Video Production

Download Adobe Premiere Elements 2 in a Snap by Steve Grisetti PDF

By Steve Grisetti

Adobe best components 2 In a Snap is an efficient consultant to getting issues performed quick in Adobe most well known parts 2. Our In a Snap layout enables you to simply bounce in at any place within the e-book. you could concentrate on in basic terms the initiatives that you really want to profit approximately. equipped right into a sequence of well-organized, bite-sized projects, the ebook covers key options that may fast enhance your modifying talents. as well as this insurance, the authors will give you information on find out how to imitate the modifying kinds of the masters.Chapters include:Working with Stills and GraphicsUsing TransitionsAdding Spice in your VideoSpecial EffectsAdding textual content, growing Titles, and Making credit

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Take control of light, white balance, and focus. These settings are automatic on most camcorders, so we tend to neglect them. But you can only fix so much in post-production! If you can manually adjust these settings, definitely do. If not, do what you can to remedy the challenging lighting situations when you shoot (for example, don't shoot someone standing in front of a window and watch out for mixtures of fluorescent lighting and daylight). Professional cinematographers are masters of painting what you see on screen with light.

41 42 1. Drag a Panel Simply click the tab at the top of the panel and hold down the left mouse button to drag and drop the panel wherever you want it to be. As you drag the panel, notice that three-dimensional boxes appear to show you what space is available for your panel and what it would look like if it were dropped at that location. You can drop the panel in a whole new panel, or drop it in a panel that already contains other panels (this is where the space savings comes in). You can nest all the panels in one panel if you likethe possibilities are pretty much endless.

Get the necessary coverage. This point is related to the previous point: Every great film director knows first and foremost how to get the coverage. " Getting coverage means getting a good mix of long shots, close-ups, and reaction shots. Don't just show the event; show who was there watching it happen. Getting lots of footage of the bride and groom at a wedding, for instance, is vitalbut so is getting shots of the guests, the tear in the father-of-the-bride's eye, the organist, the flower girl who can't seem to stand still, a reverse shot looking back at the church from the altar.

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