Looking back on thirty years of studio work is a pleasure to ponder this year.
The current iteration of this design studio focuses mainly on two dimensional art, photography and video. In 2016 FJ Studios reached a milestone that I am quite surprised to have achieved.
I started a pre-press service bureau in 1986. I called it Nova Graphic Services Bureau. I enjoyed many years of productive printing press and advertising development. As technology presented stronger opportunities for progress, NGSB evolved. It accelerated in growth first as a four color art house and later into a full featured source for independent creative direction and marketing direction.
Being able to offer corporate level creative to small businesses, individual artists and writers was a unique approach. This studio was founded on the principle that all imagery still or moving, all illustration and all layout design should be unique and custom shot and certainly designed from scratch.
By avoiding stock artwork and stock photography in favor of something fresh, created entirely based on the clients perception of their place in their own market, FJ Studios, it turns out has produced quite a collection in thirty years of continual work.
Enjoy the showcase of examples right here as I continue to collect them and add to our current portfolio. Please stop by often to see what else I can uncover in the archives.
Best wishes and thank you for your continued patronage and support.
THE ADOBE PREMIERE PRO CC INTERFACE
SETTING UP A PROJECT
ESSENTIALS OF VIDEO EDITING
WORKING WITH CLIPS AND MARKERS
ADVANCED EDITING TECHNIQUES
PUTTING CLIPS IN MOTION
EDITING AND MIXING AUDIO
ADDING VIDEO EFFECTS
IMPROVING CLIPS WITH COLOR CORRECTION
EXPLORING COMPOSITING TECHNIQUES
MANAGING YOUR PROJECTS
EXPORTING FRAMES, CLIPS, AND SEQUENCES
Sending your Adobe Premiere Pro projects directly into SpeedGrade just got easier with the 2015 release of both applications. Just use the “Direct Link to Adobe SpeedGrade…” command in the Premiere Pro File menu. Also, you now have access to the Lumetri color engine if you choose to stay in Premiere. Grading and correcting can be done without leaving your favorite editor. So the question arises, if I can color correct in Premiere using the same tools that I would use in SpeedGrade, then why do I need SpeedGrade?
Sometimes it’s the real estate. Color correcting and shot matching in SG is done with a dedicated user interface. The application frame is designed for the task. The same processes if handled in Premiere is done inside of a tightly packed Premiere workspace panel.
SpeedGrade has a lot more going for it than just handling those processes. Besides dedicated workspaces for pan and scan, having multiple playheads driving multiple views of the timeline is critical to matching shots with professional judgment, especially when your attempt to explain a waveform scope isn’t helping the client seated next to you.
Color timing, matching and grading are jobs that require (at a minimum) some focus and a small amount of dedicated skill and understanding. Do you really want your editors spending hours on a process better suited for a program like SpeedGrade and driven by a person that understands color? As usual the choice is yours. The money, on the other hand is there to make. Having the wrong person or application trying to complete a specialized task? Well the money is there to waste. I hope it’s your money, not the client’s.