Data Privacy, Social Media, Visual Content and Adobe: Through The Lens Of Generation Z

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Understanding the Think Tank that is Gen Z

“With Creativity, rich ideas flow through the system from the minds of Gen Z. With Intelligence those ideas are executed. With Power Gen Z takes control of what happens around the world with the use of social media.”  – Marco Garcia . (Social Media Command Center, We Are Gen Z, 2018)

On March 25, 2018, Adobe, a software company, hosted its annual Adobe Summit in Las Vegas, Nevada. The conference had “experience” as its theme and brought together influencers from all walks of life, from the founder of NVIDIA, Jensen Huang, to Sir Richard Branson.

Adobe teamed up with 12 students representing eight high schools in Charlotte, North Carolina, from the 11-largest school district in the U.S. This was facilitated as a part of the We Are Generation Z initiative and Career Technology Education Program, a new trend in interactive education. Adobe empowered the students to act as influencers and report on their interpretation of what they see and hear.

I got the chance to sit down with four of the Generation Z representatives. In a candid conversation we discussed data privacy, social media and the growing importance of visual content to convey information all through the lens of personal experiences.

The Significance of Gen Z 

Generation Z is made up of young people between the ages of 14-22 years old, born between the mid-1990s and mid-2000s. According to a study conducted by The National Retail Federation and IBM’s Institute for Business Value, the members of this cohort are considered to be “digital natives,” and cannot remember what it is like to exist without the internet. Globally, they hold $44 billion in buying power. They love collaborative and interactive engagement, such as online games and product reviews. Gen Z representative, Alana Jones, explained that she feels that her generation works harder than they are portrayed. Damien Watson Jr. told us that 75% of his high school already has a job. They explained that this behavior was in part a result of their digital environment and the pressure to overachieve was related to the feeling of being, “always on.”

We Are Gen Z Initiative & CTE Program

According to “The Next Era of Human Machine Partnerships” report published by Dell Inc., 85% of jobs that will exist in 2030 have not been invented yet. The Career Technology Education and Marketing Pathways Program prepares students with 21st-century skills by engaging with industries to better understand their needs. To date, the program has generated 777 paid internships. One of the optional CTE pathways requires students to attain five certifications in Adobe visual design and graphics in preparation for careers involving the creation of online content. The We Are Gen Z initiative is spearheaded by Kathleen Hessert. As Hessert notes, “our intention is to create and connect children within a network so the voices of Generation Z can be heard.”

Gen Z Representatives

Each of the four Gen Z representatives that I spoke with – all seniors in high school and participants in the CTE program – showcased varying perspectives. Damien Watson Jr. shared with us that it is his goal to start a non-profit that introduces minority groups to interests beyond athletics. Jogle De Leon is currently studying 3D modeling, simulation, game design and posts his graphic work regularly on Behance, Adobe’s social portfolio platform. Alana Jones is a certified Adobe associate and is working toward her goal of joining the military after graduation. Social media enthusiast and community activist, Avery Primis, has spoken publicly about generational differences in social media. The rest of the Gen Z team was stationed back in Charlotte and was responsible for manning the social media command center. They included Marco Garcia, Nina Merritt, Ashley Dickenson, Patricia Garcia, John K Bell, Harmoni Riggins and Trent Couse. Trent, a senior data analyst, was responsible for analyzing the engagement of his fellow students on Twitter, in order to optimize their effectiveness throughout the summit.

Data Privacy

When it comes to data privacy it appears that Gen Z is rather desensitized to the request for access to their personal information. As Damien describes it, “if someone really wants to find something out about you on the internet, they can. So I’m pretty open to my information being shared.” Alana is willing to make a trade-off, stating, “If you are going to use my data I want to know what you need it for. That way, I know that my data is being used for a purpose.” It is possible that widespread acceptance of personal data collection as the status quo could get in the way of realizing its long-term ramifications. Across all generations, instantaneous gratification in return for personal data distracts consumers from considering the impact that carte blanche access to their information will have twenty years from now.

As Alana noted, data transparency as it relates to the purpose of its acquisition plays a role in her willingness to provide it. It is important to note as we move from awareness to managing data privacy, that intention and value to consumers differ drastically based on the industry and players involved. In the music industry, access to consumer data and understanding how fans are listening to their music is vital to grow and sustain an artist’s career.

“In the music industry, access to consumer data and understanding how fans are listening to their music is vital to grow and sustain an artist’s career.”

 

Social Media

When speaking to the representatives of Generation Z, their clarity and awareness towards social media and the environment that it creates was apparent. According to Avery Primis, social media is creating an increasingly large number of job opportunities from social media influencer to managing a brand’s social presence. Social media also creates opportunities to communicate with different industries and people all over the world. However, when touching on its negative side effects Primis stated, “I can see a spike in mental health issues because of social media.” The students went on to describe how they felt that social media was impacting their generation’s people skills. Damien elaborated on this saying, “I feel like we create a persona online and are so open on social media and when it comes to talking and having a conversation in person we lag in that category.” Beyond social media, the web facilitates a commercial arena where content is in abundance.

Importance of Visual Content

Across all generations, the challenge now becomes: how do I most efficiently determine the information I need from the information I do not want. In Alana’s view, “there are so many things that you can do with an image, if you can convey information with a picture, you have done your job.” When I asked the group if they felt like their attention span was shorter than their parents’, the unanimous response was, “yes.” In Jogle’s view, when speaking about how best to garner that attention, he explains, “To me, the design is the most important part because it guides your interpretation, which is the most important part of the marketing.”  Beyond just standard emoji’s, the need for visuals to communicate complicated subjects is becoming increasingly apparent.

Taking the time to understand the perspectives of Generation Z and generations to come is vital. Their interpretation of our current environment foreshadows the future. It is time we start paying more attention.

 

The 4 Principles of Luck

The Four Principles of Luck, and How to Bring More Luck Into Your Life

 

 

 

 

 

 

 

THE PSYCHOLOGY OF LUCK

A ten-year scientific study into the nature of luck has revealed that, to a large extent, people make their own good and bad fortune. The results also show that it is possible to enhance the amount of luck that people encounter in their lives.

Researched and published by Professor Richard Wiseman, The Luck Factor project scientifically explores why some people live such charmed lives, and develops techniques that enable others to enhance their own good fortune. The research has involved working with hundreds of exceptionally lucky and unlucky people, and the findings have been published in The Luck Factor.

Prof. Wiseman has identified the four basic principles that lucky people use to create good fortune in their lives.

Principle One: Maximize Chance Opportunities
Lucky people are skilled at creating, noticing and acting upon chance opportunities. They do this in various ways, including networking, adopting a relaxed attitude to life and by being open to new experiences.

Principle Two: Listening to Lucky Hunches
Lucky people make effective decisions by listening to their intuition and gut feelings. In addition, they take steps to actively boost their intuitive abilities by, for example, meditating and clearing their mind of other thoughts.

Principle Three: Expect Good Fortune
Lucky people are certain that the future is going to be full of good fortune. These expectations become self-fulfilling prophecies by helping lucky people persist in the face of failure, and shape their interactions with others in a positive way.

Principle Four: Turn Bad Luck to Good
Lucky people employ various psychological techniques to cope with, and often even thrive upon, the ill fortune that comes their way. For example, they spontaneously imagine how things could have been worse, do not dwell on ill fortune, and take control of the situation.

 

We found Professor Wiseman’s work through an adorable YouTube Video created by PBS.  It goes a bit farther info the psychology of these 4 principles.  Check it out here. ??

 

Thanks Professor Wiseman & It’s Ok To Be Smart !

 

_______________________________________________________________________

Links

BBC Online article on Prof Wiseman’s luck research

Forbes.com carries Prof. Wiseman’s article on the psychology of opportunity.

Fast Company article on The Luck Factor in business.

The Times reports Prof Wiseman’s work on creating opportunities and his book, Did You Spot the Gorilla?

The Daily Telegraph reports on an experiment on connectivity and luck.

Report on Prof Wiseman’s work exploring luck and superstition.

Finders, Keepers: How to get your production music into the right hands via music libraries?

Tips for music producers

Production music libraries have become the
go-to music tool for many producers and music teams looking for the right music
to match their picture. A great deal of production music work used to be custom
work for hire, but that’s changing as projects face ever tighter timelines and
budgets–and as more and more people and organizations are creating video and
seeking out licensed music for it.

I’ve been working as a composer for much
longer, but ten years ago, I started uploading cues to libraries like Audiomicro,
which has become one of my favorites. It started out as a way to fill my time,
to keep writing for fun between scoring gigs. Revenue from libraries now makes
up 60% of my yearly revenue. I keep writing and it keep growing and to keep
building my rep. Like many dedicated production composers, I write all the
time, as much as I can.

Search is key to making the most of these
platforms, and that means you need to understand how to communicate what your
cue’s all about in a few short words, tags, and other features. A little
thought and common sense can go a long way to getting your cues found and kept
by producers.

Discovery
is a numbers game

Production music is a numbers game. Full stop.
You have to produce a lot of music. It is a biz for people who write well and
efficiently without a lot of torment. You can’t spend three days on two minutes
of music. Do that for your own compositions, but not for production library
use. These catalogs are growing every day. You can’t write 20 pieces of music,
submit it to Audiomicro, and then complain about your lack of revenue. You need
to produce.

Figure
out what it really sounds like

I think my experience in working with real
producers and doing custom music has permeated my sense of how to describe
things. If I’m writing a few sentences, I try to think about what my friends in
video or film might be looking for. How can I give them a sense of what this
is? No need for long description, no need to implant metadata. I want my reader
to understand what to expect. Match the mood of the music.

