party can address the other party’s concerns. Automation isn’t conversation.Because something is possible doesn’t make it the right choice. More still, like or not, you are telling your prospective client how you feel about them when you automate what should be human. You are projecting that you believe they are a transaction, and not a human.As long as you are selling to humans, sell like a human. Essential Reading! Get my 2nd book: The Lost Art of Closing “In The Lost Art of Closing, Anthony proves that the final commitment can actually be one of the easiest parts of the sales process—if you’ve set it up properly with other commitments that have to happen long before the close. The key is to lead customers through a series of necessary steps designed to prevent a purchase stall.” Buy Now
Two bomb blasts rocked Moreh, Manipur’s border town on Saturday night. Police said that the first blast took place at 9:30 p.m. at the perimeter wall of the police station in the town. The second blast was reported at midnight at Gamnom Veng inside the town. There was no casualty.Police said that of late there have been several blasts at Moreh and nearby areas and Tamu, a trading centre in Myanmar.On Thursday L. Soshindro, the parliamentary secretary (Home) was attacked when he had gone to Kotha near Moreh to inaugurate a religious festival. Four policemen were injured in the twin blasts.Earlier, two troopers of 165 Territorial Army were killed and two others wounded along Trans Asian Highway No. 2 that leads to Moreh.There has been no claim by any insurgent group. The latest blasts come shortly after the condemnation of the Kotha blasts. People of Moreh had also protested with a 24 hour general strike in protest against the blast at Kut ground near the police station.Police say that efforts are on to establish the identity of the insurgents behind the blasts and their motive.
Veteran leader Shankersinh Vaghela, who quit the Congress two days ago, on Sunday resigned as Leader of the Opposition in the Gujarat Assembly. Mr. Vaghela sent his resignation letter to Congress president Sonia Gandhi.In his letter shared with the media, the former Chief Minister alleged that he was forced to take this “tough decision” as some Congress leaders were conspiring against him ahead of the Assembly polls, expected to be held in Gujarat in December.Mr. Vaghela, who joined the Congress in 1998, claimed that just as some Congress leaders had conspired against him in 2009, when he lost the Godhara (Panchmahal) Lok Sabha seat, attempts were made to oust him from the party in recent times.“As I can see right now that once again history is repeating itself, as a well-planned conspiracy,” the letter said.
Chief Minister Devendra Fadnavis appealed to citizens to be the security forces’ eyes and ears to prevent a terror attack like 26/11. “India has always showed its strength and has given a clear message that we are ready to fight and defeat any kind of aggression. I sincerely appeal to all citizens to be vigilant and become the eyes and ears of our police and security forces,” he said at a function held at the Gateway of India on the ninth anniversary of the terrorist attack on Mumbai. Speaking with the Taj Mahal Palace hotel in the background, one of the main targets of the 26/11 attack, Mr. Fadnavis said, “Hotel Taj, the victim of the biggest terror attack at that time, is still standing with the same magnificence. It tells the whole world that terrorists and their supporters might be finished, but India will remain unhurt.”Praising the security forces, he said, “Our soldiers have the capability to give a fitting reply to attackers. After the military action in Doklam, India is being seen as a strong nation in the whole world. Our soldiers deserve the credit of making this country one of the most powerful one in the world.” The BSF had also organised a car and cycle rally by Divyangs, which set out from India Gate in New Delhi on November 14 and ended at the Gateway of India on Sunday. Addressing a function at the Bombay Stock Exchange (BSE), Mr. Fadnavis reiterated the need for alertness. “Over the last two years we have improved our security systems, provided better weapons to the police, bulletproof vests, improved co-ordination among police, Army and naval forces. I feel that both the State and the Central governments will continue to do more, but it is also important that the citizens act as the eyes and ears of the government. We are using fisherman and people living on the coastline as our eyes and ears,” he said.
