Apple - Final Cut Studio 2 - In Action - MediaStorm
Apple - Final Cut Studio 2 - In Action - MediaStorm
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“We look at every single picture the photographer shot,” says Storm. “For most projects, we’re looking at 5,000 to 10,000 images. We bring all those images into Aperture for organization and editing. We’re looking for cinematic sequences of photographs, and Aperture allows us to organize them in a way that’s cohesive with the final project.”
Cinematic sequences of still pictures need to have a consistent look and feel. To get it, producers use Aperture’s Lift and Stamp tool. “Because we’re doing these big sequences, we can use the Lift and Stamp tool to enhance one image of a sequence perfectly, and we’ll replicate that across a sequence of stills,” says Storm. “It really cuts production time.”
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Producers start by cutting audio, creating a “radio edit” of the story. Then they work with the journalist to craft a working narrative. A cohesive story emerges, and then it’s time to pair the images with the audio. For that, they use Final Cut Studio.
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A MediaStorm story can be like a flipbook, a series of stills strung together in sequence that animate an idea. But some are also sprinkled with storytelling video. “We work hard to make the seamless transition between the power of a still image and the immediacy of video,” says Storm. “Final Cut is a great tool for those transitions. It allows us to do a lot of experimentation. And with ProRes, it can handle all the different video formats we get from photographers.”
It’s a formula that works extremely well. “Winning an Emmy for the ‘Kingsley’s Crossing’ piece was pretty important for us,” says Storm. “Essentially, the broadcast industry validated the power of still photography, and acknowledged that our technique can be a moving approach to storytelling.”
“We look at every single picture the photographer shot,” says Storm. “For most projects, we’re looking at 5,000 to 10,000 images. We bring all those images into Aperture for organization and editing. We’re looking for cinematic sequences of photographs, and Aperture allows us to organize them in a way that’s cohesive with the final project.”
Cinematic sequences of still pictures need to have a consistent look and feel. To get it, producers use Aperture’s Lift and Stamp tool. “Because we’re doing these big sequences, we can use the Lift and Stamp tool to enhance one image of a sequence perfectly, and we’ll replicate that across a sequence of stills,” says Storm. “It really cuts production time.”
...
Producers start by cutting audio, creating a “radio edit” of the story. Then they work with the journalist to craft a working narrative. A cohesive story emerges, and then it’s time to pair the images with the audio. For that, they use Final Cut Studio.
...
A MediaStorm story can be like a flipbook, a series of stills strung together in sequence that animate an idea. But some are also sprinkled with storytelling video. “We work hard to make the seamless transition between the power of a still image and the immediacy of video,” says Storm. “Final Cut is a great tool for those transitions. It allows us to do a lot of experimentation. And with ProRes, it can handle all the different video formats we get from photographers.”
It’s a formula that works extremely well. “Winning an Emmy for the ‘Kingsley’s Crossing’ piece was pretty important for us,” says Storm. “Essentially, the broadcast industry validated the power of still photography, and acknowledged that our technique can be a moving approach to storytelling.”
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