2 Maps in GEOLayers 3 in After Effects

Maps set context and can be a rich source of data for your videos. I created this video: '2 Maps in GEOLayers 3 in After Effects', to show how I created two types of maps in GEOLayers 3.

 

Map Example:

Reminiscing about southern Alberta, with this quick graphic flyover.

 

Toronto Fly In Map

This video was made for Instagram Stories, of a fly in of Toronto using a digital animation map.

Making My Way Through the Demystify Color Course

I'm currently making my way through the Demystify Color course by a nice fellow from Austria, who's a professional Colorist. The aim is to become a better color-grader myself, particularly to understand the foundations of color-science and developing that 'film look' in Davinci Resolve. Check out the course's promotional video here and enjoy the proper post-production aesthetic your video deserves:

Animated Maps in GEOLayers 3

I’m currently learning new skills in GEOLayers 3. Check out my most recent video, featuring three types of maps in three locations: Toronto, New York and Banff:

 

GEOLayers 3 is a powerful program in After Effects, that allows you to create animated maps. There are many possibilities of how businesses can use animated maps to set the context and inform their consumer regarding data-driven content. For this example, I explain how to create three animated maps in GEOLayers 3:

My Current Editing Post-Production Workflow for Instagram Stories

In this blog post, I will share my steps to my post-production workflow using Sony DSLR footage in Final Cut Pro X; post-production is what occurs after the shooting of the video - the editing component.

I shot a video at High Park here in Toronto. I’ll be using this video as an example to explain my post-production workflow:

 
Screen Shot 2020-04-17 at 1.37.20 PM.png

A Couple Pointers of How I shoot My B-Roll With My DSLR:

For this video, I shot the footage vertically, as opposed to horizontally, using my Sony A7II. This allows for the best quality in terms of shooting for Instagram Stories.

The critical point is to shoot/ use the gear for the format of the video you plan to deliver. So, in this case, because I was shooting for an Instagram Story, to get the best resolution, I shot with the camera vertically.

Screen Shot 2020-04-17 at 1.36.55 PM.png

In terms of frame rate, I shot in two formats using my DSLR/ I used both 60 frames so that I could slow the footage in post, and 24 frames per second, recording in 4K.

I could have shot in a log profile (S-Log 2) to get the best most desired results in terms of dynamic range. However, because for my workflow, I’m working on simplicity and minimalism, I choose to bring just one camera, with one lens (my nifty fixity 1.8) and shot in the built-in standard settings for this shoot.

 

My Post-production Workflow:

For my videos, I often start by giving a quick overall cut of my footage. I will use the Command ‘A’ to ‘select’ the clip in Final Cut and ‘B’ for the ‘blade tool’ to quickly edit the best shots. For me, this initial cut is focused on my ‘creative eye,’ as well as focusing on the story I want to tell. I try not to overthink this initial step and consider it more art than science.

After I have made this initial cut, I may then bring in music. I’ll pick a track on Epidemic Sound and will cut to the beat and rhythm of the song. This next part will focus on the story in terms of the sequence of clips and the overarching themes I uncover as I edit. Using my chosen song, I will often edit to a build-up or climax of the song. In short, I will structure the edit using the song, timing the cuts to the rhythm, beat and build-up/ climax of the song.

I have been focusing more on the pacing of my videos, so this is where I’ll spend the majority of my edit.

After I have made these two categories of edits, I mostly have the skeleton of my video, edited to the beat and rhythm of the song. I’ll then turn to colour grading my footage.

Screen Shot 2020-04-17 at 1.29.04 PM.png

As mentioned, I often will shoot in a ‘flat profile,’ such as S-log 2, using the Sony Profiles. But for this example and video used at High Park, I decided to shoot the video in its original capture setting. This allowed for less colour correction.

I will then do an overall edit of the video, correcting the footage using Magic Bullets Colorista IV. I will focus on lowering the shadows and upping the mid-tones and sometimes the highlights, often utilizing an s-curve, allowing for a more excellent dynamic range. I may also touch up the colour temperature, exposure and highlights.

Screen Shot 2020-04-17 at 1.41.21 PM.png
Screen Shot 2020-04-17 at 1.40.05 PM.png

Once I have the bade colour correction, I will add a LUT using Magic Bullet Looks 4. A favour LUT I will apply is the Blockbuster Warm.

The LUT will often be too intense, so I will lower it considerably, often reducing it to between 10%-30%.

After this LUT treatment, I turn to Magic Bullet Mojo II. Mojo gives that Hollywood look, offering a beautiful teal look in the shadows and upping orange in the highlights. Mojo can be a bit strong as well, so I will switch it to the video section because I didn’t shoot the video in a flat format. I will also use the light preset as I find it offers a lighter treatment of Mojo to my footage. After this, I will go ahead and lessen the amount, hovering between 10-30% as well.