Pune: In a case of suspected suicide, a software engineer, along with his wife and four-year-old son were found dead in the city’s Baner-Pashan area, police said on Friday.The bodies of Jayeshkumar Patel (34), his wife Bhumika (30) and son Akshay were found in their apartment. While there were vrope marks on the necks of the husband and wife, the child appears to have been administered poison, said the Chaturshringi police.Alerted by neighboursPatel worked with a reputed IT firm while his wife was a homemaker. According to sources, their house was apparently locked from inside for the past couple of days. “When the family did not answer repeated calls by anxious neighbours, they alerted the police late Thursday evening. The Patels apartment was broken into from the balcony of an adjacent building, only to find the bodies of all three,” said the investigating officer from Chaturshringi police station.“Either the husband and wife hanged themselves after killing the child or the husband killed his wife and son before taking his own life. We are ascertaining what prompted Patel to take this extreme step, and also the time of the deaths,” said the officer.The bodies have been sent to the Sassoon Hospital for postmortem. Further investigations are on. Suicide spree in city The Pashan deaths add to a growing surge of suicides across Pune city in the last 48 hours. On Thursday, a 17-year-old girl and a 25-year-old man from Madhya Pradesh were found dead in their room in the city’s Bhosari area. In another incident, the body of a 31-year-old nurse was found in a decaying condition in her hostel room at Bhosari on Thursday evening.
Militants opened fire and lobbed grenades at the Indian Air Force (IAF) facility in south Kashmir’s Pulwama on Tuesday afternoon.A Srinagar-based Army spokesman said two to three militants opened fire and lobbed grenades around 5:30 p.m. on Tuesday at Awantipora’s Malangpora area.“The target was Water Pump House outside the IAF premises. The fire was effectively retaliated by the alert sentries. There is no loss of life,” said the spokesman.Police officials said reinforcements were dispatched to the area and an operation was underway to nab the attackers.Jawan succumbs to injuriesMeanwhile, the injured BSF jawan, constable S.K. Murmu, succumbed to his injuries. A BSF spokesman said the jawan, deployed in Karnah Sector Tangdhar, was hit by a sniper fire from across the Line of Control around 4:50 pm.He had sustained bullet injury in stomach.Kashmir Valley’s Baramulla and Kupwara witnessed fresh ceasefire violations in the past 24 hours.
The starkness of being nowhere Some 2,500 Nagarik Seva Kendras (NSKs) in Assam began issuing claim, objection and correction forms on Friday for people excluded from the complete draft of the National Register of Citizens (NRC) published on July 30.NRC officials could not specify how many forms were collected, but they expect the pace of collecting forms to pick up within a week.‘Insufficient evidence’Nearly 40 lakh of the 3.29 crore applicants had been left out of the complete draft because of the lack of sufficient documentary evidence of their citizenship, officials said. They can reapply through the claims form, while those whose names have been misspelt can use the correction form.The objection form is for those who suspect the nationality of a person and feel he or she does not deserve to be on the final, error-free NRC.Assam Finance and Health Minister Himanta Biswa Sarma said the government had completed only 30% of the work related to the NRC.Also Read “Preparation of the NRC will take a long time, and by the time it is completed, people’s perception about it may change. People should not come to any final conclusion at this juncture, when only 30% work is done,” he said at a function in Agartala on Friday.“People whose names are missing from the NRC can apply again with valid documents. Then there are the courts to file objections later. There is no need to panic or create unrest,” Mr. Sarma said.He advised tribal political parties in Tripura, such as the Indigenous People’s Front of Tripura, an ally of the ruling BJP, to wait for the “expensive” Assam exercise to be completed successfully before demanding the NRC for their State.Hindi handicapThe Assam Pradesh Congress Committee has asked the NRC authorities to designate officers who can read Hindi and Urdu documents submitted by applicants at the Kendras. “Hundreds of Hindi-speaking people from central and northern India could not find a place in the final draft of the NRC as they had submitted documents either in Hindi or Urdu,” APCC spokesperson Gauravv Somani said.