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Mini Tutorial: Backlighting

PROGRAM: Adobe After Effects CC

OBS: There are several ways to achieve this effect; this is simply the way I prefer to do it. 

1. First I chose a clip that you want to add backlighting to.

2. Next step: Mask the character. I used 2 different masking methods here: First I removed the sky with the help of several “Color Keys”. This way I don´t loose the small details of in the hair. 

But this effect erased the white color in Ariel´s face, so I had to duplicate the clip and this time mask only her face (with “Roto Brush”). When I am done masking I render the clip with Alpha Channels, so that I am working with only 1 layer. 

3. Background time: I decided to go with the same background as in the original, but made a few changes: ”Glow”, “Gaussian Blur” and “Gamma/Pedestal/Gain”.

4. RED LAYER: Background. YELLOW LAYER: Masker Ariel.

5.  I then duplicated the masked Ariel, turned the layer all black with “Levels”. GREEN LAYER: Shadow

6. The I masked the shadow layer with the “Roto Brush” (really simple; just draw over everything) and then heavily adjusted the settings until it looked like  shadow. 

7. Changed the layers “Opacity” to 50% to make it see-through. 

8. Added some adjustments to wrap it all up: “”Curves” and “Remove Grain”.


OTHER MINI TUTORIALS:

1 , 2 , 3 , 4 ,

anonymous asked:

As an editor can u refuse to edit certain genres of books like of u got a really porn filled book can you refuse? and wat do you do about trigger warnings or do you just have to get on with it if its triggering?

Well technically you can say you won’t edit certain genres when you go in to apply for a job, but if you have stipulations regarding what you will and won’t work on, generally no publishing company will pick you up.  They expect you to treat most books sort of like a science in a way, you’re not reading for enjoyment, you’re reading to pick apart where it’s gone wrong and fix it.  That being said, if you do work for a publishing house, you’re usually placed in a certain genre (for example I work on Supernatural Fiction and Romance, so those are the only two genres I get in my queue (unless I’m helping out another editor) With triggers–you just sort of prepare yourself for them.  With each book you get a blurb, a long synopsis (usually one or two pages detailing out the plot to the book) and you have the author’s email so you can chat to them about what to expect, etc.  Like if there’s something that bothers you, you can ask ahead of time.

For me, my usual triggers when reading don’t apply to editing because I’m typically not emotionally connected to the characters or the story (though it’s happened).  But you have to be able to turn it off, otherwise it’s really not the field to work in.

Believe me you will have…interesting things come across your desk.  From Erotic Christmas porn staring Jesus (yes this is literally a book that has gone to print), to main protagonists falling in love with the men who have assaulted them, and you have to take it in stride.

Editing is kind of a buyer’s market, so if you’re fussy about what you will and won’t do, there are a hundred other applicants who are willing to take your place.

One option is working freelance which is easy to do as there are thousands of independent authors looking for editors.  The only problem with it is it’s a very competitive market, and you have to build up a decent reputation before you start getting loads of clients (which means it can take a while for you to get to a livable wage).  However you have better content control with it, and you have full say over what you will and won’t take in your inbox.

I really hope this has helped x

5 Things I’ve I’ve Learned While Writing My First Manuscript

Hello and welcome to my first blog post! I’m Laura – an aspiring writer, as you may have guessed by the title of this post – and I, like many others, have made a lot of horrible mistakes and revelations with my first manuscript. While I’m only halfway through my first draft, being the masochistic, self-embarrassing person that I am, I thought I’d share what those lessons were.

1.      The first line is hard.

It’s even harder when you put all this pressure on it that you really don’t need. It’s just a collection of words, just like the rest of the novel.

Don’t fret.

2.     Don’t go back and edit.

There were so many times when I finished a chapter or a scene and then realized: Shit. That’s not how I mapped that character. Or, oh my god, I just missed out a HUGELY important part of that character’s backstory.

What I’ve learned is that it’s the hardest but the best thing you can do for your novel to just. Keep. Pushing. Through.

You’ve got to grit your teeth and remember that this is what second drafts are for, because if you go back and rewrite something every time you notice a mistake, you’ll never finish the stupid thing.

3.     Outlines can be really fun. Or they can be torture.

This lesson is kind of unavoidable as a newbie writer. If you’ve never outlined your book before, you won’t know what sort of outline you like. So you could get 20,000 words into the story (like me), realize you screwed up your outline because you did it on Word instead of post-it notes, and lose your damn mind.

“Why is everything so disorganized!?” You scream, before slamming your head against the keyboard for the millionth time.

Take a deep breath. Stop writing. Redo your freaking outline.

4.     Finish ALL character construction before you start writing.

I didn’t take this step seriously because I didn’t take my writing seriously in the beginning; it was just something I was dabbling in which I hadn’t done in years.

But if you’re considering writing a novel, you have to finish all your character construction 100% before you can start the novel.

A lot of my characters have half-finished outlines. So sadly, I’m gonna have to take a break from all the fun writing I’ve been doing to map them out halfway through the story.