Screen Shot 2020-04-17 at 1.40.28 PM.png

My final step is to apply a grain effect, using Magic Bullet Renoiser. There is a nice feature in this effect, to select either Image Vitamins or Compression Proofing.

I will then go into the edit a make minor adjustments to each clip, cutting up the adjustment layer.

Then, after I have made a base colour edit, and have the basic story down in the video, edited to the beat, I will focus on sound design.

 

My Sound Design Workflow.

I will go through each clip, adding sound to each clip.

Screen Shot 2020-04-17 at 1.35.56 PM.png

For my High Park video, I added nature sounds - particularly bird sounds to all clips.

I then added a backpack sound, a bike sounds with a bell, a runner sound and a whoosh sound when transitioning from a tree, as examples of added sounds added to the footage.

A crucial step you can do is extend the sound before and after the clip, allowing you to transition to each clip.

A Final Couple pointers

A key feature I’m trying to incorporate is to tie my clips better together using logical sequencing.

Screen Shot 2020-04-17 at 1.41.07 PM.png

So, for example, I may share a similar object or theme between clips. For instance, in the High Park video, I used similar scrubs to transition clips. In another shot, I added several shots of a bird, to tell a story; I also used the brightness of the sun, to both begin and end the sequence of the story.

I hope this video was helpful to give you some tips on your video editing workflow.

I’d encourage you to get creative if you enjoy photography and video.

Thank you for watching my video. Don’t forget to like this video and subscribe.

What Is the Ideal Length for Your Social Media Video?

Think ‘Shorter Is Sweeter’ and ‘Content is King’ in Terms of Your Social Media Posts for Your Brand*

Do you struggle to consider how long to have your social media posts or ads? According to Matthew Barrett, Senior Videographer at Prodigy, a Toronto-based Educational Tech company, ‘shorter is sweeter’. He considers 15-30 seconds as the ideal length for a social media ad, but this depends on the social media platform your brand is using.

Screen Shot 2020-03-30 at 11.28.32 AM.png

If your video is not a social media ad, and you are doing more an educational or instructional video, then the content can be longer. Social media platforms such as YouTube are better served with this longer form content; Instagram content is often shorter.

Screen Shot 2020-03-30 at 11.30.24 AM.png

Production value of your video matters, according to Matt, but ultimately ’content is king’. You can shoot on an iPhone if it means the content is there. But if you don’t have the quality content your audience seeks, then it won’t really matter if you shot the video on a $40K RED camera.

So for your next social media post, think ‘shorter is sweeter’, but also consider the quality of the content your audience is seeking.

The Importance of Dynamic Range for Your Promotional Video

Considering dynamic range is essential for a cinematic image, as it allows more degrees in terms of light, which is closer to what the human eye captures. Let me explain:

 

The Human Eye & Dynamic Range of a Camera

Screen Shot 2020-03-10 at 9.47.52 PM.png

Dynamic range is the ratio between the maximum and minimum measurable light intensities. Cameras have different dynamic ranges, depending on the power of the sensor. For instance, the human eye can capture 24 stops of light, while a typical DSLR camera can capture up to 12 stops. The 6K Blackmagic Pocket Cinema Camera I work with has 13 stops of light! Higher-end cameras, such a what is used on Hollywood film sets, like ARRI cameras or a RED, have up to 17 stops of light.

Screen Shot 2020-03-10 at 9.48.45 PM.png
 

Taking Full Advantage of Dynamic Range of Your Camera

Screen Shot 2020-03-10 at 9.47.10 PM.png
Screen Shot 2020-03-10 at 9.47.27 PM.png

When you can expose the shot correctly, without losing any detail in the highlights (the brighter part of the image) and the shadows (the darkest part of the picture), you are taking full advantage of your cameras dynamic range. This is why people shoot in RAW formats or 'flat profiles' (i.e. such as S-log and C-log) as it allows for a higher amount of stops of light. Capturing the full dynamic range for your camera is pleasing on the eye, as it's closer to what the natural eye naturally picks up in terms of gradience of light. Taking full advantage of the dynamic range of your camera is an essential component of capturing what is often referred to as a 'cinematic image.'

In this video, I describe the importance of dynamic range and natural light in capturing an interview.

4 Must-Have Motion Graphics to Enhance and Energize Your Promotional Video

Motion graphics are an essential way to emphasize and animate what the speaker is saying in your promotional video. It allows your professional video to stand apart and get noticed by your audience, much more than a video without graphics.

