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Through the magic of film editing…I want to share 3 tips that will help you visually amplify dramatic moments and give them much more impact. To emphasize something in a static camera shot…use your editing software to quickly zoom into the frame to point something out to the audience.
Often times on set, the take will end with a close up or a static frame during a dramatic moment.
In 1913, Mack Sennett shot the Keystone Cops at 12 frames per second and played it back at 24 frames per second. Once again I would like to stress that if you do your homework…you can find simple and creative ways to make your film look and feel like the biggest blockbusters out there. Also, when you shoot at 22 FPS do you still do the standard thing of setting the shutter speed at double the FPS? Hi Brian and thank you so much for taking time to let me know you’re enjoying my content! Useful tips for vidders (fan video makers) for converting your video for YouTube, or for preparing clips for editing. Please note: All these tutorials show you how to convert your clips to a file format that is good for editing. If you wish to, trim down your clip to just the scene you want by picking in and out points. Under a€?Sound,a€? you can pick MPEG-4 AAC and select 128 kbps or above, or can select a€?No Sounda€? (like I have in this screenshot) and eliminate sound from your clip. Like with the tutorial above, open your file (this time an H.264 MOV file) in MPEG Streamclip. In most cases you will have no sound, so Select a€?No Sound.a€? Otherwise, go with a€?Uncompresseda€? for sound. Quality can be a 100% but Apple Intermediate Codec only has one quality setting, so it doesna€™t seem to change anything when you fiddle with the quality setting. Then click on a€?Make Moviea€? and wait for MPEG Streamclip to convert your whole video over! You will follow the same process as outlined above, only instead of Apple Intermediate Codec, youa€™ll select some flavor of a€?ProResa€? from the Compression drop-down menu.
If you have Final Cut Pro 6, youa€™ll probably only get to choose from ProRes 422 and ProRes 422 (HQ). Choose the same settings for Frame Size and Sound as are used in the Apple Intermediate Codec tutorial. Please note again that when you convert your clips over to DV or MJPEG, that the files will be larger in size, and this is GOOD for editing. If you are downsizing a large HD clip to Standard Definition DV, then CHECK the a€?Better Downscalinga€? box. In most cases, pick a€?Progressivea€? as a€?Scan Modea€? (at least this is what I always do) and pick your Aspect Ratio.
If you are converting some other kinds of clips, odds are (that if you are converting clips from a film or recent TV show) that the aspect ratio is still 16:9, but you need to confirm this.
Then return to MPEG Streamclipa€™s main window, and click on the a€?Make AVIa€? or a€?Make Moviea€? button (bottom right corner) to have MPEG Streamclip convert the clip over to DV MOV or AVI.
If you are converting some other type of clips, consult the aspect ratio tutorial for more help determining what aspect ratio to choose. Click on a€?Better Downscaling,a€? since you are converting HD clips down to a smaller size. If you are converting some kind of non-HD clip and you know that they are fullscreen (4:3) then pick the numbers 640x480. Click on the a€?Make Moviea€? or a€?Make AVIa€? button and wait for MPEG Streamclip to convert your clips over! So, leta€™s say that you have a lot of little clips and you want to convert them all over to some other format. Click on the a€?Add Filesa€? button, then navigate through your computera€™s files for the clips that you want to convert over. Find the folder where the clips are, and then select one from the top of the list, HOLD DOWN THE SHIFT KEY and then select the clip at the bottom of the list. Check on the a€?Join all the filesa€? if you want all your clips to be joined into one long clip.
Then youa€™ll be asked to a€?Select a Destination Folder.a€? This is where you want all your converted clips to be placed after MPEG Streamclip has finished making them.

