Motion graphics expert Jeff Foster shows you how to use Sonicfire Pro 5 to match your soundtrack to motion graphics elements with After Effects CS5... »
Jeff Foster, an award-winning video producer and author/educator on Adobe After Effects, uses SmartSound's royalty-free music library to create custom soundtracks for his projects. Here, he shows you how he used After Effects CS5 and Sonicfire Pro to roundtrip edit a soundtrack for a recent project.... »
Jeff Foster, an award-winning video producer and author/educator on Adobe After Effects, uses SmartSound's customizable royalty-free music library to create soundtracks for his projects. Here, he shows you how he used After Effects CS5 and Sonicfire Pro to create the soundtrack for a three-minute book trailer video.... »
Rob Engle, 3-D Visual Effects Supervisor at Sony Pictures Imageworks in Los Angeles, served as visual effects supervisor for the 3D version of the 2009 animated Disney film G-Force. Engle recently was awarded our Screen Genius Award for his contribution in bringing anamorphic guinea pigs to life in the film, specifically for his skill in synthesizing 3D in post and streamlining production as a result. A team of 300 artists and four effects facilities took on the gargantuan task of synthesizing a 3D environment using 2D plate photography and 3D assets, says Engle. The resulting animation and effects pipeline let the on-set team shoot with standard 2D rigs, a much more fluid choice than many of today's bulkier 3D rigs for shooting scenes that range in scale from pint-sized close-ups to full-scale action scenes.... »
Tutor Harry Frank looks at "aux" particles in Particular 2, explaining how they're related to regular particles and showing how they can be precisely controlled to create subtle and unusual effects.... »
Tutor Harry Frank presents an overview of different particle types in Particular 2, how their properties can be set and manipulated over time, and how they might be used to achieve specific effects like sparks and explosions, fireworks, or smoke and fog.... »
Using ToonIt is a snap, and version 2 has a nicely reorganized set of controls. ToonIt 2 features new controls for natural media right inside the plug-in, with styles such as Airbrush and Gouache paint, and new outline styles such as scratchboard.... »
Boris Continuum Complete gives you four filters— BCC Deinterlace, BCC Match Grain, BCC Film Process, and BCC Film Damage—that can create the illusion that your clips originated on film as opposed to tape. The BCC Deinterlace filter can simulate telecine and reverse telecine, which is where video clips at their native rate are slowed down to 24 fps, the native frame rate for film.... »
Watch this video from NAB on the Canon 5D Mark II, a still camera also capable of shooting 1080, 30p video. See the possibilities and limitations of this camera as well as insight on where Canon may be heading in terms of offering a true digital RAW video camera in the future.... »
Watch this video below from Class On Demand to see how to output a file to a variety of different formats at the same time with a few simple clicks. See how to use the Media Encoder to render your After Effects comps as well.... »
Motion designer Harry Frank demonstrates how to get around the particle orientation limitation in Trapcode Particular wherein particles always face the camera. Using camera trickery and expression magic you can see the particles at an angle.... »
Post production guru Philip Hodgetts demonstrates his new tool for Final Cut Pro, Sync N Link, for synchronizing sound and picture shot dual-system. Sync N Link does what Avid's Auto-Sync function does, plus more. Footage and sound files with the same timecode can be automatically synched with a few clicks, either before or after the edit.... »
Motion designer Harry Frank shows how to breath new life or make a retro look with standard After Effects Lens Flare by using Shape Layers and Trapcode Shine.... »