Is it moderately paced or driving? Is it
quirky or contemplative? Take up the space with the word. That list will be the
descriptors that make someone go, “Yep, that’s what it is, thank you!” Then if
you’re allowed, use reasonable synonyms to improve your chances of discovery.
For example, optimistic and positive mean the same thing in tags. Don’t know
exactly what people are looking for.

Give it
a title

Titles are metadata, hints to what the piece
is about. It needs to really sound like that title. It’s a mistake to give
something an abstract or very specific or personal title. It may be important
to you, but it won’t mean much to a producer.

When I start writing, I start with the title.
If someone is browsing via genre, like say, folk or pop, my titles need to
convey something. If they see “Warm Spring Morning,” and it sounds like a cold
autumn night, they won’t listen to anything else you’ve put out there. But if
it sounds like its title, you develop trust.

Often, I’ll come up with 10-15 titles before I
write a note. I want to come up with the pictures and images, words the evoke a
feeling or sound to me. I jot them down. I can write to that title. The music
and title need to have a real connection.

Step
away from the computer

Hear me out. It’s easy to get caught up in
data and dropdowns, but sometimes you need to take a few moments away from the
screen to sit and listen. Jot down a few adjectives or genres or other words
that come to mind as you do. You’ll have a clearer, more honest reaction to
your work, and you’ll save yourself the trouble when you need to add tags to
your cues when you upload them to a library.

Resist
the temptation to overtag

A cue with a ton of tags looks suspect. If you
have dozens of different mood tags, you’re likely seeing diminishing returns.
You’re likely stretching. You may win a battle by getting in search results,
but you’ll lose the war.

Producers with limited time want tags to let them zero in on their options as quickly as possible. When they see the word “pretty” and the cue is not really “pretty”, they are going to get frustrated. If you’re overloading pieces with every possible tag, you’re out of bounds. That will make producers not want to go back.

Length
matters

One client I worked for always wanted three
versions of cues: 60 seconds, 30 seconds, and “a thing.” (Don’t ask.) I’ve kept
to that approach, as it helps with the numbers game. You’re submitting three pieces
instead of one. You can legitimately fill up more data space and get bigger
hits.

It also helps clients who have a wide range of
needs. Lots of clients don’t want to do a lot of editing so 60- and 30-second
cues are helpful.

That said, don’t take shortcuts. You have to
do a good edit. Don’t fade out, anyone can do that. When you’re writing and
you’re in your DAW, if you have a sequencer say, when you finish the full
piece, make nice smaller pieces. Cut and paste and snip. Then add the final
ending you imagine for the piece. Producers don’t want to hear a chop; they
want to hear the last four seconds that would be the same as the end of the
full track.

There is no perfect or right way to make music, of course, and there’s no single answer to how to get that music to come up in an interested producer’s search. However, if you take a few extra moments to think through your tags, titles, and cue lengths, you’ll expand your repertoire and make its essence instantly recognizable, building trust and radically improving your chances at a placement.

Bruce Zimmerman

Bruce
Zimmerman is the composer
and owner of Sound Productions, a film scoring project studio located in
Windsor, Connecticut. Zimmerman began his career over 20 years ago, after
attaining a Doctorate of Music from the Hartt School of Music in West Hartford,
Connecticut.

Zimmerman has scored over 500
programs for clients such as AT&T, IBM, PBS, History Channel, Connecticut
Public Television, FOX Network, The Learning Channel, MasterCard, Pratt and
Whitney, Random House, Sony Kids Music, Simon & Schuster, McGraw Hill and
Warner Brothers. Zimmerman has won three Emmy Awards for Outstanding Individual
Achievement in Original Music Composition for his work in Public Television. He
is a member of ASCAP and the International Documentary Association (IDA).

Congratulating 2019 Grammy Winners: The Complete List

Congratulating 2019 Grammy Winners: The Complete List

 

Album of
the Year

(This award is given to an entire album and all of its songs.)

  • Invasion of Privacy, Cardi B
  • By the Way, I Forgive
    You,
     Brandi
    Carlile
  • Scorpion, Drake
  • H.E.R., H.E.R.
  • Beerbongs & Bentleys, Post
    Malone
  • Dirty Computer, Janelle
    Monáe
  • Golden Hour, Kacey Musgraves
  • Black Panther, Kendrick
    Lamar

Record of
the Year

(This award goes to the overall production of a single song and
is awarded to the artist who records it.)

  • “I Like It,” Cardi B, Bad Bunny, and J Balvin
  • “The Joke,” Brandi Carlile
  • “This Is America,” Childish Gambino
  • “God’s Plan,” Drake
  • “Shallow,” Lady Gaga and Bradley Cooper
  • “All the Stars,” Kendrick Lamar, Sza
  • “Rockstar,” Post Malone
  • “The Middle,” Zedd, Maren Morris, and Grey

Song of
the Year

(This award goes to the songwriters of a song.)

  • “All the Stars,” Kendrick
    Duckworth, Solana Rowe, Al Shuckburgh, Mark Spears, Anthony Tiffith
  • “Boo’d Up,” Larrance Dopson,
    Joelle James, Ella Mai, Dijon McFarlane
  • “God’s Plan,” Aubrey Graham,
    Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels, and Noah Shebib
  • “The Middle,” Sarah Aarons,
    Jordan K. Johnson, Stefan Johnson, Marcus Lomax, Kyle Trewartha, Michael
    Trewartha & Anton Zaslavski
  • “The Joke,” Brandi Carlile,
    Dave Cobb, Phil Hanseroth, and Tim Hanseroth
  • “In My Blood,” Teddy Geiger,
    Scott Harris, Shawn Mendes, and Geoffrey Warburton
  • “Shallow,” Lady Gaga, Mark
    Ronson, Anthony Rossomando & Andrew Wyatt
  • “This Is America,”
    Donald Glover and Ludwig Göransson

Best New
Artist

(This award is given to artists who have released their
breakthrough recording during the Grammy eligibility period — October 1, 2017,
to September 30, 2018, in this case — not to artists who made their first
recording during that time.)

  • Chloe x Halle
  • Luke Combs
  • Greta Van Fleet
  • H.E.R.
  • Dua Lipa
  • Margo Price
  • Bebe Rexha
  • Jorja Smith

 

Pop Categories

Best Pop
Solo Performance

  • “Colors,” Beck
  • “Havana (Live),” Camila
    Cabello
  • “God Is A Woman,” Ariana
    Grande
  • “Joanne (Where Do You Think
    You’re Goin’?),” Lady Gaga
  • “Better Now,” Post Malone

Vocal
Album

  • Camila, Camila
    Cabello
  • Meaning Of Life, Kelly
    Clarkson
  • Sweetener, Ariana Grande
  • Shawn Mendes, Shawn
    Mendes
  • Beautiful Trauma, Pink
  • Reputation, Taylor
    Swift

Best Pop
Duo/Group Performance

  • “Fall In Line,” Christina
    Aguilera featuring Demi Lovato
  • “Don’t Go Breaking My Heart,”
    Backstreet Boys
  • “Shallow,” Lady Gaga and
    Bradley Cooper
  • “Girls Like You,” Maroon 5
    featuring Cardi B
  • “Say Something,” Justin
    Timberlake featuring Chris Stapleton
  • “The Middle,” Zedd, Maren
    Morris, and Grey

Best
Traditional Pop Vocal Album

  • Love Is Here to
    Stay, 
    Tony
    Bennett & Diana Krall
  • My Way, Willie Nelson
  • Nat “King” Cole & Me, Gregory
    Porter
  • Standards (Deluxe),
    Seal
  • The Music … The
    Mem’ries … The Magic!
    , Barbra Streisand

Best
Dance/Electronic Album

  • Singularity, Jon
    Hopkins
  • Woman Worldwide, Justice
  • Treehouse, Sofi
    Tukker
  • Oil Of Every Pearl’s
    Un-Insides
    ,
    Sophie
  • Lune Rouge, Tokimonsta

Best Dance
Recording

  • “Northern
    Soul,” Above & Beyond featuring Richard Bedford
  • “Ultimatum,”
    Disclosure (featuring Fatoumata Diawara)
  • “Losing It,
    “ Fisher
  • “Electricity,” Silk City
    & Dua Lipa featuring Diplo & Mark Ronson
  • “Ghost
    Voices,” Virtual Self

Best
Contemporary Instrumental Album

  • The Emancipation
    Procrastination
    ,
    Christian Scott aTunde Adjuah
  • Steve Gadd Band, Steve Gadd Band
  • Modern Lore, Julian
    Lage
  • Laid Black, Marcus
    Miller
  • Protocol 4, Simon
    Phillips

 

Urban, Rap, and R&B Categories

Best
R&B Album

  • Sex & Cigarettes, Toni
    Braxton
  • Good Thing, Leon
    Bridges
  • Honestly, Lalah
    Hathaway
  • H.E.R., H.E.R.
  • Gumbo Unplugged Live, P.J.
    Morton

Best
R&B Performance

  • “Long As I
    Live,” Toni Braxton
  • “Summer,”
    The Carters
  • “Y O Y,”
    Lalah Hathaway
  • “Best Part,” H.E.R. featuring
    Daniel Caesar
  • “First
    Began,” PJ Morton

Best
Traditional R&B Performance

  • “Bet Ain’t Worth the
    Hand,” Leon Bridges (TIE)
  • “Don’t Fall
    Apart On Me Tonight,” Bettye LaVette
  • “Honest,”
    MAJOR.
  • “How Deep Is Your Love,”
    PJ Morton featuring Yebba
     (TIE)
  • “Made for
    Love,” Charlie Wilson featuring Lalah Hathaway

