If you’re editing and have some things set in stone that you know you’re going to keep paired together, such as the timing of a sound effect and music, but you want to keep editing around it, you might not want those clips to get mis-aligned. This is how you put those clips on lockdown.
First, you get your stuff where you want it. Here’s an example of mine.
Next, you want to select the tracks you want to lock into place permanently by combining them. You can do this by selecting the little control box for each track while holding CTRL.
Next you go to Tracks and select Mix and Render. Click it.
And that’s it! You now have a track that’s locked into place. Perfect for if you’re using the same transition or sound effect in multiple places.
This is the initial source and inspiration for this tutorial.
The website feedmusic.com has a very interesting design that immediately grabbed me.
You can’t tell in the background but the blue stuff in the background is constantly moving while on the website which I found very cool as the homepage for the site. There is also a cool quote to instantly drag you in and the text at the bottom left of the site gives you some necessary information about the site that can help someone if they are feeling overwhelmed by the initial graphics.
The navigation of the site is incredibly smooth, as in you can go to any of the pages on the site without having to load the website again. Each transition to another page on the site looks incredibly smooth as the next page glides on top of the current one.
One page in particular, the tech spotlight page, is the most impressive one.
As you scroll down the page, more information is added as the graphic to the right of the screen changes.
The colors of the text and graphics also sync up in a very satisfying way.
There is also a bar below the tech spotlight navigation button that fills up as you go further down the page which is pretty amazing.
The site is about technology, so it makes sense that the creators of the website would want the site to be as dazzling as possible and showcase the skill of the creator. It does this extremely well.
The text used in the website always fits well with the various amounts of colors that each part of the website use so willingly.
I really enjoy that the website is all there, you don’t have to load to another page and the transitions to other pages are smooth, but don’t take long either. I will try to make my own website as buttery smooth to navigate as this one if I can.
The video documentary A Brief History of John Baledessari was effective because it was lively, witty, and fast-paced. One of the ways in which it accomplished this was through its use of music. Having The William Tell Overture playing at the beginning is smart for a number of reasons. For one thing, it’s fast. This immediately gives the video a sense of energy. For another, it goes with the more playful tone that the documentary is going for. The William Tell Overture has a certain vaguely pompous quality about it that has almost made it the victim of parody, perhaps in part because of its association with The Lone Ranger. In spite of that, or perhaps because of it, there’s also a certain degree of majesty about the piece. This makes the subject of the documentary seem important and interesting, but with a musical wink to the audience.
The music also allows for the editing and narration of the video to be very fast. The frequent cuts almost intersect directly with the beats of the music in near perfect synchronization with each other. The narration of Tom Waits–which is extremely fast–does its best to keep up, almost as if he is singing along with the music. The accelerated editing not only gives the documentary a jolt of energy, but also keeps the viewer very “awake” while watching it. It’s almost as if the music and the editing are working together like a shot of strong coffee, hitting the audience full force and keeping them alert and entertained. More importantly, perhaps, is that it makes the subject of the documentary not only seem fascinating, but also like a fun guy who doesn’t take himself overly seriously despite all of the awards we are informed that he’s won. He’s willing to make fun of himself. And so is the documentary.
The director uses music, or the lack of it, in conjunction to the time of day and the part of the story to subtlety tweak a viewer’s emotions. During the beginning of the documentary and later on, when Bill’s life looks difficult and the most unappetizing they employ the night time, copious amounts of grunts and swears, along with a distinct lack of music to emphasize that he’s delivering in a dangerous location or he’s in a less than joyful mood.
Further in, we get a feel that the establishment he delivers for is a hip and cool place by switching to daylight and giving us a bass laden jazz track in the background despite the paper plates all over the front of restaurant. It feels as if the director wants us to suddenly feel as if the job is “cool,” despite the previously articulated dangers.
Utilizing softer post-punk music and changing the shots to be at night again, the director make us feel empathetic towards Bill when he talks about needing to crash at a friend’s place and his being “house-less.”
At the end the director makes us feel happy for him through utilizing a switch back to daylight, a close up of his face, more inspirational music background, and the voice over in which he tells us that is what he wants to be doing and even fading into white(as opposed to black, the dichotomy of night and day) with the same music in a very gradual crescendo. The story tells Bill’s life, ups and downs, and does so with the ups and downs of the music and sunlight. I think it does a pretty good job at that. As for a call to action, I didn’t feel one at all throughout the entirety of the documentary.
Considering my group’s documentary, we could utilize these techniques to emphasize the good and the bad of our subject’s career. Perhaps we wouldn’t change so much in the way of the lighting, but we can certainly change the music based on where in the story we are and the mood we’re trying to set. If there is a really emotional scene, it would be best to shoot it in a darker place to cast a shadow over the mood, much like our subject’s feelings.