Subtitles for editing foreign language interviews

Being my first feature project, there are a lot of things in Back to the source that I’m doing for the first time. But not knowing how to do something has rarely been an obstacle for me. Solving technical problems is something that I enjoy quite a bit, in fact. Case in point, foreign language interviews. In this post I will explain the method I use to prepare them for editing.

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Against the machine: on exposure compensation

A few months ago, if you had asked me “what is the point of exposure compensation?”, I would probably have replied “if you’re shooting in RAW, nothing”. And I would have been very wrong. I know I’ve been talking about the Fuji X-T1 a lot recently, but it did change the way I work in many ways. And one of them taught me to make sense of that fairly obscure thing that is exposure compensation. I mean, many cameras have a dedicated dial for it, must be important, right?

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On assignment: Noorderwind

A few weeks ago I was in the Netherlands for the last overseas film shoot for Back to the source. I went there to see Maarten Kamphuis and Youval Kuipers of ProGauntlet. Youval is also the director of Noorderwind, a group of Historical European Martial Artists who are also stunt performers. He asked me to if I could get him a few photos he could use on promotional material. As I needed some more promo photos for the film myself, I was happy to oblige. This turned out to be the most “guerilla” shoot I’ve done so far, but I’m pretty happy with the results all things considered.

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Taming the wide beasts

When I started getting serious about photography, I seemed to be erring on the telephoto side of the lens spectrum. I’m not sure why, maybe I felt more comfortable shooting from further away. Until recently, the widest lens I owned for the 7D was a 28mm. Bearing in mind it’s on an APS-C sensor, this isn’t massively wide. But this changed after I got the Fuji XF 10-24mm for my X-T1. Considering my favourite lens is a 35mm, seeing the world at 10mm through a viewfinder was a bit of a shock. This prompted me to start experimenting on how to best use wide and ultra-wide lenses.

All the photos in this post have been taken on the Fuji X-T1 with the XF10-24mm F/4 R OIS.

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Architecture photography is good for you

A few weeks ago, I went to Portsmouth, on the south coast of England, for a photo walk. I hadn’t done one in a very long while, and I needed to field test my new Fuji X-T1. I also wanted to try a 2-camera setup, with a 70-200mm on the 7D, and a 10-24mm on the X-T1.

Usually, when I do a photo walk in an urban setting, my focus is on street photography. But that time, I thought I’d try something different and had a go at architecture photography. Taking pictures of buildings usually isn’t my thing, but this turned out to be in many ways an eye-opening experience.

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Adobe Prelude: Logging media

Once you’ve ingested your media into Prelude, you can finally get started on what is the bread and butter of Adobe Prelude: logging content. This stage of the process is about adding extra information (metadata) to your clips, ranging from a description of the content, to the camera angle that was used.This is all in the name of making your life easier when you look for clips when you put your edit together. There are two ways to log content in Prelude: File Metadata, and markers. If you’re considering using Prelude, chances are it’s for the marker logging feature. But before we look into it, let’s see how that information can be of use once in Premiere.

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Adobe Prelude: Ingesting media

Once you’ve created a Prelude project and before you can do anything useful with it, you need to add some content to your project. This is called the Ingest stage. In the world of video production, ingesting media is a basically a fancy term for importing your files from your memory cards or external hard drive into your editing suite. When working with Adobe Prelude however, it deserves its fancy name as it becomes more than ever an involved stage in the pipeline.

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