08|01|2008

Create an On-Set Direct-to-Disk Shoot/Capture/Edit Setup with AJA Io HD and Final Cut Pro for a Greenscreen Shoot   [Studio Monthly]

Robert W. Walker and Mo Fitzgibbon

We were hired to shoot three television commercials in one day on greenscreen. Due to the time constraints, we wanted to be able to do live greenscreen with the modeled set built in After Effects and capture all the footage seamlessly during the shoot....  »
08|01|2008

Create Film-Like Animations with Autodesk Maya and Adobe After Effects   [Studio Monthly]

David Hill

Step 1 CREATE YOUR COMPOSITION Before you do anything else, it’s extremely important to plan out your scene. First, make sure you’re happy with the overall composition. This will give you a better idea of...  »
08|01|2008

Create an Animated Time-Lapse Sequence with Autodesk 3ds Max and Softimage|XSI   [Studio Monthly]

Matt Chandler

Remember to sleep and eat when in the middle of a busy and time-consuming project! If you’re tired and struggling to solve a problem into the early hours, you are going to be even more tired and unproductive the following day....  »
07|01|2008

Record, Decode and Edit Surround Sound with Holophone’s H4 Supermini or Portamic 5.1   [Studio Monthly]

Ryan Scott Fitzgibbon

There are three methods to decode Dolby Pro Logic II– encoded audio using a hardware-based workflow: with Holophone D-CODE; with an A/V receiver that has a built-in Dolby Pro Logic II...  »
07|01|2008

Remove Unwanted Noise from Clips in Apple Soundtrack Pro 2   [Studio Monthly]

Lonzell Watson

In this tutorial, the objective is to remove the unwanted noise without degrading the overall sound quality of the scene. Sounds that vary wildly in pitch are the most difficult to remove. Be mindful of your shooting environment and if you anticipate that a particular background noise will give you problems in post......  »
06|23|2008

Create Shiny Metallic Surfaces in Maya   [Studio Daily]

Dover Studios

In this video tutorial learn how to use an environment map to create a highly reflective metallic surface in Maya....  »
06|18|2008

Bump & Displacement Mapping in Maya   [Studio Daily]

Dover Studios

In this video tutorial learn how bump and displacement mapping can be used to simulate surface relief in Maya....  »
06|01|2008

Streamline Your QuickTime-Based Workflow with MetaCheater and Avid Media Composer   [Studio Monthly]

Michael Phillips

MetaCheater lets you select one or more QuickTime movies, and through a variety of settings, you can work with any number of workflows, depending on the metadata extracted. It’s a great way, for example, to work with QuickTime files associated with a RED Camera workflow, as I explained in my previous tutorial in the April issue....  »
06|01|2008

Deliver Mixed Media Content to Signage with Grass Valley MediaEdge   [Studio Monthly]

Ray Brooksby

Grass Valley recently updated the MediaEdge video distribution system to support delivery of mixed media content. Video, still graphics, scrolling text, animated Flash, and HTML can now be combined on a single display. I’ll show you how you can use MediaEdge to publish digital signage using the new Display Content Manager, or DCM....  »
06|01|2008

Create a Network ID/Glass Bug in Adobe Photoshop CS3 for Final Cut Pro 6 Projects   [Studio Monthly]

This is just one easy way to create a transparent version of your company’s signature or logo for importing into a Final Cut Pro project. If you plan to use square pixel elements in your Glass Bug, simply drag or copy those elements into a non-square Photoshop document to customize them for use in your project....  »
05|01|2008

Make Scientific Animations More Cinematic with Softimage|XSI   [Studio Monthly]

When doing any kind of scientific or reality-based animation, it’s important to do a lot of R&D up front. We spent about two months preparing for this project before it went into production, developing techniques, pipelines, models and textures that would give us consistent "looks" during compositing....  »
05|01|2008

Create the "Pleasantville Effect" in Final Cut Pro   [Studio Monthly]

Lonzell Watson

This technique is a simplified play on color isolation made popular by such films as Pleasantville and Sin City. It is, nonetheless, a powerful tool to command the attention of an unsuspecting audience....  »
04|25|2008

New Workflows for Phantom Cameras   [Studio Daily]

Matt Armstrong

James Mathers talks with Mitch Gross, director or rentals at Abel Cine Tech, about three flavors of Phantom cameras, the new production and post workflows, including near-instant transfer of the footage and editing Phantom footage on Final Cut Pro, as well as the special adaptation Abel Cine Tech has made to the Phantom cameras. ...  »
04|24|2008

First Look at Imagineer mogul review   [Studio Daily]

This video demos the first part of company's new VFX architecture mogul, mogul review. Watch how mogul review allows users to track and analyze virtually every element in a project as well as provide feedback to the appropriate artists within a facility. ...  »
04|22|2008

Automatic Duck Pro Export FCP 4   [Studio Daily]

Matt Armstrong

Wes Plate, founder of Automatic Duck, demonstrates the new version 4 of Pro Export FCP which allows Final Cut Pro sequences to be exported into the Avid. ...  »

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