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Here is a behind the scenes look at the editing workflow that I use for editing my music videos. I have come up with a way of editing band music videos using multiclip in Final Cut Pro so you can watch and switch between the angles in real time. This makes editing the video more efficient and so that you can see all the angles together to find the best one to use.
Before editing I convert all my footage into ProRes 442 since this is a native file for Final Cut Pro and allows real time playback even with some effects on. Converting it would dramatically help when using multiclip since each of the video files will need to be playing at the same time and this format will help the multiclip run smoothly.
Groundbreaking Music Video:
I used 3×1000 watt photography lights http://tinyurl.com/4wc4awa as well as 1 work floodlight diffused using a 3-in-1 reflector diffuser. The music was played through my Logitech Computer Speakers hooked up to my phone. The camera was hooked up to my Macbook Pro which I used to monitor and control the camera (focus and start/stop recording) using Canon EOS Utility software. The kit 18-55mm lens for my Canon T2i was used.
I Love You I Hate You
The same lighting as groundbreaking was used as well as 2 more work floodlights. We hired out a place in Docklands called ’shed4′ and spent 8 hours filming there. I used my Canon T2i with primarily my 50mm f1.4 lens but for the whole band shots I used the 18-55mm kit lens. For the beach scenes we occasionally used reflectors with the gold tinted side. I used the jag35 X Runner shoulder support with the Monitor X.
If you have any questions about the filming or editing workflow I used please let me know and I will answer them when I read them.
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Duration : 0:5:43
Songs created using Cubase Check this out:
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For the past 10 years music producers, beat-makers, sound designers, and game composers have made Reason’s highly creative environment a mainstay of their toolbox. All the while Reason has become a mainstay of the education process as well.
If you’ve made it this far into Synth School without dropping out or changing your major to something less technical, then congratulations. You’re nearly ready for graduation day. Today we’ll be picking up where we left off with Thor’s oscillator types, namely the multi-oscillator and the noise oscillator. There’s a lot to these simple looking modules! From there we’ll move over and take a look at the filter sections in Thor and I’ll introduce you to the semi-modular routing buttons which help move signals through Thor.
Synth School enters its final and most advanced device starting this week. Strap in and get ready because we’re about to tackle the Thor Polysonic Synthesizer. Thor is called “polysonic” because it offers a smorgasbord of various oscillator types, filter types, and signal routing options.
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You understand the basics of synthesis and have mastered the Subtractor, you’ve learned about the Malström’s unique “graintable sythesis” technique, and now all you need to know to master the Malström is to understand its special filters, shaper, and mods.
Seasoned music producer and Norah Jones collaborator, Peter Malick, packed up his studio and moved it home to his living room and garage. For its maiden session he brought in indie artists Amber Rubarth, Courtney Jones, and a veritable A-List of players from the LA singer-songwriter scene. On Peter’s first day in the new space and first day on Record 1.5 we rolled cameras to capture the new ’studio’ in action.
In the second installment of my “Synth School” series I’ll be staying on the Subtractor synth but looking at the Filter sections, Amp Envelope, Filter Envelope, and Mod Envelope sections. The masters of synth production are masters of these tools. Something as simple as a Low Pass filter when paired with the right chord progression can lift the entire club crowd into a frenzy. The proper Amp Envelope can bring out the vibe in your song. These are powerful tools to conveying and even evoking strong emotion from what sometimes are rather sterile starting melodies or chords.