I thought I’d give a little insight into what software I used to create the CONSPIRACY Project documentary.
Since The CONSPIRACY Project is a “documentary in song,” much of the material is taken from headlines (still photos or screen shots) and YouTube news reports and interviews. That’s pretty straight ahead. Just download videos you need or take a screen shot of the headlines. (Since this is a documentary, you can use small bits of other people’s stuff under the Fair Use copyright law. But don’t take my word for it. Check it out and decide for yourself if you can use something in your project. Click here for a legal definition.)
For my original content I used a combination of these programs (I’m a Mac guy.)
- Final Cut Pro 6 (editing)
- Motion 5 (and incredible program — and cheap, too!)
- Studio Artists — a paint and rotoscoping synthesizer. Also amazing
- Photoshop — of course
- Anime Studio Pro X — for my simple 2D animations
- Corel Painter — for a hand-painted “painterly” look
- MotionArtist — for some of the comic book scenes that need some movement
- Comic Life — for quick and easy comic book pages
Almost all of the footage, whether from YouTube or screen shots were played with to make them look better. Sometimes just adding contrast or saturation.
Any footage that I filmed was done with my iPhone 5. I use lots of plugin filters in Final Cut and Motion to add some interest to the raw footage.
I also spent a few bucks on a green screen kit with some lights.
That’s all for the visual portion of the film. For the music and sound I used Digital Performer 7. That’s what I use to write and record all my music. Got a bunch of outboard synths and plenty o’ virtual instruments.
I do all the writing, playing and singing myself (this is all indie — low budget). Drums are usually played live on a controller keyboard then I fix my mistakes in the sequencer (DP 7).
All the guitars and singing is live to “tape.” But if I’ve got a great take and it’s got a few small areas that aren’t the way I’d like, I have no problem fixing them in the sequencer. However, I do keep the fixing to a minimum. I’d much rather have a really good live take than a machine-perfect take.
I grew up playing live, so live is a lot more fun and challenging. And I think the results are worth it.
That’s about it. I just do all that for about 2 and a half years and there ya go! A completed one hour and twenty-six minutes of entertainment and enlightenment.
If you’d like to hear rough mixes of all 17 songs before they were finished and released, just go here and sign up to be on my mailing list.