 

Here are my top four motion graphic strategies/ plugins I use to get the best results for my promotional videos:

4 Must-Have Graphics for Your Promotional Video:

1. Trendy Motion Pack

The Trendy Motion pack works with Adobe’s Premiere NLE and After Effects, respectively. The motion pack uses Atom in After Effects, which allows you to customize your graphics in a more refined manner. The pack is on version 3 and comes with a host of trendy and stylish graphics. You can pick up the package here.

 

Another motion graphic pack I use is by Ezra Cohen ‘Tour Visuals’. His graphics are more retro, which compliments the other graphics I have in my motion graphic arsenal. Cohen has a training I purchased, which explains how he applies his tour visuals to video. I value this pack, as it allows me to work with the building blocks of graphic design in a way that I can build complex sequences with just a few of his graphics assets.

 

3. Red Giant Universe

Red Giant has been a leader in the motion graphic game for some time. Their visuals are a cornerstone of my graphics workflow. As they write this, they just came out with their latest point release, Universe 3.2!

Screen Shot 2020-02-19 at 1.59.44 PM.png

HUD Component is a powerful graphics plugin as part of the Red Giant Universe suit. It can unlock futuristic graphics for your video, saving you time and energy building these assets yourself.

 

Many people will know of the popular YouTuber Peter McKinnon. He has a popular title graphics pack that you can use to enhance your videos. What I like about these titles is they add energy and excitements to videos. Plus, they are easy to use. Drop them on the timeline, customize to your liking, and you’re ready to go!

 

Motion graphics are essential for engaging and professional promotional videos. Consider these plugins and strategies for your next promotional video.

If you like this article, like and tell a friend.

Working With Businesses Who Embrace the Infinite Game Mindset

The Infinite Game by Simon Sinek

infinite game.jpg

I just finished 'The Infinite Game', by Simon Sinek, author of another insightful book, 'Start with Why'. Sinek offers a mindful and intentional perspective on leadership - a 'first principles' approach. He provides advice on what we can do to play the infinite, long-term game, both in business and life — in other words, not just playing to win in the immediate (a finite game), but rather in serving a just cause and working hard to achieve it. The moon shot as it were.

I take Sinek advice to heart: those who have an infinite mindset are the ones that will thrive in today's economy. People reward companies who stick to their vision and demonstrate over time their commitment to their values. Companies with such a mindset, demonstrate their integrity and trust to the market.

“The rules of an infinite game are changeable while infinite games have no defined endpoint. There are no winners or losers—only ahead and behind.” - Simon Sinek

 

Working With Companies That Embrace an Infinite Mindset

start with why.png

Working with companies that embrace an infinite mindset are the companies I want to do business. Expressing their vision creatively, with the power of video, is a just cause worthy of giving voice, helping them thrive in 2020 and beyond.

Why Your Promotional Video Can Benefit From Three-Point Lighting

Why Does Lighting Matter, Particularly Three-Point Lighting?

Proper lighting in video is essential to help the subject stand out and differentiate themselves from the background. A quality soft light helps compliment the subject's skin, but also makes the talent' pop.' Pop in terms of differentiating themselves from the background, creating the sharpness and definition we expect from a higher-end interview or talking-head promotional video. Accentuating the subject from the background is often best achieved through a technique called 'three-point lighting.'

 

Three-Point Lighting

Three-point lighting is one of the oldest and widely adopted lighting techniques used in shooting video. The method consists of three lights – a key light, fill light and backlight.

Screen Shot 2020-02-03 at 1.51.24 PM.png
 

Key Light

Screen Shot 2020-02-03 at 1.49.39 PM.png

The Key light is the central light. It is usually the strongest and has the most significant influence on the look of the scene. It is placed to one side of the subject so that one side is lit and the other side has some shadow.

Fill Light

The fill light is the secondary light. It is placed on the opposite side of the key light. The light 'fills' the shadows created by the key. The fill is often softer than the key light. This can be achieved through the distance of the light or by simply turning down the light's brightness.

Back Light

The backlight is placed behind the subject. It fills the rear of the talent's head. Its purpose is to help define and highlights the subject from the background.

 

Soften Your Key Light by 'Damping' It With a Sheet or Paper

When lighting your subject, too strong of a light can blow out the highlights of your subject's face, which essentially means that the detail in the highlights will become lost. The camera can only capture so many ranges of light, so by damping the brightness of the light, with a sheet or paper, you allow the skin colour of the subject to more lightly exposed, retaining the details in the highlights. A 'softer' light is more flattering to the skin and avoids unattractive shadows that can be cast on the face by too bright of a light.

Screen Shot 2020-02-03 at 1.51.06 PM.png
 

Conclusion

Consider lighting next time you shoot your next promotional video. Lighting will help your subject 'pop', complimenting their skin and giving you that more professional look and feel your audience expects.