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| 06|23|2009 |
Vik NarayanAdd keyframes and motion blur to PDF documents featured in documentaries, news spots or training videos without bulking up your file size or render times.... »
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| 06|01|2009 |
OMNI Advertising and the beverage company Celsius tapped Walker/Fitzgibbon to produce a series of commercials. The latest evolution of the piece — a Webisode released on YouTube, Veoh and Vimeo — took the brand to an online audience.... »
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| 06|01|2009 |
Peter McAuleyBoris 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.... »
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| 05|04|2009 |
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.... »
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| 05|01|2009 |
In this tutorial I’ll show you how to use filler, or slug, as placeholder clips to establish a visual rhythm for a highlight reel or basic music video. If you are newer to video editing, you may notice that your projects often start strong and end weak. Try using slug and the "Replace Edit" function to lay down a rough cut and establish a visual rhythm.... »
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| 04|27|2009 |
In this video tutorial Imagineer's Ross Shain shows how to use mocha for Final Cut to quickly track a graphic into a scene.... »
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| 04|01|2009 |
Step 1 Load and Render a Model While this approach is applicable to any geometry object, in this example I use a Lamborghini model downloaded from www.turbosquid.com . First, delete any existing animation of... »
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| 04|01|2009 |
Step 1 ADD A VIDEO To add a video file for encoding, navigate to your Bookmarks , select a file and drag it onto the Job Batch . The file I’m encoding is called Fish02.mov and is a 720 x 480 DV QuickTime... »
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| 03|27|2009 |
Class On DemandWatch 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.... »
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| 03|12|2009 |
Harry FrankMotion 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.... »
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| 03|03|2009 |
Matt ArmstrongPost 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.... »
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| 03|01|2009 |
Step 1 Launch FCP and Import a Clip Start by launching Final Cut Pro , and import a clip. We’re using the Artbeats stock clip "lake.mov." Scrub the clip to familiarize yourself with the motion that... »
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| 03|01|2009 |
by Sasa JokicA few months ago I was approached by an ad agency to do two commercials for Connecticut-based Webster Bank. It was a very challenging and complex project. It could have turned into a huge headache if it weren’t for mocha.... »
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| 02|26|2009 |
Harry FrankMotion 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.... »
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| 02|03|2009 |
Scott SimmonsWhy would you ever want to use an auxiliary timecode when chances are your clips already have a master timecode track? There are two very common uses.... »
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