September 30, 2010
...read the rest of the updated article -- now on ProVideo Coalition.
September 29, 2010
"...we’ll be creating a powerful explosion and shockwave inside of After Effects using elements from Action Essentials 2 and built-in effects. We will use Mocha to motion track the difficult shot and explore advanced blending and compositing tips."
September 28, 2010
"add comments to layers and then use the filtering/searching in the Timeline panel to show and hide layers according to these tags."
Also, while there is no master override Solo button in the timeline, you can also use Zorro-The Layer Tagger turn everything on to spot check a comp quick. Zorro lets you make selection and isolation sets by adding comment tags to layers, and new for CS5 is layer color label support. Here's the demo:
- Journalism in the Age of Data: Visualization as a Storytelling Medium
- Research: How Effective is Animation in Showing Temporal Trends? (see also No more excuses: a list of references to learn how to use color by the same author, and via @Coleran, Animations in User Interface Design: Essential Nutrient Instead of Eye Candy)
- David McCandless at TED on the Beauty of Data Visualization
2. it’s OK to suck. You will get better over time.
3. Set project deadlines to practice and get better!
4. Be patient and don’t quit. It takes a while."
"If you want the most basic, most thorough tutorial, I recommend this one by Scot Hacker of the Knight Digital Media Center, who shows how to create a visualization with free Google Charts and Gadgets, from start to finish (spreadsheet to embedded chart), called “Data Visualization for Non-Programmers.”
And for further reading: Paul Bradshaw’s mini-tutorial on The Guardian’s DataBlog,“How to Be a Data Journalist” and the follow-up on his personal blog, “Where Should An Aspiring Data Journalist Start?”, Anthony Calabrese on PBS MediaShift on the power of visualization, help forums from Hacks/Hackers, CJR’s Q&A in two parts with Chris Wilson and David Plotz on their data projects at Slate Labs, and the TED talk that David McCandless gave earlier this year on his own elegant design solutions for journalistic problems."
September 27, 2010
By the way, AE Scripts has a variety of scripts for markers, and AE Help has a list of scripts for manipulating markers and additional info too.
'A one slider plugin that gives a very compelling filmic contrast “look” to your footage. Partially based on Ken Perlin's Gain function & Roy Stelzer’s presentation.'
September 26, 2010
- Jonas Hummelstrand's Greenscreen and Bluescreen Checklist
- Alex Lindsay's Greenscreen Primers at PVC
- Chris Meyer's quick overview of Keylight on Adobe Video Workshop that gets right to the point.
- Chris Meyer posted An Illuminating Discussion: PVC writers weigh in on what they would recommend for a lighting kit.
- After Effects CS4 Help has nice succinct overview and tips, updated in CS5 as Keying introduction and resources and Compositing and transparency overview and resources.
- Mark Christiansen's chapter in AE Studio Techniques, which covers the Keylight filter in After Effects and much beyond. A small portion of his info was released in book teasers, Color Keying in After Effects CS3 and a video presentation of Keylight.
- Video training on Keylight and a greenscreen book from Toolfarm
- Toolfarm later added In Depth: Keying: Introduction & Frequently Asked Questions about Shooting Greenscreen and In Depth: Keying: Pre-Processing Greenscreen Footage for Keying
- Tutorials on 'super tight' garbage mattes in After Effects
- 9 Tools for live chroma keying, from Topher Welsh
- Amidst other advice Adam Wilt says use Chroma Smoothing in Final Cut, as quoted in an AEP post Jaggies on Chroma Key.
- A personal observation under a deadline -- duplicating a layer with a-bit-too-aggressive key on hair can help give the hair some extra blending detail.
- Fxguide's 'Art of' Keying (history and survey to 2005) & more
- Alex Lindsay's explanations of AE's Color Difference Keyer (a sample from the Composite Toolkit) will feed your head and help you understand some of what goes on behind the scenes in keying filters. The link is broken for now but you can see similar logic (with nodes instead of pre-comping isolated channels) in the Overview of the Color Difference Keyer in Conduit.