Best
R&B Song

  • “Boo’d Up,” Larrance
    Dopson, Joelle James, Ella Mai & Dijon McFarlane
  • “Come
    Through and Chill,” Jermaine Cole, Miguel Pimentel & Salaam Remi
  • “Feels Like
    Summer,” Donald Glover & Ludwig Goransson
  • “Focus,”
    Darhyl Camper Jr, H.E.R. & Justin Love
  • “Long As I
    Live,” Paul Boutin, Toni Braxton & Antonio Dixon

Best Urban
Contemporary Album

  • Everything Is Love, The Carters
  • The Kids Are Alright, Chloe x
    Halle
  • Chris Dave And The
    Drumhedz
    ,
    Chris Dave and the Drumhedz
  • War & Leisure, Miguel
  • Ventriloquism, Meshell
    Ndegeocello

Best Rap
Album

  • Invasion of Privacy, Cardi B
  • Swimming, Mac Miller
  • Victory Lap, Nipsey
    Hussle
  • Daytona, Pusha T
  • Astroworld, Travis
    Scott

Best Rap
Performance

  • “Be
    Careful,” Cardi B
  • “Nice for
    What,” Drake
  • “King’s Dead,” Kendrick
    Lamar, Jay Rock, Future & James Blake (TIE)
  • “Bubblin,” Anderson
    .Paak (TIE)
  • “Sicko
    Mode,” Travis Scott, Drake, (Big Hawk) & Swae Lee

Best
Rap/Sung Performance

  • “Like I Do,”
    Christina Aguilera featuring Goldlink
  • “Pretty
    Little Fears,” 6lack featuring J. Cole
  • “This Is America,”
    Childish Gambino
  • “All the
    Stars,” Kendrick Lamar & SZA
  • “Rockstar,”
    Post Malone featuring 21 Savage

Best Rap
Song

  • “God’s Plan,” Aubrey
    Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels &
    Noah Shebib
  • “King’s
    Dead,” Kendrick Duckworth, Samuel Gloade, James Litherland, Johnny
    McKinzie, Axel Morgan, Mark Spears, Travis Walton, Nayvadius Wilburn &
    Michael Williams II
  • “Lucky You,”
    R. Fraser, G. Lucas, M. Mathers, M. Samuels & J. Sweet
  • “Sicko
    Mode,” Khalif Brown, Rogét Chahayed, BryTavious Chambers, Mike Dean,
    Mirsad Dervic, Kevin Gomringer, Tim Gomringer, Aubrey Graham, Chauncey
    Hollis, Jacques Webster, Ozan Yildirim & Cydel Young
  • “Win,” K.
    Duckworth, A. Hernandez, J. McKinzie, M. Samuels & C. Thompson

 

Rock and Alternative categories

Best Rock
Album

  • Rainier Fog, Alice In
    Chains
  • M A N I A, Fall Out
    Boy
  • Prequelle, Ghost
  • From The Fires, Greta Van Fleet
  • Pacific Daydream, Weezer

Best Rock
Performance

  • “Four Out Of
    Five,” Arctic Monkeys
  • “When Bad Does Good,”
    Chris Cornell
  • “Made An
    America,” The Fever 333
  • “Highway
    Tune,” Greta Van Fleet
  • “Uncomfortable,”
    Halestorm

Best Rock
Song

  • “Black Smoke
    Rising,” Jacob Thomas Kiszka, Joshua Michael Kiszka, Samuel Francis Kiszka
    & Daniel Robert Wagner
  • “Jumpsuit,”
    Tyler Joseph
  • “Mantra,”
    Jordan Fish, Matthew Kean, Lee Malia, Matthew Nicholls & Oliver Sykes
  • “Masseduction,” Jack
    Antonoff & Annie Clark
  • “Rats,” Tom
    Dalgety & A Ghoul Writer

Best
Alternative Music Album

  • Tranquility Base Hotel +
    Casino
    ,
    Arctic Monkeys
  • Colors, Beck
  • Utopia, Björk
  • American Utopia, David
    Byrne
  • Masseduction, St.
    Vincent

Best Metal
Performance

  • “Condemned
    to the Gallows,” Between The Buried And Me
  • “Honeycomb,”
    Deafheaven
  • “Electric Messiah,” High
    On Fire
  • “Betrayer,”
    Trivium
  • “On My
    Teeth,” Underoath

 

Country Categories

Best
Country Album

  • Unapologetically, Kelsea
    Ballerini
  • Port Saint Joe, Brothers
    Osborne
  • Girl Going Nowhere, Ashley
    McBride
  • Golden Hour, Kacey Musgraves
  • From a Room: Volume 2, Chris
    Stapleton

Best
Country Song

  • “Break Up In
    the End,” Jessie Jo Dillon, Chase McGill & Jon Nite
  • “Dear Hate,”
    Tom Douglas, David Hodges & Maren Morris
  • “I Lived
    It,” Rhett Akins, Ross Copperman, Ashley Gorley & Ben Hayslip
  • “Space Cowboy,” Luke
    Laird, Shane McAnally & Kacey Musgraves
  • “Tequila,”
    Nicolle Galyon, Jordan Reynolds & Dan Smyers
  • “When
    Someone Stops Loving You,” Hillary Lindsey, Chase McGill & Lori
    McKenna

Best
Country Solo Performance

  • “Wouldn’t It Be Great?”
    Loretta Lynn
  • “Mona Lisas and Mad Hatters,”
    Maren Morris
  • “Butterflies,” Kacey
    Musgraves
  • “Millionaire,” Chris
    Stapleton
  • “Parallel Line,” Keith Urban

Best
Country Duo/Group Performance

  • “Shoot Me
    Straight,” Brothers Osborne
  • “Tequila,” Dan + Shay
  • “When
    Someone Stops Loving You,” Little Big Town
  • “Dear Hate,”
    Maren Morris featuring Vince Gill
  • “Meant to
    Be,” Bebe Rexha & Florida Georgia Line

New Age and Jazz Categories

Best
Improvised Jazz Solo

  • “Some of
    That Sunshine,” Regina Carter, soloist, from Some Of That Sunshine (Karrin
    Allyson)
  • “Don’t Fence Me In,”
    John Daversa, soloist, from American Dreamers: Voices Of Hope,
    Music Of Freedom (John Daversa Big Band featuring DACA Artists)
  • “We See,”
    Fred Hersch, soloists
  • “De-Dah,”
    Brad Mehldau, soloist, from Seymour
    Reads The Constitution!
     (Brad Mehldau Trio)
  • “Cadenas,”
    Miguel Zenón, soloist from Yo
    Soy La Tradición
     (Miguel Zenón featuring Spektral
    Quartet)

Best Jazz
Vocal Album

  • My Mood Is You, Freddy
    Cole
  • The Questions, Kurt
    Elling
  • The Subject Tonight Is
    Love
    ,
    Kate McGarry, Keith Ganz, Gary Versace
  • If You Really Want, Raul Midón
    With The Metropole Orkest Conducted By Vince Mendoza
  • The Window, Cécile McLorin Salvant

Best Jazz
Instrumental Album

  • Diamond Cut, Tia Fuller
  • Live in Europe, Fred
    Hersch Trio
  • Seymour Reads the
    Constitution
    ,
    Brad Mehldau Trio
  • Still Dreaming, Joshua
    Redman, Ron Miles, Scott Colley & Brian Blade
  • Emanon, The Wayne Shorter
    Quartet

Best Large
Jazz Ensemble Album

  • All About That Basie, The Count
    Basie Orchestra Directed By Scotty Barnhart
  • American Dreamers: Voices
    of Hope, Music of Freedom, 
    John Daversa Big Band
    featuring DACA Artists
  • Presence, Orrin
    Evans And The Captain Black Big Band
  • All Can Work, John
    Hollenbeck Large Ensemble
  • Barefoot Dances and
    Other Visions
    ,
    Jim McNeely & The Frankfurt Radio Big Band

Best Latin
Jazz Album

  • Heart of Brazil, Eddie
    Daniels
  • Back to the Sunset, Dafnis Prieto Big Band
  • West Side Story
    Reimagined
    ,
    Bobby Sanabria Multiverse Big Band
  • Cinque, Elio
    Villafranca
  • Yo Soy La Tradición, Miguel Zenón featuring
    Spektral Quartet

 

Gospel and Contemporary Christian Music

Best
Gospel Performance/Song

  • “You Will
    Win,” Jekalyn Carr; Allen Carr & Jekalyn Carr
  • “Won’t He Do
    It,” Koryn Hawthorne
  • “Never Alone,” Tori
    Kelly featuring Kirk Franklin; Kirk Franklin & Victoria Kelly
  • “Cycles,”
    Jonathan McReynolds featuring DOE; Jonathan McReynolds & Will Reagan
  • “A Great
    Work,” Brian Courtney Wilson; Aaron W. Lindsey, Alvin Richardson &
    Brian Courtney Wilson

Best
Contemporary Christian Music Performance/Song

  • “Reckless
    Love,” Cory Asbury; Cory Asbury, Caleb Culver & Ran Jackson,
    songwriters
  • “You Say,” Lauren
    Daigle; Lauren Daigle, Jason Ingram & Paul Mabury, songwriters
  • “Joy,” For
    King & Country; Ben Glover, Matt Hales, Stephen Blake Kanicka, Seth
    Mosley, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, songwriters
  • “Grace Got
    You,” MercyMe featuring John Reuben; David Garcia, Ben Glover, MercyMe,
    Solomon Olds & John Reuben, songwriters
  • “Known,”
    Tauren Wells; Ethan Hulse, Jordan Sapp & Tauren Wells, songwriters

