Considering that I stare at Final Cut Pro for a vast majority of every day, I was pretty excited when I saw the announcement of the New Final Cut Pro X at last nights’s NAB.
Overall though, the announcement left me with as many questions as answers.
Learn MoreIn December, I had a chance to meet John Fedele, a very talented commercial photographer based out of St. Louis. We chatted about how video and multimedia are transforming what it means to be a still photographer and how clients are expecting more and more in the motion arena.
So fast-forward to last week. I saw that he posted on his blog the first motion project that he had done, a 40-second spot for a local restaurant called Stellina Paste Cafe (see above). I was immediately intrigued both by quality of of the piece and wanted to know more about how a commercial photographer (and former art director in this case) approached a new medium.
Learn More(This is the second part of a series looking at building text-based motion graphics, using a recent project of mine as an example.)
Previsualization is critical to a text-based motion graphic. I say that because I did not do nearly enough on this project and ended up creating problems for myself and wasting time. Every hour you spend thinking about your project before hand is going to save two on the back end. While that is true for most projects, it seemed especially true for this one.
Learn MoreI’m out from under my last project, so I think I can breathe again. We’re going to be going over the the text-based motion graphic, which is (from what I can tell) a relatively new story form that I think is outstanding for its ability to:
Learn MoreHere was my take last week on what the upcoming year poses for visual media producers.
But I thought Larry Jordan, who is quite knowledgeable about Final Cut Pro and the video production industry, had some excellent insights in his latest newsletter into how the visual production landscape is changing. Scroll to his 2011 musings to read what he has to say about the changing definition of quality, having to deal
with client’s instant-gratification expectations and the way production costs are changing the landscape of what we do.
http://www.larryjordan.biz/nxltrs/nxltr_74.html
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This frame grab is from "The Battalion Leaves for Afghanistan," part of an interactive feature from the New York Times.
I often watch videos that incorporate both still shots and video, and it’s often very effective. However, one thing that always jumps out at me is how jarring the switch from one to another is. For example, you’ll see three photos in a row and then a video clip out of nowhere.
I think this can be distracting to viewers, and here’s one way to soften the transition.
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I have a passion for creating high-quality multimedia, whether it's video, motion graphics, photography, graphic design, web design or good-old fashioned text. I have a varied professional background in TV, newspaper and online journalism and a master's degree from the Missouri School of Journalism.
Brian Singler is a visual journalist and multimedia producer. After graduating with a journalism degree from the University of Alaska Anchorage, he worked as a sports anchor at KIMO 13 TV in Alaska and then at the Anchorage Daily News, where he discovered a passion for cutting-edge online multimedia. He obtained a master's degree from the School of Journalism at the University of Missouri-Columbia in 2010 and worked for Newsy.com, the Columbia Missourian and the St. Louis Post-Dispatch before moving to St. Louis with his beautiful wife Shawna and their two children, Seth and Summer.
This blog is dedicated to the production of visual media and multimedia journalism. It aims to dissect current trends, showcase the best projects, offer helpful tutorials on equipment and software and come up with new and innovative methods of visual storytelling.
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