- from Masters of Visual Effects, a 30-minute video on keying and procedural mattes hosted by Stu Maschwitz
- Chris Zwar has "Thoughts on keying" in 3 parts - Technology, The Myth of the Single Click, and Compositing
- How to Light Wrap: Blending composite edges with and without 3rd party filters, an AEP roundup
Premium Beat introduced keying in Keying Fundamentals in Adobe After Effects. For more, see Todd Kopriva's outline of a set of four video tutorials on color keying by Andrew Devis.
Better Keying from Production to Post was a free class on green screen. Sponsored by Tiffen, the webinar featured Marco Paolini and Richard Harrington.
September 25, 2010
Update: here's some of real time slices with 52 DSLRs and some Macs,
Update: The FF shortcut from CS4 finds and shows instances of missing effects in the Timeline panel. In Creating Motion Graphics with After Effects (p. 400), Chris and Trish Meyer add that you can still copy & paste from the effect placeholder and keyframes.
September 23, 2010
See also the CMG video on Wiggle Transform and Alter shapes with path operations in AE Help. Chris and Trish also posted overviews on Shapes in AE Apprentice #9: Shape Layers and The Shape of Things to Come: Shape Layers Introduction.
John Nack posted on this tech in 2005, Plenoptic Cameras: [whistle type=low & appreciative], and there's more background in a CNET article from 2008, Stanford camera chip can see in 3D. Laptop mag seems to have done the lead reporting on this item from a recent nVidia conference (video below); they note that there's much more on focus and other aspects of this technology at Adobe researcher Teodor Georgiev’s web site.
"The biggest problem with our CS5 conversion has been that it caught us while we were already in the middle of adding features. In order to add the new features and take Invigorator / ProAnimator to the next level we also had to rewrite the entire user interface. 4-view windows, movable panels, built-in vector drawing, better text handling, how the whole program flows and works as a unit, none of these could have been done with the old way the program was written, so we had to rewrite.
We were well into the middle of this project when Adobe let us know there would be no support for 32 bit plug-ins in CS5. That was a bombshell. [AEP: additional background] We had to convert to 64 bit, but you can’t rewrite your code, add new features and do a conversion all at the same time. There wasn’t anything we could do except to finish the new features before we could start the conversion. This means we’ve been sitting on new software with new features for months, but couldn’t release it because it’s not compatible with CS5. Talk about frustrating! [...]
So is there any good news? Fortunately there is. The Windows conversion has gone very well. There are actually two parts to the conversion, one is converting to 64 bit and the other is converting old Carbon calls on the Mac to the new Cocoa calls. Windows doesn’t have the Carbon/Cocoa issue so its conversion is nearing completion. The Mac conversion however involves thousands of changes which will still take a few more months to finish. But that doesn’t mean we can’t start releasing CS5 compatible plug-ins as they are completed. So here’s the projected release sequence. As usual I need to give you a disclaimer that plans can change and no matter how likely it seems that things are on track schedules can shift in dramatic ways, but with that in mind here’s what we project as our likely release schedule."
Read the rest at Zaxwerks...
September 22, 2010
September 21, 2010
- Karl Soule from Adobe: New RED / Adobe workflows with metadata, and plugins Freeform and Mocha for AE
- Bruce Sharpe of Singular Software: PluralEyes - sync your audio and video without sinking your project
- Mark Spencer on 3D in Apple Motion
- Tery William of AJA: NEW products for 3D production
- Jin Joo of CinemaSports
- Jason LaBatt and Michelle Ortega show excerpts from "Adult Beginner Ballet"
- info tables with Patrick Sculley of Pixelfow, Bruce Sharpe of Singular Software, Tery Williams of AJA, Damon Hampson of Peachpit Press, and Skye Christiansen of Ninth Street Screening Room
September 18, 2010
September 15, 2010
This post has been expanded and update, see Free lower thirds and tutorials: Leverage Photoshop, Premiere, and After Effects at PVC.
'Which one is better depends on your particular application and how you like to work. If you work with Avid or Adobe Premiere, well then right now Resolve is your best choice because it has an easier workflow to / from the application because it’s a third party app, not a proprietary Apple app. If you work with Final Cut Pro, well then you can go either way.