Best
Gospel Album

  • One Nation Under God, Jekalyn
    Carr
  • Hiding Place, Tori Kelly
  • Make Room, Jonathan
    McReynolds
  • The Other Side, The Walls
    Group
  • A Great Work, Brian
    Courtney Wilson

Best
Contemporary Christian Music Album

  • Look Up Child, Lauren Daigle
  • Hallelujah Here Below, Elevation
    Worship
  • Living With a Fire, Jesus Culture
  • Surrounded, Michael W.
    Smith
  • Survivor: Live from
    Harding Prison
    ,
    Zach Williams

Best Roots
Gospel Album

  • Unexpected, Jason Crabb
  • Clear Skies, Ernie
    Haase & Signature Sound
  • Favorites: Revisited By
    Request
    ,
    The Isaacs
  • Still Standing, The
    Martins
  • Love Love Love, Gordon
    Mote

 

Latin

Best Latin
Pop Album

  • Prometo, Pablo
    Alboran
  • Sincera, Claudia Brant
  • Musas (Un Homenaje Al
    Folclore Latinoamericano en Manos de lost Macorinos), Vol. 2
    , Natalia
    Lafourcade
  • 2:00 AM, Raquel
    Sofía
  • Vives, Carlos
    Vives

Best Latin
Rock, Urban or Alternative Album

  • Claroscura,
    Aterciopelados
  • Coastcity, COASTCITY
  • Encanto Tropical, Monsieur
    Periné
  • Gourmet, Orishas
  • Aztlán, Zoé

Best
Regional Mexican Music Album (Including Tejano)

  • Primero Soy Mexicana, Angela
    Aguilar
  • Mitad Y Mitad, Calibre 50
  • Totalmente Juan Gabriel
    Vol. II
    ,
    Aida Cuevas
  • Cruzando Borders, Los
    Texmaniacs
  • Leyendas de Mi Pueblo, Mariachi
    Sol De Mexico De Jose Hernandez
  • ¡Mexico Por Siempre!, Luis Miguel

Best
Tropical Latin Album

  • Pa’ Mi Gente, Charlie
    Aponte
  • Legado, Formell Y
    Los Van Van
  • Orquesta Akokan, Orquesta
    Akokán
  • Ponle Actitude, Felipe
    Peláez
  • Anniversary, Spanish Harlem
    Orchestra

 

American Roots Music Categories

Best
American Roots Performance

  • “Kick Rocks,” Sean Ardoin
  • “Saint James Infirmary Blues,” Jon Batiste
  • “The Joke,” Brandi Carlile
  • “All On My Mind,” Anderson
    East
  • “Last Man Standing,” Willie
    Nelson

Best
American Roots Song

  • “All the
    Trouble,” Waylon Payne, Lee Ann Womack & Adam Wright
  • “Build a
    Bridge,” Jeff Tweedy
  • “The Joke,” Brandi
    Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth
  • “Knockin’ On
    Your Screen Door,” Pat McLaughlin & John Prine
  • “Summer’s
    End,” Pat McLaughlin & John Prine

Best
Americana Album

  • By the Way, I Forgive
    You
    , Brandi Carlile
  • Things Have Changed, Bettye
    LaVette
  • The Tree of Forgiveness, John Prine
  • The Lonely, The Lonesome
    & the Gone
    ,
    Lee Ann Womack
  • One Drop of Truth, The Wood
    Brothers

Best
Bluegrass Album

  • Portraits in Fiddles, Mike
    Barnett
  • Sister Sadie II, Sister
    Sadie
  • Rivers and Roads, Special
    Consensus
  • The Travelin’ McCourys, The Travelin’ McCourys
  • North of Despair, Wood &
    Wire

Best
Traditional Blues Album

  • Something Smells Funky
    ‘Round Here
    ,
    Elvin Bishop’s Big Fun Trio
  • Benton County Relic, Cedric
    Burnside
  • The Blues Is Alive and
    Well
    , Buddy Guy
  • No Mercy in This Land, Ben Harper
    And Charlie Musselwhite
  • Don’t You Feel My Leg
    (The Naughty Bawdy Blues of Blue Lu Barker)
    , Maria
    Muldaur

Best
Contemporary Blues Album

  • Please Don’t Be Dead, Fantastic Negrito
  • Here in Babylon, Teresa
    James And The Rhythm Tramps
  • Cry No More, Danielle
    Nicole
  • Out of the Blues, Boz Scaggs
  • Victor Wainwright and
    the Train
    ,
    Victor Wainwright And The Train

Best Folk
Album

  • Whistle Down the Wind, Joan Baez
  • Black Cowboys, Dom
    Flemons
  • Rifles & Rosary
    Beads
    ,
    Mary Gauthier
  • Weed Garden, Iron &
    Wine
  • All Ashore, Punch Brothers

Best
Regional Roots Music Album

  • Kreole Rock and Soul, Sean
    Ardoin
  • Spyboy, Cha Wa
  • Aloha From Na Hoa, Na Hoa
  • No ‘Ane’i, Kalani Pe’a
  • Mewasinsational – Cree
    Round Dance Songs
    , Young Spirit

Reggae and
world music category

Best
Reggae Album

  • As the World Turns, Black
    Uhuru
  • Reggae Forever, Etana
  • Rebellion Rises, Ziggy
    Marley
  • A Matter of Time, Protoje
  • 44/876, Sting & Shaggy

Best World
Music Album

  • Deran, Bombino
  • Fenfo, Fatoumata
    Diawara
  • Black Times, Seun Kuti
    & Egypt 80
  • Freedom, Soweto Gospel Choir
  • The Lost Songs of World
    War II
    ,
    Yiddish Glory

 

Miscellaneous

Best
Children’s Album

  • All the Sounds, Lucy Kalantari &
    The Jazz Cats
  • Building Blocks, Tim Kubart
  • Falu’s Bazaar, Falu
  • Giants of Science, The Pop
    Ups
  • The Nation of Imagine, Frank
    & Deane

Best
Musical Theater Album

  • The Band’s Visit
  • Carousel
  • Jesus Christ Superstar
    Live In Concert
  • My Fair Lady
  • Once on This Island

Best Score
Soundtrack for Visual Media

  • Black Panther
  • Blade Runner 2049
  • Coco
  • The Shape Of Water
  • Star Wars: The Last Jedi

Best
Compilation Soundtrack For Visual Media

  • Call Me By Your
    Name 
    (Various
    Artists), Luca Guadagnino, compilation producer; Robin Urdang, music
    supervisor
  • Deadpool 2 (Various
    Artists), David Leitch & Ryan Reynolds, compilation producers; John
    Houlihan, music supervisor
  • The Greatest Showman, Hugh Jackman (&
    Various Artists), Alex Lacamoire, Benj Pasek, Justin Paul & Greg
    Wells, compilation producers
  • Lady Bird (Various
    Artists), Timothy J. Smith, compilation producer; Michael Hill & Brian
    Ross, music supervisors
  • Stranger Things, (Various
    Artists), Matt Duffer, Ross Duffer & Timothy J. Smith, compilation
    producers; Nora Felder, music supervisor

Best Song
Written For Visual Media

  • “All the
    Stars,” from Black
    Panther
    , Kendrick Duckworth, Solána Rowe, Alexander William
    Shuckburgh, Mark Anthony Spears & Anthony Tiffith (performed by Kendrick
    Lamar & SZA)
  • “Mystery of
    Love,” from Call
    Me By Your Name
    , Sufjan Stevens (performed by Sufjan Stevens)
  • “Remember
    Me,” from Coco,
    Kristen Anderson-Lopez & Robert Lopez (performed by Miguel featuring
    Natalia Lafourcade)
  • “Shallow,” from A
    Star Is Born
    , Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew
    Wyatt (performed by Lady Gaga & Bradley Cooper)
  • “This Is
    Me,” from The
    Greatest Showman
    , Benj Pasek & Justin Paul (performed by
    Keala Settle & The Greatest Showman Ensemble)

Best
Comedy Album

  • Annihilation, Patton
    Oswalt
  • Equanimity & The
    Bird Revelation
    , Dave Chappelle
  • Noble Ape, Jim
    Gaffigan
  • Standup For Drummers, Fred
    Armisen
  • Tamborine, Chris Rock

Best
Spoken Word Album

  • Accessory to War (Neil
    deGrasse Tyson and Avis Lang), Courtney B. Vance
  • Calypso, David
    Sedaris
  • Creative Quest, Questlove
  • Faith — A Journey For
    All
    , Jimmy Carter
  • The Last Black Unicorn, Tiffany
    Haddish

Best Music
Video

  • “Apes***, “ The Carters
  • “This Is America,”
    Childish Gambino
  • “I’m Not Racist,” Joyner
    Lucas
  • “Pynk,” Janelle Monáe
  • “Mumbo Jumbo,” Tierra Whack

Album
Notes

  • Alpine
    Dreaming: The Helvetia Records Story, 1920-1924
  • 4 Banjo
    Songs, 1891-1897: Foundational Recordings Of America’s Iconic Instrument
  • The 1960
    Time Sessions
  • The Product
    Of Our Souls: The Sound And Sway Of James Reese Europe’s Society Orchestra
  • Trouble No
    More: The Bootleg Series Vol. 13 / 1979-1981 (Deluxe Edition)
  • Voices Of Mississippi:
    Artists And Musicians Documented By William Ferris

The Top 3 Greatest Sound Brands on YouTube

Y O U T U B E   S O U N D   B R A N D S –  A N D   W H Y   Y O U   N E E D   O N E !

The Top 3 Greatest Sound Brands on YouTube

And Tips to Create Your Own Notable YouTube Video Style

There is one thing that all famous YouTubers have in common whether it be vlogging, tech reviewing, sketch comedy, cooking or just about any other genre or sub genre on YouTube that has found mass audience appeal –  a sound brand. In this entry, let’s take a closer look at the Top 3 YouTubers whose sound branding absolutely is on point.

