Hi again… your favorite Uncle, Mr. Hollywood Oracle, has asked me to offer you readers, and potential peeps moving to LA, some helpful bits this week. And I’m like, oh you want me to give away for free what you’re trying to sell? Oh, OK… good plan. Uncle Oracle is very thoughtful like that. Anyway, it’s all in the family, so here you go:

Dead pixelsMuch like being a well rounded professional athlete, post production gear and personnel need to be versatile, and knowing how to use said versatility is key to securing a gig, and more importantly, keeping it. So, think of  a top marathoner. Dude can run 4 minute miles, but he weighs like 97 pounds soaking wet… and speed without power isn’t worth much. Now think of a track star. Super fast and two tickets to the gun show. Now that guy might some day be a star in the big leagues. OK, get the picture? Good. Now let’s assume that you’ve got it goin’ on and you want to get into post as either a digital artist or an editor. Really? Take a number, buddy. Being talented, fast and strong is still not going to be enough to separate you from the pack. You’re going to need to have complete dominion over every pixel you get your hands on and that means finding some really great and unique software and having tricks at your disposal. You don’t want to bring a knife to a gun fight so make sure your arsenal is as loaded as possible when you come out to battle LA. And here’s a real gem for you to master and holster….

You too can see, and manipulate, dead pixels, layers and more by harnessing some of the cool features that are available in BXXX CXXXX CXXXX AXX. What? You think I’m just gonna give it away? Exactly. I see dead pixels, not you! But here’s one cool trick it does and something you can add up your sleeve for the all too often times that a shooter did a poor job.

Most applications call them transfer or compositing modes. But by whatever name, you can use quick technology to zombify what was a dead shot and thus save production’s ass yet again by bailing out the DP or operator that forgot to tech his gear properly or white balance or check his playback prior to going into record. BXXX CXXXX CXXXX AXX offers powerful ways to combine layers, using channel information such as luminance and chroma to drive combinations. Think of it as using a singers vocals on multiple tracks to help make up for their weak voice. It’s done all the time in the music biz. For example, you can duplicate a layer and combine them by using the overlay apply mode. This is a great trick if you want to bolster a layer’s saturation, while also increasing the detail in both the shadows and highlights. The shot’s way more live now. See dead no more.

And I know most of you are pro-sumer newbies… probably Mac based and if you’re editing it’s on FCP…. but BXXX CXXXX CXXXX AXX really sings in Avid. The filter opens inside the Effects Palette. This is a distinct departure from other BXXXX plug-ins that open an additional interface. This is slicker and more important, faster. You’ll also pick up time with this trick by only having to render one layer while getting the strength and potency of two. Again, you may be strong at your craft but you need to be fast too.

I could go on gushing about what BXXX CXXXX CXXXX AXX does to save time with animation and other things, but frankly, you know too much already and I need to keep my position atop the pile safe. Just remember… Strength. Speed. Technology. Tricks. Artistry. Ability. Risk. Resilience. That’s what it takes to shine in the dark corners of Hollywood. Feel free to do your own acronym math.

B Grass –

Leave a Reply