Update: Scott Simmons "kicks the tires" with some DaVinci workflow tests, and [later] Oliver Peters has a First Look: Blackmagic Design DaVinci Resolve for the Mac.
September 14, 2010
"This film explores playful uses for the increasingly ubiquitous ‘glowing rectangles’ that inhabit the world. We use photographic and animation techniques that were developed to draw moving 3-dimensional typography and objects with an iPad. In dark environments, we play movies on the surface of the iPad that extrude 3-d light forms as they move through the exposure. Multiple exposures with slightly different movies make up the stop-frame animation."
Read more about the work at the Dentsu London blog and the BERG blog.
Other resources for basics are summarized in Getting started with After Effects II.
"One of the things that makes this series stand out from other tutorials is that it spends a lot of time on fundamentals of animation and motion graphics, not just on the specific features of After Effects, and not just on the creation of a specific result or look. These fundamentals can be used every day, for every project. This is real teaching."
September 13, 2010
See also the Bittbox series Free Texture Tuesdays, Scientific American's "surface of reality", and other resources like CGtextures and planet textures found in previous posts on textures. [update: Lester Banks notes Texturelib, which has 3000 free textures + counting]
September 12, 2010
September 11, 2010
"Chad Perkins is one of the world’s leading After Effects trainers and experts, through his books and online tutorials on places like Lynda.com. In this wide ranging interview we discuss cool stuff in After Effects that many users miss, how he got started in training and how today’s short attention spans..."
September 9, 2010
Denoiser is part of the new Magic Bullet Suite 10 for CS4, CS4, and CS5, which offers the Magic Bullet product line at a big discount.
Update: Of course there are a variety of de-noise filters; Noise reduction in AE noted a few of these. Peter Litwinowicz of RevisionFX noted that DE:Noise version 2 is in some cases twice as fast as the previous version, and that "a combination of feature-sensitive spatial blurring, along with tracking (and the ability to use both, or either independently) is what we've found the most useful."
Update: In October, NewBlue introduced NewBlue Video Essentials IV, which provides 10 "editing techniques" including Bleach Bypass, Day for Night, Drop Shadow, Fish Eye, Luma Key, Magnifying Glass, Reflection, Skin Touch Up, Slide Show, and Time Clock. Here's a sample:
September 8, 2010
September 7, 2010
The full version of the script which is fully functional without a license for 2 weeks if you want to take it for a spin. Here's the demo:
But what if you want to export an AE project to Final Cut? A quick answer, with more resources hopefully forthcoming, is to use Dynamic Link to Premiere Pro, then export a Final Cut Pro project XML file. The project could then be sent on to Apple Color too.
By the way, you can also export to Avid with AAF or export an edit decision list (EDL). Note that trial versions of AE and Premiere are not licensed to support some features, but the log file (FCP Translation Results) describes any translation issues. Some good news is that XML from Premiere Pro CS5 does import into Final Cut Express 4.0.1. [update: read about some bug fixes for XML in Premiere Pro CS5 (5.0.2) update: bug fixes and CUDA support; there may be some inconsistencies though.]
Joost van der Hoeven of Animotion posted a video overview of the new Premiere CS5 feature in Exchange between Final Cut Pro and Premiere Pro CS5 (it's also on Adobe TV now):
Premiere Pro CS5 and Final Cut Pro Exchange from animotion on Vimeo.
Update: Todd Kopriva posted about Premiere Pro overview documents for Final Cut Pro and Avid Media Composer users. Users switching platforms at this point may only be about money at the lower end, since Premiere is still 3rd choice in the NLE hierarchy. For context, see Final Cut Studio 4: a double scoop.
There's really no secret about the kinds of things Adobe could do to improve usability and mindshare beside luring the lukewarm from the Apple camp -- assuming that there are goals in addition to short-term sales. There's plenty of advice aimed at Apple that Adobe could implement. Beyond constant drumbeats pleading for Avid-style media management and Trim Mode (see FCP-List for pro/cons), there are more examples in the feature request list at FCPro.TV and advice from Oliver Peters on Improving FCP and Media Composer, although it's the Avid features missing from Premiere that are important.