But first, what is a sound brand? Well take a moment and think of your all time favorite YouTuber and ask yourself “Do they have an intro and outro with a notable music loops or sound effects?” “Do they have background music or regular sound effects that you have come to recognize to be synonymous with the show?” Those are all prime examples of a sound brand. Sounds, effects, and music loops all easily obtained from websites such as AudioMicro.com but utilized and regularly fed back to the audience in a way that the sound or loop itself becomes iconically entwined with the show. The overall ability that even if you just heard the music and sounds commonly used in your favorite YouTube series without seeing any visuals that you would immediately be able to identify the show is evidence of successful sound branding and what helps make the biggest youtube channels.

#3 Casey Neistat – 10 million subscribers

The man who invented the vlog – Casey Neistat. Easily one of the most popular youtubers on the platform these days. He understood early on the importance of creating a prominent sound brand within his vlogs and he quickly incorporated his skateboard grunge esthetic into everything he possibly could; especially so in regards to sound. Each vlog will kick off with his intro and original track followed by a series of background grunge loops and tracks he’s curated and compiled over the years and will use when he needs to subtley convey different emotions he is trying to evoke in sections of his vlog. The background music content he uses has become so popular as his sound brand that you can even search on YouTube playlist mixes of Casey’s Neistat that they too has millions of listens. Without his sound branding Casey Neistat’s vlogs would lack the emotional punch and drive they so inherently carry. Check out some of his vlogs and see how skillfully sound branding can enhance your project.

#2 Game Theory – 11 million subscribers

Video games are always – ALWAYS – all the rage, and YouTube is no exception. Close on the heels of live Twitch streams comes a dedicated bunch of gamers on the YouTube platform with incredibly sizable fan bases. One particular YouTube gamer, Mat Pat at Game Theory, has found a niche of researching a games lore and developing new and sometimes unexpected theories about the games we all hold near and dear. From his branded musical intro followed by him toting off his notable slogan “Hey Guys! Welcome to Game Theory” altogether creates an incredibly recognizable and powerful sound brand. It’s this one-two punch of branding that I find so effective that I’ve even caught myself humming along to the intro and matching Mat’s slogan as a new episode comes on.

#1 Good Mythical Morning – 14 million subscribers

The singing and variety series comedic duo, Rhett and Link, who host Good Mythical Morning have been mainstream YouTubers since the very beginning of the platform. Early on in their career they realized the importance of creating a premium sound brand. Nowadays their primary show is a daily variety comedy series called Good Mythical Morning. Each episode may cover a new subject and content but in each episode their is a clear and recognizable opening and closing bumper along with notable transition sounds and background music. They recently just started their 15th season (Wow!) and following their trend the only thing that changes between seasons is their intro and outro sound branding which I find to be a refreshing way to audibly cue the listeners into feeling the show has a new layer of renewed energy even after so many seasons.

There you have it! You know realize the best YouTubers are in part the ones who know how to create a memorable and lasting sound brands for their fan base. Now you know it’s not just what you show the audience, but it’s also how you sound to the audience that can a leave a lasting impression that goes far beyond after the video is over. If you’re in the market to develop your very own sound brand and don’t quite know where to start may I humbly suggest checking out AudioMicro.com for all your sounds, effects, and music loops needs to get up and running quickly and sounding amazing!

What do you think? Are these the freshest sound brands on Youtube at the moment? Do you know someone with a better sound brand or think we missed one? We’re always down to check out new and amazing talent on YouTube. Let us know in the comments below!

The Art of Foley – An Inside Look at Sound Effects in Film

T H E   A R T   O F   F O L E Y –
An Inside Look at Sound Effects in Film

Sound Effects are a driving force behind every film that can steer the audience’s emotions and expectations. An image of a door could be shown but the audience would know the emotional tone whether they heard the sounds of wine glasses clinking with plates and silverware milling about , or alternatively bone cracking and chainsaws revving. In one instance the audience is invited into a feast and the other they want to run in horror. The senses follow the sounds. Creating high quality sounds to use in one’s films is an undertaking and an art form in itself. In one instance there is a vast array of high quality sounds already available to you at AudioMicro.com, but sometimes you just want that personal touch and feel the drive to create your own sound effects. In this post we will be taking a look at what exactly goes into making a custom high quality sound effect and a brief history of how it all came to be.

Creating Sound Effects for Film

One of the great unsung heroes of any movie is easily the Foley Artist. These artists are the ones who create all the sound effects you hear throughout the film by using everyday objects in unexpected ways to generate unique sounds. Think banging a couple of coconut shells together to create the sound of a horse galloping like in Monty Python’s Holy Grail; that is a prime example of foley sound.

While on location of a film, modern day audio equipment is optimized for picking up the actors voice while cancelling out all the surrounding and background sounds that would breath life into the scene. This could be something subtle like the actor’s footsteps, opening a door, or even just scratching his own face, to the more in your face fighting scenes, scuffling, clashing swords, etc. It is these artists’ job to find out how to recreate any sound imaginable for any given scene and convince the audience it’s the real thing. Some examples of this would be something like stepping on VHS tape to create the sound of walking through autumn leaves. You can then pick up the same VHS tape and shake it to give the sense of bushes rustling in the wind. Another example would be stepping on a bag full of corn starch to create that sound of fresh snow crunching and compressing as its walked on. Even snapping or twisting a bunch of celery can sound like bones cracking or breaking. At the end of the day if the foley artist did his job right you will never know he did anything at all.

The Origin of Foley Sound Effects in Film

Before this method of foley sound became mainstream in film it was common practice for the time to have sound effects added into broadcasted radio plays to help paint a richer picture of what is happening for the audience. This is what helped pave the way for post sound effects to emerge into film.

The term Foley Artists comes from its creator, Jack Donovan Foley, who as a Universal employee developed the method of performing sound effects in sync with the film’s moving picture in post production back in the early mid 1900s. Jack and his team would have the movie projected in front of them and perform all the post sounds needed in one go and record it on one single track. Nowadays with the invention of computers and development of Non Linear Editing there are infinite amounts of tracks sounds can be recorded, retimed, and adjusted on that simply did not exist back then. At the time this method of creating post sound was called ‘Direct to Picture,’ and it wasn’t until years later that it became known as foley.

Modern Recording Practices of Foley Sound Effects

Today the common set up for post sound is 2 foley artists and 1 sound mixer on the mixing stage. The two artists will work in tandem to create the sound and will work from visual markers and cues projected on the film supplied by the mixer to help them match timing. However, these days it’s less critical if an artist misses the timing as this can be adjusted by the mixer, but making sure the feel of the sound matches perfectly is more of what’s necessary. These specialized mixing stages the foley artists work on will commonly have special sectioned floors with various textures and materials to step on to create various sounds. Along with having an ever expanding warehouse full of props and everyday items they have catalogued and can use at any given moment.

In the instance that you might need to add some foley sound to one of your own projects you can always go simple and experiment with a basic audio mic recording various sounds like footsteps, slamming doors, breaking celery and then test it out by cutting and remixing the sound back into your edit.

If you need something more robust and professional sounding, or you simply don’t quite know how to get that exact perfect sound effect you’re looking for – audiomicro.com has you covered! Just head to the website, select sound effects, and search for anything you need! There are literally 1000s of professional high quality sound effects to choose from that you can remix and cut back into your projects with confidence.

The Sounds Of Horror

T H E   S O U N D S   O F   H O R R O R –
The History of Horror Sounds & Techniques in Film.

Whether it be creaking floor boards in a dark deserted hallway, the ominous sounds of unsettling whispers, or the aggressive revving of an old rusty chainsaw; some sounds are synonymous with horror. It is this genre that utilizes sound design the most, and relies so heavily on what the audience hears – or in some circumstances, doesn’t hear. Understanding what types of sounds and in what combination can most effectively unsettle and sink deep into your audience’s psyche will help any creator develop a more memorable horror film, television show, or web series.

‘THE LEWTON BUS’

In fact, the notable horror cliche of the “quiet… quiet… BANG!” method is derived from the technique known as the ‘Lewton Bus.’ Producer Val Lewton famously developed the technique back in 1942’s Cat People, of lulling the audience into a false sense of security as the scared protagonist proceeds in silence for a moment of time only to be jolted by the sounds of something rather innocent.

Even though aspects of this technique have evolved with time, you can see the ‘Lewton Bus’ method now used in nearly every horror film to date and is a valuable tool for any creator to utilize in their own horror masterpieces.

THE WATERPHONE

Also known as the ‘ocean harp,” is an odd looking percussive instrument that creates all those eerie and ethereal sounds used in countless horror films including Poltergeist, Aliens, Let the Right One In, and even non horror films alike. The sounds itself is tough to describe so give it a listen and you will instantly recognize it’s spine tingling qualities.

THE CHAINSAW

Unless you’re a lumberjack, for most of us the guttural revving of a chainsaw invokes thoughts of dread and dismemberment. This in part started back in 1974 with the Texas Chainsaw massacre and has been since remade, mimicked, and turned into several homages. The chainsaw sound is just so loud and violent that it cannot help but invoke a sense of chaos and confusion as the deafening sound itself grabs the viewers complete attention, puts them on edge, and does not let go.

METAL SCRAPING

Whether it be Freddy Krueger’s claws opening, Jason’s machete scraping against the wall as he meanders towards his victim, or Sweeney Todd sharpening his straight razors before he begins a shave to close for comfort. The sound of metal scraping inherently flags as a warning sign to the audience. You may not even see the object itself but hearing the sound tells you something bad is going to happen. We commonly identify metal scraping as a knife, blade, or weapon of some sort and hearing the sound triggers something basic in us screaming DANGER!

