Our NYC Director, Julian, in his happy place: surrounded by cameras and food. Here’s a peak at our setup for a collaboration between Estée Lauder and Mini Melanie. Photo and creative direction by Derrick Leung.
Take a look behind the scenes of Estée Lauder’s latest ad “Wild Love” with Kendall Jenner and Elle King.
…and here is a bonus video from the “Estée Stories” series, where we have a Q&A with Kendall:
STAYCATIONLAND, Gant Rugger’s Spring/Summer ’15 campaign is live, and you can check out the campaign film which we helped create.
This was definitely a hard shoot to do camera prep on:
Let’s face it; Final Cut Pro X is a divisive piece of software. And it’s tough to deny that its release was, shall we say, fumbled.
But the reality is that, in the 4 years since it first debuted, it has steadily improved year after year through a number of considerable updates (all free I might add). Final Cut Pro X is now an incredibly solid, fast, and powerful non linear editing system.
While we could spend hours discussing all sorts of features, and various tips and tricks, I’d rather focus on five of my favourite features that make Final Cut Pro X so great, and my NLE of choice.
Using the magnetic timeline to move a clip, while other clips ripple around it.
There’s a lot to be said here, but what I love most about the magnetic timeline is how it simply “gets out of the way.” Re-arranging clips, or groups of clips, is as easy as dropping them exactly where you want. Everything magically pops out of the way to make room. This makes moving portions of your edit easy and painless, and ultimately will save you a lot of time.
Quickly retime your clips with a few clicks
Retiming in legacy FCP was awful. It was inaccurate, the results were a mixed bag at best, and good luck trying to get ramped speed effects. Retiming couldn’t be easier with Final Cut Pro X, especially with the new retiming header. You can easily pick from the preset speeds, enter a custom speed, or use my favourite option and simply grab the handles to adjust to whatever length you require. It’s fast, it’s painless, and when switching the quality to Optical Flow you’ll have truly impressive results.
Use optical flow to get impressive results
This feature was used extensively for our GANT Rugger F/W 14 campaign film, where we slowed down 30fps footage in a 24fps timeline for a dreamy effect. Sometimes the 20% slow-down wasn’t enough, and being able to simply grab the adjustment handle for more really sped up my edit.
Built in stabilization saves an incredible amount of time (and the results are great too)
Another great built-in feature of Final Cut Pro X is its new stabilization engine. It’s now easier than ever to enable stabilization of a clip, and the results are very good. While it’s not as powerful as a third-party tool, more often than not with a little trial and error you can get truly excellent results. It’s nice when I can avoid a roundtrip through After Effects, where our more powerful plugins live.
Stabilization came in very handy during the GANT Rugger S/S 14 campaign edit. Our shooters were running around a chaotic yacht party, grabbing little moments as they sailed down the Hudson River. The stabilization tool allowed me to use shots that otherwise wouldn’t be campaign-worthy, even though the content was great.
Background render means you can work while FCP X chugs away
This is probably one of everyones favourite features. The fact that you can apply an effect, and simply get on with your edit while it renders out in the background is truly remarkable. Finally FCPX is using all of the horsepower from our expensive 16+ thread edit suites!
It’s especially handy during colour grade sessions; Ivan can be rolling out colour across an edit while his previous setups are rendering in the background. By the time he gets to the end of a timeline, the whole project is already finished rendering and ready to go. No more “go for lunch and hope the render’s done when you get back”!
Adding audio keyframes has never been easier
One of the biggest headaches in legacy Final Cut Pro was working with audio keyframes. They were tedious to add, and even more tedious to manipulate. The new audio keyframe tools in FCPX make this a thing of the past. For starters, dipping audio is as easy as selecting the range where you want to dip and then dragging the volume controller down. FCPX will auto-generate the keyframes you need, saving you 4 clicks.
It’s also never been easier to grab multiple keyframes at once and then move them
But say your video footage has moved down the timeline and now your dip is in the wrong place. That happens all the time. Instead of having to move each keyframe individually, you can now select them with the range tool and move all four at once. Want to save even more time? You can simply cut those keyframes from the original location, and paste them into their new location. Have a new location that needs a dip? You can just copy and paste the dip you previously made and adjust accordingly. These kind of changes make your life so much easier and so much faster!