Then youa€™ll be asked all the familiar questions that you should know by now if youa€™ve followed the other MPEG Streamclip tutorials: Compression, frame size, and so forth. If this is all you want to convert over, click on the a€?Goa€? button and wait for MPEG Streamclip to do its thing. When you click on the a€?Converta€? button, wait while MPEG Streamclip converts, converts, converts! Tutorial keywords: MPEG Streamclip, MJPEG AVI, HD, converting video tutorial, fanvideos, fanvids, vidding tutorial, vids, vidders.
Once you pick your compression, MPEG Streamclip will automatically select a frame size which corresponds (either DV-NTSC or DV-PAL).
These moments can be physical, emotional, dialog driven or even delivered through camera movement.
By cutting out the 2 frames before a punch connects, you accelerate the action and deliver the decisive moment a fraction before the audience was expecting it. This technique allows you to utilize that moment…then build onto it and propel directly into the next shot. This sped up their actions two-fold and made their actions and movements extremely comical. The techniques and execution are the same…regardless of what camera or editing software you use. I shoot a lot of action stuff plus martial arts this is in line of what we do thanks for sharing. To follow this tutorial, download the free video encoding app MPEG Streamclip (for both Mac and PC). This tutorial may be useful for some Windows users, particularly those using Sony Vegas and Corel VideoStudio. Expect to use up approximately 1 GB of disk space for every 5 minutes of footage (more or less). If you need audio (and your clip has audioa€”some might not), then choose a€?Uncompresseda€? for Sound.
Well, if you are using software that doesna€™t support HD (like Sony Vegas Movie Studio, non-Platinum version) or you have a slower computer that might not deal with HD that well, then this might become necessary. Smaller clips (like DivX, XviD, H.264, WMV, MPEG) are compressed and do not play well in your video editor, and can eventually cause crashing or other quality issues.
It works best if all the clips you want to batch convert are in the same folder (but they can be in various places if that works better for you). Or, if you just want to convert select clips, hold down the Apple (Command) key (Mac) or the Control key (PC) to cherry-pick just the clips you want. If youa€™ve been following the above tutorials, you will know if you want to convert to MOV, AVI, or whatever. In this case, Ia€™m going to convert to Quicktime (MOV files) but you can convert to AVI, MP4, iPod, just whatever you need.
Select whatever options work best (consult the above instructions on this page if necessary).
Otherwise, click on a€?Add Filesa€? and locate more clips you want to convert over, repeating the process until youa€™ve added as many files as you need to the list. You can leave your computer to convert overnight, or just be busy with other things as it finishes converting all your files.
It shows the quality differences between a€?regulara€? resolution, a clip made from HD (but converted a€?downa€? to DV MOV or DV AVIa€”as instructed on this page) and a real HD clip. But when hundreds of millions of dollars are on the line, you would think that people would pay even closer attention to detail.
When Walter White verbally explodes at someone in Breaking Bad, his words are as damaging as a shotgun blast. These tips have been in Star Wars, Avatar, James Bond films and almost every Martial Arts movie shot on every continent.
If utilized at the last possible moment…you can easily blow up an image by 200% and not worry about the resolution. Stylistically, this is a bold visual decision but when used within a frenetic and chaotic sequence it can really add some excitement when you need it. The Keystone Cops ran, drove and prat-falled in every conceivable way much to the delight of the audience. The color and sound is nowhere near finalized but the dramatic impact of the effects should give you a good idea of the possibilities.

If you are using a Canon DSLR…you can use Magic Lantern (FPS override) and get access to all the frame rates less than 24 FPS. Then move the slider bar to your out point, press the a€?Oa€? key to set where you want the clip to end. This is normal and expected and for a more seamless, stable editing experience, you WANT to edit in files of this size.
The differences between the a€?regulara€? clip (from XviD source) and HD should be obvious. Those 2 frames removed can make a safe and sterile looking stunt suddenly seem viscerally realistic. By digitally zooming in you can create additional impetus to drive the edit to the next shot by introducing a sense of urgency at the pivotal moment. This technique of under-cranking the camera to get faster motion is a staple of action movies. For an explanation for why this is necessary (and why editing in the smaller-sized XviD AVI, DivX AVI, WMV, MPEG, MP4 or other compressed file types is a bad idea), read this tutorial.
Smaller, more compressed video files (like DivX AVI, XviD AVI, WMV) will give your software problems (either now or later on down the road). The differences between the a€?reala€? HD clip and the a€?HD converted down to DV MOVa€? may not be quite as obvious, depending on how sharp your eye is and your monitor resolution. The differences between theA  a€?reala€? HD clip and the a€?HD converted down to DV MOVa€? may not be quite as obvious, depending on how sharp your eye is and your monitor resolution. There are many ways a low budget filmmaker can use editing to enhance and exaggerate these often dangerous and difficult to shoot moments. For car chases, actors running and fight sequences, 22 frames per second retains a natural and authentic look but adds a palpable boost of energy. They are tracking their target on an iPhone while at same time being tracked themselves…by a helicopter high above them. Once you get to 20 frames per second or less…you risk a comical or unnatural look to action.
When Immortan Joe and his War Boys are blocked in a desert canyon, an aerial shot shows his entire war party stuck, clearing a path. But when Quicksilver and Scarlet Witch join the good side before the movie’s final battle, they put their talents to good use, helping evacuate an entire city.
The speedster tries to alert the police, but finds out that gunfire is all that will get their attention. Bursting in and out of a police station got a laugh from audiences, but his speed isn’t a special effect. The actors did their best to hold still, but their jerking movements show the footage was simply sped up and slowed down. Once you spot it, you might wonder how you ever missed it!Jurassic WorldIn the world of film, nothing says “death” like watching a heart rate monitor flatline. In Jurassic World, a team of dinosaur containment soldiers prove that point when tackling the movie’s biggest, deadliest creature – and being killed one after another. But the effects team assumed people wouldn’t be looking too closely at the hearts still beating. Not only do the heart rates stay steady as the squad is being slaughtered, but the EKG patterns themselves are flawed.
They made sure to keep every heart from beating at the same time, but in a dozen soldiers, even TWO having identical patterns is impossible, let alone every one of them. The movie isn’t the first to cheat with an EKG, and it definitely won’t be the last.Guardians of the GalaxyMarvel’s Guardians of the Galaxy are some truly colorful characters, but none is stranger than Drax (Dave Bautista), the green-skinned, tattooed alien who audiences are told can’t understand metaphors.
The idea of Drax being “completely literal” is played for a few jokes, but the character explicitly drops the idea for one line.
If they did, then the filmmakers may have spent a bit more money bringing the main character’s newborn child to life. When two real-life babies were unable to shoot their scene, the crew apparently decided a doll was good enough. Some CG was used to animate the baby’s hand, but once star Bradley Cooper took it in his arms, the act completely dropped.

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