October 31, 2010
It's an unlikely topic for a cable channel known for Mad Men and Breaking Bad, but we're primed after recent views of the Dead Set and The Crazies (bad acid aka BZ).
Update: see also Film Riot Makes a Zombiemommy.
October 29, 2010
October 28, 2010
What is Windows but a continuing knockoff of the Mac OS? Apple itself has cannibalized its own hardware and software developers for many years. And would there be so many free After Effects tutorials exploding onto the scene several years ago without imitating and borrowing from the relatively expensive Total Training tapes and Creating Motion Graphics?
October 27, 2010
Video Copilot has a free download of 100MB of stock elements for Free Stock-Pack Appreciation Day:
Just a token, but it comes with less apprehension than those mysterious free stock DVDs everyone has been offering.
Update: Weynand Training shares notice of a 7-Day Free Trial to VideoBlocks.com, for download of 20 clips a day during with access to over 30,000 video clips, backgrounds, effects, etc.
It looks like Apple will need more of this because knee jerk reflex (this post included) about reports like Apple to delay FCP-8 till August 2011 “The writing is on the wall” (apparently referring to this). Meanwhile Adobe is running a full court press; see for example Is Premiere Pro outshining Final Cut Pro? and the Switch to Premiere Pro series from Chris Fenwick.
October 26, 2010
There's also several general After Effects tutorials for this style, including Design Rhythmic Motion Typography in After Effects and Create an Animated Homage to Bruce Lee by Markus Gustafsson on AEtuts. In addition, Elrond Hubbard has some tutorials on Crooked Gremlins and Vimeo. Here's one:
"After rendering the final clip I noticed I had to change the Particle>Size over Life curve so the particles size faded out rather than just disappearing abruptly. I also setup Aux>Opacity over Life so the auxiliary particles faded out (using opacity)."
October 25, 2010
All MXI buffers are readable and 8, 16 and 32 bpc projects are supported, as is CS3, CS4, and CS5 on Windows and OS X.
"In this video, I wanted to show you how important compositing is for your 3D renders. A 3D render is never finished straight from Cinema 4D or any 3D package. Every shot needs and deserves some sort of compositing and color correction before it’s ready for prime time... I will show you how Rich used After Effects, color correction, blurs, RSMB Motion Blur, Frischluft Lens Care and Lens Flares to turn his simple grey primitive 3D animation into a beautiful, atmosphere rich finished composite."
- playback: bilinear
- paused: Gaussian low-pass sampled with bilinear
- high-quality export (Maximum Render Quality off): Gaussian low-pass sampled with bilinear
- Maximum Render Quality export: variable-radius bicubic (never used on unrendered footage)
The variable-radius bicubic scaling done on the CPU is very similar to the standard bicubic mode in Photoshop, though the Premiere Pro CS5 version is multi-threaded and optimized with some SSE instructions. Even with these optimizations, it is still extremely slow. For high-quality scaling at faster-than-real-time processing, you need to use a CUDA card.
When Premiere Pro CS5 is using CUDA on the GPU to accelerate the processing of scaling operations, it uses the following scaling methods:
- playback: bilinear
- paused: Lanczos 2 low-pass sampled with bicubic
- export: Lanczos 2 low-pass sampled with bicubic
For export, scaling with CUDA is always at maximum quality, regardless of quality settings. (This only applies to scaling done on the GPU.) Maximum Render Quality can still make a difference with CUDA-accelerated exports for any parts of the render that are processed on the CPU. Over time, we are working on reducing the list of exceptions to what can be processed on the GPU. For an example of a limitation that can cause some rendering to fall back to the CPU, see this article: “Maxium dimensions in Premiere Pro CS5″.
When rendering is done on the CPU with Maximum Render Quality enabled, processing is done in a linear color space (i.e., gamma = 1.0) at 32 bits per channel (bpc), which results in more realistic results, finer gradations in color, and better results for midtones. CUDA-accelerated processing is always performed in a 32-bpc linear color space. To have results match between CPU rendering and GPU rendering, enable Maximum Render Quality."Read the rest at Premiere Pro work area.
October 24, 2010
"... the real strength of these tutorials isn’t in the audio part of that instruction; it’s in the linking part.
- batch process your images to save system resources
- create a dynamic link between Premiere and After Effects
- create a camera and null object within After Effects to apply to your time-lapse
- create a pan (or zoom) in your time-lapse
See also Creating Timelapse Movies in After Effects, with an example by Ross Chang and a similar tutorial from Rich Harrington. [update: targeted more to Photoshop users is QuickHit #8: Creating Time-Lapse Movies in AE (Pt. 1) from Colortrails.]
October 22, 2010
iRack 1.0 is a Rack Focus preset for After Effects CS3/CS4/CS5. With this preset you can add the look of a professional focus pull to any existing footage."
For similar tutorials and tools check out previous posts tagged focus, blur, and AE camera.
- Larry Jordan demos Boris FX Contiuum Complete 7 FXPlug
- Paul Baker on PBS "Yellowstone" Doc - Prod to Post
- Chris Fenwick on Design an Affordable and Effective Storage System
- more + raffle
- Everyone who attends the meeting will receive a FREE Boris Continuum Glitters Unit plug-in via download (requires online registration for meeting, or using the link provided at the meeting on screen).
October 21, 2010
October 20, 2010
October 19, 2010
Update: AE Freemart also noted Sound design for motion graphics by Jeff Earley.