These five features may not seem overly exciting, but they really go a long way into speeding up the edit process. They help to set Final Cut Pro X apart from the other NLEs out there, and are just some of the features that make Final Cut my favourite tool to edit with.
Our friends at Suddenly SeeMore Productions just released the trailer for their upcoming documentary, “Reunion of Giants”.
We gave a helping hand with the colour grade, and can’t wait to see the finished film when it “takes off” this summer.
GREEN FINGERS, Gant Rugger’s Fall/Winter ’14 campaign is live! Checkout the full campaign and our film:
Shoot locations include: Brooklyn Grange Farm at the Brooklyn Navy Yard, Fox Fodder Farm & Green Fingers NYC.
Here’s a little look at our crew in action:
Shoot locations include: Brooklyn Grange Farm at the Brooklyn Navy Yard, Fox Fodder Farm & Green Fingers NYC. Photos by Derrick Leung, Daniel Flemming, and Ivan Verlaan.
Congratulations to Amar, Noah and the whole The Secret Trial 5 team for being selected for Hot Docs 2014! It was a crazy scramble to make the deadline, but we’re happy to have colour graded the film with them. Definitely put this one on your watch list!
Gant Rugger has released our SS ’14 campaign film! Stockholm meets NYC to party on a sailboat… a weekend to remember! Huge thanks to amazing Derrick Leung for his creative direction, Lola Production, and the excellent team at Gant.
Checkout our film below:
…and here are a couple of BTS photos for good measure:
We are happy to announce that our Kindred x VisInc custom snowboard collaboration is complete! Months of planning have gone into this one-off piece of functional art, and we are thrilled with the results.
Ivan just got back from Comox, BC where he was lucky enough to follow every step of the meticulous process with Evan and Angie. He documented the whole thing with our brand-new Blackmagic Pocket Cinema Camera, and we hope to release the short film sometime this summer. In the meantime, here are some BTS photos to hold you over:
Our New Years promos are ready! We’ve spent the last little while creating something that shows the personal touch of each of us here at VisInc. If you’d like to get your very own taste of the VisInc perspective, drop us a line to get on the mailing list!
If you would like to skip the print work and get right to our short films, please have a look at the website here: FRAME.
One People premieres August 6th in Kingston, London, NYC, Toronto and Miami. One People is a feature-length documentary that celebrates Jamaica’s global reach 50 years after independence.
Julian De Zorzi from our Brooklyn studio was brought on to shoot a series of interviews in New York, Washington D.C. and Virginia. The experience allowed him to meet and interview an incredible array of subjects including Harry Belafonte, Gen. Colin Powell, Jazz musician Monty Alexander, Congresswoman Yvette Clarke and dozens of others.
More information on the NYC screening can be found here.
Every year The Globe & Mail hosts a Canada-wide advertising competition called Young Lions. Creatives under the age of 28 compete in print, interactive and film categories, and the winners are sent to Cannes to compete internationally.
This year, Visual Inclination directing team Ivan Verlaan and Julian De Zorzi decided to throw their hat in the ring. They were given a brief for the Stephen Lewis Foundation and had 48 hours to create a 30 second spot from scratch.
After an intense two days of writing, casting, shooting and editing, they produced a spot that speaks to the responsibilities left on the shoulders of AIDS orphans.
The jury saw how this would speak to the Stephen Lewis Foundation’s audience and awarded the spot with silver.
After spending March designing the identity and roll-out for Pawnathon Canada, the event and shoot were a huge success! We are now buckling down and going full-tilt into post production. It’s a real pleasure to work with such a great team on a fun show, and we can’t wait for Canada to see the finished episodes!
Our new letterhead has arrived, hot off the press! It involves a very subtle deboss, one that (clearly) pictures can’t do justice.
We love print.
We love the initial design process, the prototyping, the production and, of course, the end product itself. So, what better way to show our admiration than to produce a short film that follows the whole process from start to finish?
We hope that you enjoy Print Craft as much as we enjoyed making it.