“Various delegations of the Hindi-speaking community met Chief Minister Sarbananda Sonowal to apprise him of the difficulties faced by them in this process of updating the NRC,” Mr. Somani said, clarifying that the Congress was in favour of a foreigner-free NRC.The NRC authorities had sent 5.7 lakh documents to 25 States and Union Territories that had issued certificates to people from those States and UTs residing in Assam. Most such documents were not verified, and those that were sent were not accepted because NRC officials could not read the language, Mr. Somani said.Left suggestsThe Assam State Committee of the Communist Party of India-Marxist (CPI-M) has provided the government with a few suggestions for preparing the Standard Operating Procedure for claims and objections pertaining to the NRC Assam. These include acceptance of marriage and migration certificates by competent authorities, and application of the family tree mechanism to include the children of poor, illiterate people who do not have documents to establish linkage with their parents.“Panchayat certificates issued to married women for establishing linkage with their parents were rejected as most panchayats or village headmen do not maintain a register. If the citizenship of other members of the family is proved by same legacy as submitted by the married women, her name should be included in the NRC,” the CPI(M) said in a statement.The CPI(M) also said the Foreigners’ Tribunals (FTs) should be kept on hold till the NRC is finalised. Assam has 100 FTs where the cases of people declared doubtful voters or suspected as foreigners are tried.“The names found eligible for inclusion in the NRC should be included. Excluded names may be sent to the FTs after the NRC process is over,” the party said, adding that a government-funded DNA test should be done after all measures are exhausted.Soldiers’ pleaFive retired and serving soldiers have written to President Ram Nath Kovind seeking his intervention to ensure that Armed Forces personnel are not excluded from the final NRC.“We ex-servicemen, being bona fide citizens of India and natives of Assam, applied for inclusion of our names along with our family members in the draft NRC. Some ex-servicemen and their family members have been dropped from the draft NRC without any perceptible reason despite using legacy data such as the 1951 NRC and voters’ lists up to 1971 as per the guidelines,” the petition signed by retired honorary Captain Sana Ullah and four others said.
The West Bengal police on Saturday filed an FIR against senior BJP leaders for allegedly holding a public meeting in the Cooch Behar district on Friday without obtaining permission.The leaders named in the FIR are State BJP president Dilip Ghosh, party’s general secretary Kailash Vijayvargiya, national secretary Rahul Sinha and State general secretary Raju Banerjee. The charges include unlawful assembly, disobedience of an order promulgated by public servant, threat of injury to public servant and criminal intimidation. BJP president Amit Shah was scheduled to flag off a rath yatra from Cooch Behar on October 7, but it was postponed after the issue went to the High Court. The BJP, however, held a public rally at the venue.BJP president Dilip Ghosh said the case demonstrated how the ruling Trinamool Congress government was using the police for its political ends.Meanwhile, during the day, Trinamool workers performed a purification drive at the spot where the rally was held.
A day after the election results of five states which saw Congress winning three and Bharatiya Janata Party (BJP) drawing a duck, Congress and Nationalist Congress Party (NCP) leaders claimed that many BJP and Shiv Sena leaders are in touch with them and would be inducted at right time. NCP’s Ajit Pawar claimed on Wednesday that the leaders who deserted the party in 2014 are trying to return now. “I don’t want to name anyone. But it is true that some of those who left the NCP in 2013 and 2014 are in touch and want to rejoin the party as they are disappointed with BJP. Any decision on their induction is yet to be taken. Party’s senior leaders will take a final call on that,” said Mr. Pawar indicating that there could be major changes in state politics soon. Around 15 State-level leaders of NCP had joined BJP ahead of general and Assembly elections in 2014. Sources said that now these turncoats are disturbed over BJP’s changing electoral fortunes and may return. For Congress, former MP Nana Patole and former MLA Ashish Deshmukh, two leaders from Vidarbha, returned to the party and many others are reportedly in waiting. “Two senior leaders from north Maharashtra and one from western Maharashtra are in touch with the NCP leadership. Two leaders of different communities recently met Mr. Pawar and expressed their desire to join back,” said another senior NCP leader. BJP’s Rajya Sabha MP from Pune, Sanjay Kakde was present to wish NCP president Sharad Pawar on his 78th birthday at Yashwantrao Chavan centre and later travelled in his car to his residence. Last week, an influential member of the Hiray family from Nashik district rejoined the NCP after quitting the BJP.