A SCORE THAT WILL DRIVE YOU MAD

All work and no play makes Jack a dull boy! Jack’s slow descent into madness throughout 1980s The Shining has a intensely unsettling musical score to match. Letting the music indicate the tone and mood of your piece is paramount and is just as an important character as even your protagonist that needs to have its own arch and development. Using The Shining as our example Jack at the start of the film is an aspiring writer who took an off season caretaker job with his family; The music meanders along at a lulling pace. By the end of the film he’s chasing his own kid through a hedge maze with an axe and the music is just pure chaos!

What do you think?
We’ve only begun to scratch the surface on all the horror sounds that make your skin crawl.  Let us know your favorite and most iconic horror sounds in the comments below!  And if you are looking to spice up your horror piece with some memorable sounds – whether it be eerie atmospheres, screams, shocks, creaking, cracking, breaking, or just good old fashioned gore – then be sure to check out AudioMicro.com for all your horror sound needs!

We’re always here to support you in your creative endeavors!

 

 

Meet A&R Manager – Joshua Priest

T E A M   M E M B E R   P R O F I L E :
AN INTERVIEW WITH AUDIOMICRO’S A&R MANAGER:

At AudioMicro, we’ve got a commitment to the high quality of music we provide, and our A&R Manager is at the heart of this mission.  Meet the man, behind the man, behind the man, Joshua Priest.

– Thanks, Josh, for interviewing with me today.  So you are the resident music expert and A&R manager for AudioMicro!  How long have you been working with the company?

Answer: I’ve been with the company for four years, and I’ve been managing A&R and the ingest contracts for artists for the past two years.

– Very nice. What’s your background with music?

Answer: Well, I’ve been playing guitar for 14 years. And I’ve always been into music ever since I was a kid.  I mean, basically, music has just been a big part of the journey in my life. Because, you know, when you play an instrument, you’re forever learning and struggling with things that you don’t know. Your music within itself is a language, so you’re always kind of learning, every single day. And it’s great. I deal with other people’s music every day as well.  I get to kind of get a snapshot of their musical journey as well.

– So it’s almost like music is a teacher in a way.  And what’s your background before working in the music industry for AudioMicro?

Answer:  I used to work in TV, for  G4 TV, which is now defunct, unfortunately, and I also worked for a year with NBC. I started off as a production assistant for about a year and half, then became a producer myself.

– Ok, so you have a background in music and in producing. With that experience under your belt, what are some top things that you’re looking for as far as the quality of the tracks that you’re ingesting for AudioMicro’s library?

Answer: Well I definitely want to listen to how things are mixed.  We want to provide top-quality music so mixing is very important.I also want to listen to how the melodies fit into the genre that they’re trying to achieve.

Then I also like to listen to the quality of their plugins. Say with a song that has flute, you can basically tell when they have a really good plugin because you can’t tell the difference between a real flute and a really good plugin of the flute.

Sometimes I hear a film score, and I can’t tell if the artist recorded an orchestra or just on his computer doing this?  Either way, it doesn’t matter because it sounds amazing.

I can hear their level of professionalism and effort within the first 30 seconds.

And then there’s timing.  Sometimes people will upload tracks, and you can just hear that the drums are off, or the rhythm guitar is going at a certain beat per minute. But then, the lead guitar is playing way too quick, or way too slow compared to it. And you can tell that it’s not something that they’re actually trying to achieve.

And, one more thing I’d like to add. When you listen to someone’s music, if you can close your eyes, and you can see the song that they’re making being used in some sort of production, like I can see this being in a movie, or I can see this being the background of a blog on YouTube or something like that, then you know that you’ve got something good.

– So the way that it’s mixed, the melody fitting the genre, the quality of the sounds and plugins, and the timing, those are some of the things that you look for when you’re rating.  And, because of your background and TV and music, you need to imagine where it could be used, and it may need to evoke some emotion in you?

Answer: Yeah. Actually, I won’t lie. There’ve been a few times I’ve uploaded contracts to AudioMicro and I was going through a new artist’s music that were just very sad songs. And I felt a very strong reaction, my heartstrings were getting pulled, and I was like, “Oh, I better stop listening to this. I don’t want to start crying at my desk!”

Some of these artists they are really good at what they do. And if I can listen to music and feel emotional, that’s a winner right there.

– I think a lot of video production is telling a story; and that could be a happy story or a sad story, or many times to inspire, right?  Especially motivational videos on YouTube, they’re definitely telling a story, but also evoking some positive, motivational, or inspirational feelings, right?

Answer: You’re absolutely right, because when it comes down to it at the end of the day, if you have a video with audio, the audio is 50% of your video’s impact. If you have a video with audio that doesn’t match what you’re watching, it takes you out of the experience- 100%.  But if you have audio that matches what you’re watching, it can make the impact of the video 100 times better.

– It’s almost as if the measure of a well produced movie or video is that when you’re so involved in the story, that you don’t even notice the music, because it just corresponds so well, it all goes together.

Answer: Yeah, that’s what we hope for at AudioMicro. Content creators for YouTube,  production film houses, or for people that do podcasts. We’re here to help provide music to compliment your visual aspect to make your production the best it can be.  To Complement and Enhance your project.

– Do you ever get requests to help people find music or suggest music for their production?

Answer: Yes, I’m always more than happy to help our customers if they need assistance.  They can just write in to us with info like, “Hey, we’re doing like a little podcast about history and science, that we kind of want something that’s mellow acoustic.” I’ll point them in the right direction or put together 5 or 10 tracks of things that I think they might like.

– It’s great to know you all are there to help!  So, what’s something about AudioMicro that people probably don’t know.

Answer:  It’s a really great working environment at AudioMicro – We all have each other’s backs.  We’re all very chill & casual with each other- I could go talk to my supervisor or CEO and could talk about work or I could talk about something personal.  When you have a work environment where everyone meshes together so well, the productivity and the company morale becomes so high that it feels like the sky’s the limit.

We also have a room that is dedicated to chilling and taking a break.  We have an acoustic bass, a piano, bean bags and couches, and a PlayStation 4 for people want to play video games.  Throughout all hours of the day, you can hear someone in there either banging on the piano, plucking on a guitar, or playing a video game.

I think that is the best way to blow off some steam and clear your head, like if you’re working on something and you kind of hit a brick wall. You can go in there for 10 or 15 minutes, noodle around on the guitar to get some creative juices flowing, and then before you know it, you might be in the middle of playing a song and you go, “Oh, I got it!”  And go back to what you were working on.

– That’s perfect, because they say human beings can only focus efficiently for so long, and then they actually need to take a break and shift into something else.  So last question Joshua, what kind of music are you into right now?

Answer: Right now I’ve really been into Lo Fi Hip Hop to work to.  It’s kind of jazzy, there are a lot of samples from old jazz musicians and they tweak them to create some interesting sounds, and then I’m also really into classical rock and bands I grew up with like the Beatles, the Grateful Dead, Pink Floyd .

And also, I normally don’t tell people this, but I have a guilty pleasure… I like to listen to Korean Pop Music or K Pop.  My best friend from elementary and middle school was Korean so I’d always be at his house and that’s what him and his sister listened to all the time. So I learned about it back in 1997 and have been listening to it off and on for a long time, but more recently I’ve kind of gotten back into it.

I’m really digging this girl group called Black Pink.  They’ve been around for a couple of years but recently put out a new album and their sound is pretty different.. It’s like Korean girl rap trap music. Here’s the link to my favorite video.

Awesome Joshua, thanks for your time!

 

T O D A Y ‘S   T A K E A W A Y S

Takeaway 1:  Joshua’s A&R rating is based on track mixing, the melody fitting the genre, the quality of the sounds and plugins, the timing, and if the sounds help to evoke emotion or could help tell a story.

Takeaway 2:  It’s essential to find background or production music that matches your creative project in order to complement and enhance its impact!

Takeaway 3: Joshua and the team at AudioMicro are there to help if you need assistance in finding the right sounds for your production project.  Just write in Here.

Takeaway 4: AudioMicro promotes a work environment that is friendly, supportive, and honors their employees need to express creativity and take breaks!

Takeaway 5: Joshua secretly loves K-Pop! 😉

 

 

AudioMicro Royalty Free Licenses 101

A U D I O M I C R O   M U S I C   L I C E N S E S   1 0 1

 

 

 

 

 

Want to know more about what our Standard License for Music Track covers?
Let us give you the 411.

We’ll cover all the music licensing types in this article, but will focus on our tried and true- The Standard License for our Royalty Free Music Tracks.

We’re stoked to offer you the most affordable Standard License price in the industry, not to mention our HUGE library of HIGH QUALITY tracks, all for just $34.95 per song.  Woot!

So where can you utilize these tracks?  Let us count the ways…

  • In any free apps, podcasts, software, and games, utilized on iPhone, iPad, Android, & Facebook.  As long as it’s free, you’re free to use these songs as many times as you’d like!  Score!
  • In any non-downloadable casual games played exclusively via a web browser, both free and paid.  Live Games = Game on!
  • In any creative project videos that are non-advertisements, for TV, Radio, Wedding Videos, and Corporate Videos.  No Ads = No Problem!
  • ANYWHERE on the world wide web (we like to call it the Interwebs), including on YouTube, Vimeo, Facebook, Websites, Web Videos, & Slideshows.  That’s right, anywhere on YouTube land – so create away!
  • In any Film Festivals projects, both student and professional.  We love making big screen debuts!

And what about Reproduction?

The Fine Print :: The Standard License includes the reproduction of up to 1,000 copies of your project in physical, tangible products like CD’s, DVD’s, VHS tapes, Blu-rays, toys, and console games.

