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As of my freshman year, I will be posting content centered around a certain topic. You can expect my blog posts to feature well-written sentences.
Brady Bryan
Around the middle of March, I became a video editor for a retired Oberlin College professor. Since I knew the basics of Adobe Premiere Pro (despite many claiming the program along with much of the Adobe suite to be inferior when compared to similar programs) which was his criteria for editing, I figured that I would be a suitable fit for the task. The process goes as such: He uploads several clips to a Dropbox folder prior to the editing session where I am able to access and download them onto my computer. Once we are both ready to begin, we initiate a Skype call and he tells me how to edit each clip while I share my screen in order to assure that each edit is to his liking. Prior to the online collaboration, he would drive over and watch and direct me step by step which was absolutely more efficient than the online calls, but can't be helped due to the entire pandemic pressuring citizens to self-quarantine to reduce risk of contraction. The main leitmotif of the clips he uploads is light. That is, each clip is relates to light reflections, flashing colors, shadows, contrasting colors, and the like. The multiple projects we work on are typically accompanied by composed pieces that convey the tone and overall attitude of the clips. For instance, if there are many fast moving light sources that frequently change colors, the song would be whimsical and flighty in nature as if to resemble a sort of "circus-y" vibe. While one might think that being a video editor requires one to learn and master every nook and cranny of their respective video editing software to create quality works, such a notion is not necessarily true. Not every clip needs a fancy, eye-catching transition with super bright lights and flashing colors (ironically contradicting the contents of the raw footage). Simple hard cuts and cross dissolves will suit one's fancy. The key to editing is deciding whether certain clips will need more or less editing than usual, although this isn't calculable. When it comes to editing, less can and most likely will be more as destroying the original identity of the clip should be the last idea on the editor's mind. I may not know everything about Premiere Pro, but becoming a video editor has definitely pushed me towards exploring the software further in order to accomplish what my client wants with adequate accuracy. It also taught me the aforementioned lesson that excessive editing can be detrimental to the overall initial integrity of the raw footage, as well as unobtrusive editing being an optimal option in certain scenarios. With video editing, the editor will be faced with how to properly handle the raw footage optimally (avoiding destructive editing at all costs in case the previous edit was a better decision). Below is an example of a prototype of a light project that is currently being worked on. Example Recap:
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Brady Bryan
As I was thinking of ways to combine 3D modeling with a clip of a Super Smash Bros. Ultimate match, I got the idea to create an animation in which I UV texture a simple screen composed of rectangles using an image of a wood texture and display the clip on said screen. This required the use of 3ds Max 2019 and Adobe Premiere Pro. Overall, this animation took two hours to complete and was fairly easy to make. The only problematic aspect of the process was gradually implementing ideas that would spontaneously pop into my head such as the addition of the various crowd noises as they were not initially part of the idea. I also had to decide which Smash Bros. clip I would want to use, which was also not predetermined. The first step was to create the screen with rectangles and center and align everything properly. Then, I downloaded the wood texture and UV textured all of the poles and the screen. Then, I added a directional light, ticked the "box" setting, and set it to face the screen. Since a projector typically flickers on and off before being fully functional, I keyed the light to flicker every other set of frames before staying on. I had to add an omni light to the scene and tone down its intensity as only the illuminated part of the screen would be visible. Finally, I added a camera to the scene, set it to face the screen, and keyed the zoom feature on it so it would zoom in once the light stayed on. This was half of the battle. After working in 3ds Max, I exported the animation and brought it into Premiere Pro. I also imported this Smash clip into the program. Since the original clip of the animation was only three seconds long, I extended the frame of the clip where the directional light stays on for the duration of the Smash clip. I trimmed the clip down to the last few seconds of the match and scaled it down to fit within the illuminated part of the screen. I increased the transparency of the clip by decreasing the opacity to give it an older look. I set a default transition (fade in) at the begin of the clip for added effect. The final step was adding sounds to the video. I got all of my sounds from freesound.org. I imported a sound file of projector noises and had it run from the beginning to end while keying it to be quiet during the clip. I then added crowd cheering and laughter at the end once Mario was KO'ed. The final addition was a "fade to black" transition at the end resulting in this.
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AuthorBrady Bryan is quite familiar with blogs since he had to frequently post on his blog in 6th grade. Although its been a long time since then, he still knows what a proper blog should look like. Archives
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