5.     Don’t be too hard on yourself.

I’m actually pretty good at remembering this lesson, but I think every writer finds it invaluable.

You don’t need to be the next F. Scott Fitzgerald in the writing world to have an incredible work in your hands – or, well, your head.

Remember that it’s okay to make the above mistakes, and many more (seriously, I could list hundreds). Just push the negative thoughts away for a moment, and keep tapping at that keyboard. Good things are bound to come out of it if you work hard enough.

So that’s all I’ve got to say on the subject. I’m sure I’ll have plenty more to talk about once my novel is finished and once I move onto the editing phase for my novel. Thanks for reading this far and I’d love to hear some feedback!

MAKING EDITS W/ POETRY 101

i cannot count the amount of times i have seen nice character gifsets with poetry overlaid, only to recognise the author of the poem and see that they have not been sourced. this is a post for anyone who makes those sorts of edits because you guys have been pulling some shit on the poetry community for a while now and it’s arrogant and needs to stop

NB: this mainly refers to poets who have originated online and don’t have the protection of instant name recognition like established poets do

  • the first thing that needs to happen is asking permission. what makes you think you have the right to co-opt someone’s else’s work for your own gain without permission? 

  • most of the poets i know are perfectly happy for their words to be used so long as they’re credited for them, but it’s still common courtesy to ask because you don’t know that they might not want their words used until that point.

  • if you ask someone permission and they say no, don’t do it. flat out, do not make the edit. 

  • there could be any number of reasons someone doesn’t want their work used (you could be editing for a fandom they hate, you could be using a queer poem for a straight ship, it could be a deeply personal poem) but the thing is, it doesn’t really matter what the reason is because it’s not your work and you don’t have any right to it. 

  • if you’re not going to ask permission, you at least need to source the poem. this is just basic respect tbh but the amount of times i have come across people just leaving the credit off is shockingly high and i’m over it.

  • if you’ve seen the words originally on another graphic that didn’t source it, don’t just link back to that edit with “insp” as your source; that just results in perpetuating the lack of source, because the next person who wants to create a similar gifset will link it back to yours instead. 

  • nine times out of ten, the author can be found by googling the first line of the poem and putting “tumblr” after it. it’s not hard. 
A Word on Editing

Guest Post - @by-ethan-fox

Hi all! Ethan Fox​, here, author of The Scissors and the Sword. 

As a guest post, @thewritershandbook has told me that they receive a lot of questions from you, their readers, about editing - and asked if I could talk about it. Though I’m not an expert, I’ve worked with an editor as well as having done some self-editing on various projects, so I thought I’d try to give some advice.

Writing is writing, editing is editing

Some writers self-edit as they write (to a degree), whereas others try to write in an unfettered manner. I’m very much the latter.

When I write, I like to go through the scene in my head and “get excited” about the content. Then, when I actually hit the keyboard it’s like turning on a tap/faucet. It’s like winding up a toy then letting it go.

I usually work to music, also. For instance, I write all of my fight scenes to Two Steps From Hell.

As a result, I don’t self-edit. If I think of something better, I just put in a few carriage returns then write a passage again. As a result, my first notes are a complete and utter mess, often with my own inner monologue in the margins. 

This is useful because it catches everything that comes out of my head (including how I feel about what I’m writing).

Naturally, though, this prose is useless - I would never share it with someone else. It needs a minimum of one rewrite first.

Whether you want to practice this is up to you, but I would strongly recommend it. You get very vibrant prose this way.

The first edit - the “vicious” edit

I come to do my first editing when I have a basic draft, as in the section above, for every scene of the book. I like to call this the “vicious” edit, because this is usually where I throw away the most stuff in one go.

First things first - try to give it time, before going back to your draft for this edit. I gave it a month. Easiest way, for me, is to try and get hold of a retro RPG for the PS1/2. A Disgaea or Final Fantasy. That tends to keep me occupied for a few weeks. When I come to do the edit, I go through all of the scenes and rank them in terms of value to the story, and I try to cull anything that I feel is redundant, or could more easily be dealt with elsewhere.

For example, in The Scissors and the Sword, at this point, there was a whole scene where the police call a press-conference to address the arson situation earlier in the book. Of course, the arsonist attacks the conference. This was a good scene (the sense of panic worked well) and I was happy with it, but it didn’t tell the reader much that hadn’t already been explained. I decided to slice out this entire arc. It might find its way into one of the later books in a rewritten form.

I also go through the scenes and I consider which ones I expect to work, and which ones I don’t - and, if necessary, I make surgical corrections at this point. I’m quite a visual person, and often go with scenes because of a visual trigger which has captured my imagination; I’m also a big watcher of films and anime - unfortunately, some ideas work better in those media than in writing. This is a chance to rework or remove those scenes.

This edit will almost certainly involve the creation of new scenes. That’s fine; main thing is not to fight it and just go with the flow.


I like to follow scene >> sequel narrative rules, so this is where I ensure my scenes are, where possible, divided up into scenes/sequels (sometimes called actions and reactions).