So, in sum, the Standard License is all you need, unless of course, you are using the music in the following scenarios. ::

  • For Ads- In an Advertisement to be run on Television or Radio
  • For Films Not at Film Festivals – In a commercial film release or theatrical presentation (excluding film festival screenings)
  • For large-scale Paid Games- In a paid (i.e. not free) iPhone/iPad/Android app, podcast, or downloadable software/game where more than 1,000 copies will be downloaded. Notice: Apps and games that offer “in-app” purchasing by the user are considering paid (i.e. not free) and require the Mass Reproduction License if more than 1,000 will be distributed.
  • For large-scale Reproduction- In over 1,000 physical/tangible reproductions of a product like CD’s, DVD’s, Blu-rays, toys, and console games.

So there are the In’s and Out’s of our Standard License, and all for $34.95!
Quite the steal, wouldn’t you say?  And just a reminder that your dollars are supporting the very deserving and talented musicians and artists who spend countless hours providing you with premium sounds!

Now remember, these deets cover our Music Tracks only.  Interested in Sound Effects SFX Licenses, click here.

Didn’t cover your intended use?  Keep reading for increased coverage.

Here’s a run-down of ALL the MUSIC LICENSE options – depending on your use:

B) MASS REPRODUCTION – $134.95 for up to 10,000 copies to $284.95 for unlimited.

This license is ONLY required if you wish to make over 1,000 physical/tangible reproductions of your product or utilize the music in a paid (i.e. not free) iPhone/iPad/Android/Facebook app, podcasts, software, and/or games where more than 1,000 copies will be downloaded.

Notice: The Standard License allows up to 1,000 downloads of both free and paid software/games as well as unlimited downloads of free (and not allowing in-app purchasing) iPhone/iPad/Android apps, podcasts, softwares, and games. Therefore, you do NOT need to purchase a mass duplication license unless you’re distributing over 1,000 physical/tangible reproductions of videos, softwares, games, toys within media such as CDs, DVDs, VHS tapes and the like OR using the music in paid (i.e. not free) iPhone/iPad/Android apps and podcasts to be downloaded more than 1,000 times.

Mass Reproduction license prices:

  • The standard license price of $34.95 plus $100 for up to 10,000 reproductions
  • The standard license price of $34.95 plus $250 for unlimited reproductions

 

C) TELEVISION/RADIO ADVERTISEMENT – $134.95 to $284.95.

This license is ONLY required if you are using the music in an Advertisement run on either Television or Radio.
Television / Radio Advertisement License prices:

  • For Music used in Local/Regional advertisements played on Television or Radio (with a range of 250 miles in all directions from the broadcast center), the price is the Standard License price of $34.95 plus $100 ($134.95)
  • For Music used in Nationwide/Worldwide advertisements played on Television or Radio, the price is the Standard License price of $34.95 plus $250 ($284.95 total)

 

D) THEATRICAL / COMMERCIAL FILM RELEASE – $284.95 for worldwide rights.

This license is ONLY required for commercial film releases and theatre presentations. Utilization of the music in non-commercial, educational, and editorial projects, like student films and contest submissions, is included in the Standard License. Please be sure to credit “Royalty Free Music by AudioMicro” in your project.

Theatrical/Commercial License Price:  The Standard License price of $34.95 plus $250 per track

Notice:
All of our licenses allow you use the music solely in your own projects. You cannot resell the music as a standalone product or create a derivative work that primarily contains just the music and the resell it as your own, such as a meditation CD with your voice running over the music. If you’d like to use the music in such a manner, please contact us for a special license arrangement.

Bonuses:
We offer a bonus of 20% on purchases over $500 and in the form of store credit to be used with your next purchase. Simply contact us after you have made your purchase and we’ll place the bonus into your account. We also offer bonuses for verified charities and nonprofits.

So that’s AUDIOMICRO’s Licensing 101 friends.

Let us know if you have any questions, and Go Forward and Create!

~The AudioMicro Team

Adding Noise & Grain back into your VFX

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So you’ve just spent hours, days, possibly even weeks arduously creating a visual effect. It might be a CG animation, matter painting, or a simply cell phone screen – and you’re ready to comp that bad boy into your final scene. So you color correct, motion track, and everything else you think necessary. But wait. Something looks a bit off. It doesn’t quite gel with the rest of your scene. The solution? Add Noise and Grain!

Noise is an artifacting seen when shooting on video, whereas Grain is an artifacting seen when shooting on film. In either case, when you comp your VFX, you will want to be sure to add this artifacting back into your work in order for it to appear more naturally as a part of your scene. It may appear to be subtle, but the eye picks up on these things, even subconsciously, and as you perfect your craft, it’s a good habit to get into to add grain back into your VFX before exporting.

8 Bit TV Interference Background

I’m going to show you my technique for adding grain quickly. To my surprise, after working professionally in the field close to five years, I couldn’t find any samples of adding grain when I searched for this technique online. So, for sake of variety after my effect break down, I will supply some alternative methods I also found online that more or less achieve the same goal.

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For my technique I’m using After Effects CC. With your layer selected go to Effects > Noise & Grain > Add Grain

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This will bring up a set of tools and controls for you in the Effect Control Panel

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For my magic recipe, after changing the view mode to FINAL OUTPUT, I adjust the intensity down to .1 >, the size to .08 >, and the softness to 1.5

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From there you can tweak as needed. For most general purposes, that is all you will need to get the job done. As I zoom into my comp I can see there is a nice grain running in through the grays and blacks that help blend the whole image together nicely.

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Now, beyond the technique I just described, there are a few other methods out there. For instance, there are some basic grain overlays that you can download for FREE here that will allow you to simply add above your layer, change the blend mode to OVERLAY, and adjust the opacity to your taste. Here is a video giving you the steps as well:

Otherwise, another method within After Effects is Match Grain (versus Add Grain which is the method I use). In my opinion, Match Grain doesn’t work well with a heavily compressed image or video. But if you are working in RAW, then this might be the best method for you! Check out the tutorial here that breaks down the effortless process of using a Grain Card in your composite to create the end result you are looking for.

Finally, if you would like to read more into the science of why noise and grain looks and performs the way it does, you can check this article here.

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Morph Cut Transitions

NLEs

Jump cuts can be a pain to deal with when cutting interviews and other types of video projects. Sometimes your talent talks too long or you need to hide unnecessary motion. All conventional wisdom says the best way to hide a jump cut is to use a cutaway or b-roll. I wholeheartedly agree and use that wisdom quite often in my own work. However, there are times when those options don’t exist and you are left with jarring jump cuts that can distract or interrupt the piece. Thanks to technological advances in editing software, there are ways to hide a jump using a Morph Cut transition. I’m going to highlight how each of the three top NLEs on the market are able to do this.

Avid Media Composer Fluid Morph

The Fluid Morph effect predates any other morph cut transition that has been brought to the market lately. In this tutorial, GeniusDV master trainer Jon Lynn shows us how to use the Fluid Morph effect to hide jump cuts on an interview clip. First, he makes blade edits at certain points, and then adds the Fluid Morph effect. In the Effect Mode panel, he changes a few parameters and sets the duration to three frames long. After a quick render, you see that the Fluid Morph was able to hide the jump cut in the interview. From what I know about diehard users of Media Composer, this effect exists in many of their favorite effects bins.

Adobe Premiere Pro Morph Cut

Introduced back in April 2015, the new Premiere Pro Morph Cut transition works to hide jump cuts between edits. Located in the Dissolve category of Video Transitions section, this transition analyzes in the background and attempts to morph frames together to create a seamless transition from multiple frames. From personal experience, I’ve found this transition works best on interviews with static backgrounds and not a lot of motion from the talent. Otherwise, it can be a hot mess when applied. Overall, I see this transition getting better with time as Adobe engineers improve the code base.

Final Cut Pro X mMorph Cut

This recent release from MotionVFX brings Morph Cut transitions to the world of Final Cut Pro X. For just $59, you can salvage interviews from long pauses, stutters, and mistakes. The transition works fluidly to fill gaps and instantly smooth out shots. I haven’t had a chance to try it out myself, but based on the demos I’ve seen, this seems like a must-have for editors who do a lot of interview work. With all the innovation that FCPX has brought to the table, I was a bit surprised that it took this long to finally get this plugin. I’ve seen tutorials where it was possible to do this but it seemed rather tedious in execution. It’s good to see that FCPX has this ability.

From what you have seen here, the Morph Cut method of hiding a jump cut can work depending on the footage and the circumstances on which you use it. While not perfect by any means, it is a method that can be called upon to smooth out an interview or other type of video project. Try using the Morph Cut method on your next video project and see how it effects your final edit.

Royalty Free Music

FCPX Tips and Tricks Volume 2

FCP-X-10.2

One of the things I’ve enjoyed about learning the inner workings of Final Cut Pro X is how to work faster despite having a different editing paradigm. Getting used to the magnetic timeline was a struggle at first, but now I’ve become accustomed to it. I find myself trying to do things that are akin to the magnetic timeline that don’t exist in track based NLEs. However, I discovered new tips and tricks from users across the world that make my FCPX experience more enjoyable. I’m going to highlight a few tips that hopefully help you in your FCPX experience.

Connected Clip Tricks

In this episode of MacBreak Studio, the folks at Ripple Training show us how to deal with connected clips. As great as the magnetic timeline can be, dealing with connected clips can be cumbersome. Their first tip involves changing a connected clip to a different primary clip. Holding down the option key, Mark clicks on the bottom of the connected clip and changes the connect to a different clip in the primary storyline.