"In this exciting new tutorial we will go beyond basic tracking with a new Video Copilot preset for utilizing corner-pin tracking data. This new preset allows you to create dynamic Null Objects based on corner pin data from Mocha AE. It’s a simple solution to getting precise control over your tracking data and the tutorial shows you all you need to know. The explanation is more complicated than the process!
You can find more info and other approaches to Corner Pin effect, tracking & resources, and mocha inside AE Help and via the post tags below.
Update: Wordlings from Pete Warden seem similar at first glance, http://wordlin.gs/.
October 18, 2010
October 17, 2010
Update: Fxguide TV #97 has more coverage... and via @motiongfx Post has more too, see Director's Chair: Gareth Edwards - 'Monsters' by Randi Altman.
October 16, 2010
"A mortgage note is the document you signed when you purchased your home loan. Mortgages contain lots of paperwork – but only the original mortgage note with your signature is proof that you owe the debt. That’s why banks need the note to prove that they own the loan and can collect payments from you. The problem is, banks now buy and sell mortgages up and down Wall Street – slicing them up and repackaging them to sell to other banks. The bank you bought your mortgage from two years ago may not be the bank that owns it today. But, in all the shuffle, the mortgage notes often don’t get transferred along with your debt."
Maybe there'll be a return to dark age European legal procedure like trial by combat or trial by ordeal, methods prior to the development of common law by Crusader and Norman influence of Roman and Sicilian Islamic law (shariah law!).
Update: on Oct 20 Democracy Now hosted Nobel Laureate economist Joseph Stiglitz, Foreclosure Moratorium, Government Stimulus Needed to Revive US Economy. Also, see What Happened to Change We Can Believe In? by Frank Rich.
Later on Salon, Andrew Leonard has much of What you need to know about the foreclosure mess: One side accuses banks and their robo-signers for fraud; the other blames deadbeat borrowers. Who's right?, plus Truthout features Foreclosuregate Explained: Big Banks on the Brink ... of bankruptcy.
If you're having performance issues in CS5, that FAQ is a good place to start looking for help.
This series is a prelude to a Video2Brain course by Todd and Angie Taylor due in November, After Effects CS5 Learn By Video, a book with video on AE fundamentals.
October 14, 2010
[update: see also a MB Denoiser review by Steve Douglas on Ken Stone's FCP]
By the way, you can find other reviews of similar material by Chris Meyer, who recently posted on wiggle and random number methods. See also Random Numbers methods (expression reference) in AE Help for reference.
"This is not a tutorial about making some eye-candy effect. I’m well aware that you can build the same effect with a couple of keyframes and the wiggler. This is about setting up a simple effect with expressions to make a much more controllable animation, that is faster and easier to experiment and work with than the manual equivalent. There are very few good screencasts on the topic of expressions. This is the first in a series that attempts to fill that gap.
As with all series’ it starts simple, with some grounding principles. This is to make sure that it’s not just about copying and pasting someone else’s code, but gaining a thorough understanding of the process for yourself, so that in the future you can design your own complex expression systems. The next one will be building on that knowledge rather quickly. Very soon, you will be writing expressions to automate processes which would take you hours by hand – and shortly afterwards, doing things that can *only* be done with expressions."
October 13, 2010
Update: this tutorial might be a good starting point; Michael Szalapski and Ryan MacAfee provided other leads in a thread in July:
October 12, 2010
There are a few additional details in The Social Network by Oliver Peters for Videography and in Editorial Friended by ‘The Social Network’ by Michael Goldman at The Motion Picture Editors Guild.
"The Social Network was shot on the Red One using the Mysterium-X chip set mostly at 4K 2:1 4096x2048 Redcode 42 and released as a 2K digital intermediate. Additional high-speed photography was shot 4K 2.169 4096x1888 at RedCode 36.
As lead data wrangler, Nelson first had the R3D files transcoded to ProRes 422 LT for offline editing in Final Cut Pro using the Red Rocket card and RocketCine-X. He used FileMaker Pro to keep track of all the footage, files and visual effects in a master database. He wrote a script in Filemaker that took the Final Cut Pro EDL and sent it through RedLine in Red Alert to generate mostly 2K DPX files from the original Red footage for visual effects and final conform.
The Social Network was conformed for digital intermediate in After Effects CS5. Nelson imported the DPX sequences as a multiple layered composition in After Effects and lined that up frame accurate to a QuickTime reference movie exported from the offline edit and imported into the layer above the DPX files.
“I used Premiere as a stepping stone to get my EDL from Final Cut talking to After Effects,” describes Nelson. “Because Premiere and After Effects talk to each other, I was able to bring an offline into Premiere and open that same file in After Effects. This made all of my edits in Final Cut Pro and my layers in After Effects match. The tool that I wrote is the secret behind having my DPX frames match up to my offline edit.”
The movie contains nearly 1,000 visual effects shots that were handled by Lola VFX, Savage Visual Effects, Outback Post, Eden FX and Ollin Studio VFX. Nelson provided mainly 2K DPX plates to the vendors depending on the quality of the image. There were some night scenes that were rendered at 4K and then processed by Lowry Digital for noise reduction and sharpening.
Having the final conform in After Effects enabled Nelson to do additional effects work. “So if anything needed to be painted, anything needed to be comped, additional repositioning, stabilization whatever needed to be done [we could do it].” At least 150 effects shots were done in-house using After Effects, SynthEyes and a plug-in called Immigration that was used to help auto relink offline layers to DPX image sequences."
Update: these seem like the movies, now on Adobe TV:
Update: THE SOCIAL NETWORK: Faces behind facebook by David Bordwell looks at emotion and expression in the story.