The first rewrite

Structurally, once I’m happy with the editing above, I perform my first rewrite, aiming to get as close to “final” as possible. This takes weeks, but usually, what I emerge with is quite polished.

One rule for this - it’s a rewrite, not an edit. I sit with the old document on one screen, a blank document on the other, and I totally rewrite each scene, paragraph-by-paragraph. I recommend this approach.

Once the first rewrite is done, I invite others to read the work, and I read through it multiple times, looking for parts that drag. This is quite do-able, because the first rewrite should at least resemble a finished book, even if it’s a bit crude.

Another thing; make sure you ask people who you know will be honest with you. You can ask family members (most authors do) but remember, your intention is to find and fix problems. The comments you get back might be disheartening, but that’s all part of the process.

One word of advice: when receiving feedback, it’s very easy to respond with stuff like “Oh I just thought so-and-so”, or “That’ll be clear once x is done”, making excuses. Try to step back and instead of focusing on the precise bit of feedback, attempt to understand why that bit of feedback was given. Why did your reader fixate on that issue?

The second rewrite

I like to go onto the second revision straight away. Some of the simpler chapters might only need minor revisions, whereas some will need complete rewrites. Obviously, this rewrite aims to fix the issues identified in the feedback from before.

After this, feedback>rewrite becomes an iterative process; do it multiple times if you can.

Another tip; I would, at some point, run each of your chapters through the Hemingway App, to see if you have any obvious faults. 

Hemingway isn’t a magic bullet to get you awesome prose, but it can help you weed out very long, confusing sentences, as well as sneaky adverbs.

A finished book?

Once you’ve finished your rewrites, you might feel you have a finished book. Certainly, assuming you have a reasonable grasp of grammar etc., your book will be quite close to complete.

A lot of indie authors choose to publish at this point, and that’s fair enough. Your book may lack the polish of a paid edit, but a paid edit costs at least a few hundred dollars, and there’s no guarantee you’re going to make that much back.

Whether or not you choose to risk it is up to you. Personally, I would get a paid editor, and here’s why:

My adventures in self-editing

When I first published The Scissors and the Sword, I didn’t get a professional editor. Instead, I “did my best”, largely because I was very short of money at the time, and couldn’t have afforded it even if I wanted to.

I even got my initial readers to help me find typos, which was actually useful - it helped me interact with my first community of emerging fans.

However, all of this changed when the fire nation att- I got my first low review. It pointed out various issues present in the text, and jolted me into getting in touch with some editors.

I was still broke, between jobs, so I couldn’t afford a full edit. Fortunately, I managed to find an editor that offered to edit and annotate two of my chapters, then do a brief pass of the rest of the book to look for general problems to be fixed.

When I got the chapters back, I was surprised at how many changes my editor suggested, but even more, I was blown away by her consistency. It was really easy for me to take those lessons and apply them to the rest of the book with another rewrite, and I feel it’s far stronger as a result. I do, eventually, plan to get her to go over some other parts of the book (to see how close I got).

If nothing else, this proved to me how powerful a help a good editor can be. It really did transform my prose.

So, do I feel you should get a professional editor? A resounding YES.

In Summary

Editing as a unique skill, no different to plotting, characterisation or cover design. Some writers are born just able to “do it all”, whereas us mere mortals have to work at it. I can cope to some degree with editing my narrative, but I would always see an editor for actual text.

You can seek out an editor via Google or just about anywhere. I found mine via the Self-Publishing SubReddit. Try to get quotes from multiple people; most editors charge by the word (like they’ll charge a fraction of a cent per-word).

Finding a good editor is important, but mostly, I would recommend finding someone you feel you can get along with. Working with an editor is a two-way street of creation and compromise. It helps to get a feel for what books they like, and what kind of person they are.

Put simply, if your work resembles Akira Toriyama, but your editor hates Dragonball, you’re not going to have a good time.

That being said, editors can and will be harsh. It comes with the job. You have to learn to take negative editorial comments in a similar way to negative reviews; they’re not an attack on your person, but rather a critique of your work. A book is an enormous “bunch of text”, and believe me, there’s no shame in asking for help

The end result is worth it.


Ethan’s latest book, The Scissors and the Sword, is available on Amazon and is currently listed on offer; and can be bought HERE.


A special thank you to Ethan for writing this post and sharing his experiences, tips, and advice on editing.

So I spent this morning doing the final pass on an upcoming volume, and here are a few of the highlights. I made myself sad. Because I’m a terrible person.
If you want more of my terribleness, I guess you could follow me on Twitter~ 😅 (twitter.com/MistreKirin)
#thelifeofmax #writer #writer #editing #revision #writerslife #SADDDNESS

editsaurus.tylerwalters.com
Editsaurus by Tyler Walters
A tool to check creative and technical writing for potential improvements.

This is a really cool site you can use to check your work for things like filler words, adverbs, passive voice, and lexical illusions .

It’s not a substitute for actually editing your work, but you can use it to point out features of your writing that you find difficult to spot on your own.