The next tip involves deleting a primary clip and leaving the connected clip in place, or creating a ripple edit. If you hold down the Shift key and press delete, the primary storyline clip will disappear and the connected clip will be placed above a gap clip. To get the ripple edit, hold down option + command+ delete to perform the delete selection shortcut.

The final tip involves slipping a clip in the primary storyline without moving the connected clip. Holding down the tilde key and pressing the T key, you can slip your primary clip while retaining the position of the connected clip in the secondary storyline. A bonus tip is offered which showcases how to have the override connections command in place until you turn them off. Holding down the tilde key and the command key, let go of the tilde key and the override command will be active until you press the command key again.

Overall, this collection of tips got me excited at how much faster I could move FCPX, and knowing how to navigate the tedious nature of the secondary storyline.

Fast Editing With Clip Skimmer

In another edition of MacBreak Studio, the folks at Ripple Training offer insight into using the clip skimmer to navigate the intricacies of the primary and secondary storylines. With clip skimming enabled and the main skimmer disabled, users can focus on clips solely in the primary or secondary storyline. Using the clip skimmer enabled and the main skimmer disabled, they are able to make targeted ripple edits in primary and secondary storylines without effecting the entire timeline. They also highlight how much easier it is to insert clips into the secondary storyline when the clip skimmer is enabled so that you can be a power user.

Starting Up FCPX

When you open FCPX from the dock or applications folder, it usually opens the last library or libraries you were working in. But what if you want to select which libraries FCPX opens upon startup? The folks at fcpx.at inform us that by holding down the option key at startup, you will be presented with a dialog box showing you all available libraries. Selecting one of the available libraries or using the Locate function to add another library will open that library in FCPX.

Another way to chose which library opens when you start FCPX is to use the inexpensive companion application, Library Manager. The application has the ability to create libraries from scratch and open libraries by themselves if you chose.

Overall, I’ve found these tips to be extremely helpful in getting much more knowledgeable about how FCPX functions. Learning these tips have given me a great appreciation for the application and has suppressed my frustrations I had when it first came out. Try these tips yourself and become the power user of FCPX that you want to be.

Royalty Free Music

Sci-FI VFX Tutorials

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With the upcoming release of Star Wars the Force Awakens, and the premiere of the recent Star Trek films, there have been many visual effects that filmmakers have looked to replicate to bring to their productions. This can be anything from heads up displays, 3D spaceships, weapons, and much more. Looking at these effects as they are, it would be a daunting task to replicate them without prior knowledge. However, using a tool like After Effects can bring your imagination to life by watching the right tutorials. Below, I will highlight a few tutorials based on science fiction visual effects that you can bring to your video projects.

Lightsaber Tutorial

In this tutorial from VideoCoPilot, Andrew Kramer shows us how to use his lightsaber preset which he created using the beam effect along with other filters and expressions. This preset has all the functions you would need to create the perfect lightsaber effect without having to use a solid layer with a mask. This preset also reacts to composition motion blur to create realistic motion. Using an obscure layer as a matte, you can place the lightsaber beam behind your talent when their motion calls for it.

I recently used this preset on a set of commercials and it still holds up eight years after it was initially released. I found it easier to use and manage over a plugin like Saber Blade from Fan Film FX. You can download the preset here and use it on your next Star Wars fan film.

Transporter Tutorial

In this tutorial from SternFX and Red Giant TV, Eran Stern breaks down how to create this infamous Star Trek teleportation effect using Trapcode Particular. Using the path from a circle math, Eran creates a circular motion for the point light which influences the motion path for Particular. Next, he parents the light to a null object so that he can influence the motion even further. With Particular applied to a solid layer and the settings manipulated to emit a solid stream of particles, the transporter effect begins to take shape. Once he has the effect created with Particular, he precomposes it and duplicates it to manipulate other iterations. With a lens flare from Knoll Light Factory and a few animation keyframes, he completes the overall animation necessary to apply to it to his subject.

In a separate composition, he brings the transporter effect and talent to the forefront. Using warping filters and masks, he completes the effect with ease. What I like about this tutorial is the attention to detail that Eran brings to this effect. I’ve seen this effect achieved using particle images from Particle Illusion, which is passable to the common viewer, but this version of the effect really has the Hollywood finish to it. Although it is a dated tutorial, I find it still holds up after all these years.

Hologram Tutorial

This tutorial from PixelBump shows us how to create a Star Wars themed hologram using green screen compositing. He creates three compositions with his keyed talent and changes their colors accordingly using the Levels effect. With the addition of the wiggle expression to create jerky motion, he crafts the colorization needed to create the hologram along with the Venetian Blinds filter. With a combo of offset matte layers and glow filters, he is able to complete Star Wars-esque hologram.

This effect was achieved using native filters and techniques that exist inside of After Effects which makes it accessible to everyone. I recently had to do a hologram effect for a group of spots and I went the third party route using Holomatrix to create the effect. It is always useful to know how to create visual effects when you don’t have access to to third party tools.

These are just three science fiction effects-based tutorials you can use on your next video projects. Try these out and experiment to create something unique.

Royalty Free Music

Creating Fire Heat Waves in AE CC

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Fire is a common element VFX artists need to work with in television, film, commercial, and web content. In a previous lesson, we looked at where to find fire elements and how to quickly composite them into your scene. In this lesson we are going to take the fire composite one step further and add heat waves into our scene. Adding heat waves is more of a judgement call made by the compositor if he feels the element is necessary. But in the case of a larger, hotter fire, the area above and surrounding the flame becomes slightly distorted from heat rippling in gas form.

To create this heat rippling effect, we first want to create a new solid in our composition (I named mine DISPLACEMENT) and then go to EFFECT > SIMULATION > PARTICLE PLAYGROUND.

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That red funnel is called the CANON. Move the canon to the core of your heat source (in my comp I am using the fire element as my source).

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First thing you will want to do is increase the BARREL RADIUS so that the particles stretch horizontally with the width of the heat source. Increasing the barrel radius will stretch the particles in both X & Y directions. Using the POSITION controls, adjust the particles to begin at the base of the of the heat source (not below it).

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Now we need the particles to increase and match the speed of the heat source (in my case the fire). To do that, increase the velocity in the particle playground settings (aka speed) of the particles. For me, somewhere around 150 did the trick. The particle speed now looks good, but towards the end of the particle’s life it begins to slow and dip back down. I want the particle to continue a smooth trend upward. To fix this, I can reduce the particles GRAVITY FORCE to 0. With the gravity set to 0, there is no source to pull the particle back down to earth.

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The last thing you will want to do with the particle playground itself would be to increase the PARTICLE RADIUS to around seven or so. The size of the particle will determine the size of the wave. Keep this in mind as you decide how subtle or obvious you want this heat wave to appear.

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With our particle system running the way we want it, let’s duplicate it!  We will want to change the duplicate particle from RED to GREEN and adjust the velocity setting slightly so that it doesn’t follow the exact same path as the first particle system.

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We now need to pre-compose these two particle systems together by highlighting both in the timeline and hitting COMMAND+SHIFT+C on the keyboard. Be sure to move all attributes and name this as WAVES COMP.

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To finish, select the WAVES COMP and go to EFFECTS > DISTORT > DISPLACEMENT MAP. Under the effect controls, go to DISPLACEMENT MAP LAYER and change it to WAVES COMP. This will use the WAVES COMP as its reading source for the displacement; thus creating the heat waves. To control the amount of displacement, you can increase and decrease the vertical and horizontal displacement controls to your liking. There you go! Heat Waves!

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Finding & Compositing Fire Elements in AE CC

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Digitally composited fire is a common element that comes up regularly in television, film, commercial advertising, and web content. For obvious reasons, it is much safer than dealing with real fire, and generally it is significantly cheaper than dealing with practical live flames, which always includ additional expensive permits and safety staff on set. That is why it’s a must for VFX artists to understand where to get fire elements for use, how to composite them, and how to add that extra lively touch of heat waves coming off the flames.

WHERE TO FIND FIRE ELEMENTS?

Digital fire elements are easy to find. One of the most common fire element packages comes from VideoCopilot.net’s Action Essentials 2. The package additionally comes with other action elements including: smoke, muzzle flashes, bullet casings, explosions, and more. The 720p version is available for only $99.95, and the 2k version is only $249.95.

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MotionElements.com is another good resource for purchasing royalty free digital elements a la carte style. A quick search for fire video elements brought up hundreds of results ranging in price and quality. What I like particularly about this site is they also offer 30 FREE elements weekly via email, and occasionally fire elements come at no cost to you whatsoever. Check it out and sign up!

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ArtBeats.com operates similar to Motion Elements pay-per-item service. The footage here is generally better, but it also comes with a price. The old adage of “You get what you pay for” is true in this case, and with Art Beats you get the absolute best.

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HOW TO COMPOSITE FIRE

To composite a fire element, we first start out with our scene in After Effects CC. Here, I am using a personal stock photo of a pumpkin farm.

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From there, I am going to navigate to my Action Essentials Fire element on my computer’s hard drive and drag and drop it into my scene.

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To start compositing the fire into the scene, we obviously need to get rid of all the black. To do so, simply right click on the element in your timeline and change the BLENDING MODE to ADD.

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From there we want to adjust the SCALE and POSITION to line up the fire where we want it to go. For me, the fire element is a big too long for what I need so I am also going to use the PEN TOOL and create a MASK only around what I need and FEATHER the edge.

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Right now the fire still seems a bit flat, so to give it some pop I am going to add a glow. To do that, with your fire element selected in the timeline, go to EFFECT > STYLIZE > GLOW. Increase the GLOW RADIUS to your preference (I went around 150).

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In future lessons we will look at adding heat waves and smoke. As they are released, I will also add links to those tutorials here.

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