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| 12|01|2006 |
The more than 1,800 particle emitters that ship with Wondertouch particleIllusion 3.0 can be used as-is for quick particle effect solutions. But for those who want more, they also are great starting points from which to make enhanced or completely new effects.... »
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| 12|01|2006 |
Your matchmove work in Boujou will be significantly more accurate and even easier if you plan your shoot to include lots of distinct points of contrast spread throughout the 3D space in front of your camera. ... »
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| 11|13|2006 |
Producer/editor Paul Mitton of Creation Trek Productions demonstrates a number of visual effects techniques in Avid Liquid including color correction, animated text and keyframing. ... »
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| 11|01|2006 |
By Aaron SchurmanSplines in MAXON’s Cinema 4D are great to use as paths for Trapcode Particular particles in After Effects to follow. The Cinema 4D bezier tools and multiple views allow a much easier approach to motion path creation than trying to move a particle emitter around in After Effects. ... »
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| 10|01|2006 |
By Thomas Strodel and Lori NewmanAlways first consider the logo elements, their shapes, different sizes
and the context of the company itself.Our animator, Lori Newman,
worked with my company’s new logo, designed in Adobe Illustrator, in
this way before sketching out several animation ideas... »
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| 09|18|2006 |
Mark Schoennagel, senior 3D animator at Softimage|XSI, shows how to use the Generalized Attribute Transfer Operator (GATOR) in XSI to transfer UV coordinates and shape animations to and from completely different characters.... »
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| 09|11|2006 |
By Marc FranklinWhen Pinnacle Systems decided to end its relationship with Adobe, it meant that their popular Hollywood FX transitions plug-ins did not work in the new Premiere Pro. But never fear, here is the solution to get those plug-ins to work with Premiere Pro 2. ... »
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| 09|01|2006 |
By Steve OakleyThe new Motion Key filter in Boris Continuum Complete 4 does the job, almost by magic, with surprisingly good results and without the hours of labor. I’m using FCP as the host here, but any of the other supported BCC 4.0 hosts would work also. ... »
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| 08|10|2006 |
Colin Hodges, senior product specialist, Softimage Special Projects, sat down with us at SIGGRAPH to show off some of the new features of FACE|ROBOT 1.5. ... »
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| 08|01|2006 |
By Nino del PadreUsing Pixar RenderMan’s global illumination techniques inside Maya lets you create highly realistic lighting with minimal setup. You can achieve drastically different looks by simply rotating the RenderMan Environment Light and trying different HDR images. ... »
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| 08|01|2006 |
Motion is like a big playground and is actually a very deep application. Take the techniques in this tutorial and apply them to other parts and content in your project. Using blend modes on objects composited over the pre-baked Replicators can result in very interesting wipes and effects.... »
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| 08|01|2006 |
By rendering out 3D elements in Cinema 4D with multi-pass renders and object buffers you can bring them into your Adobe After Effects comps and blend them with your flat images to create the illusion of 3D, or as I like to call it, "2.5D."... »
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| 07|01|2006 |
By Bill MegalosMost of the films I make for NGOs in developing countries are in languages I don’t speak. Here’s how I work without worry in Apple Final Cut Pro. ... »
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| 06|01|2006 |
By John StanchSTEP 1 CREATE A ROUGH COMET PATH Start by doing the normal After Effects stuff. Make a new composition with your footage in place and create a new comp-sized solid above your footage. Now, apply the 3D Stroke... »
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| 06|01|2006 |
By Gray MarshallSTEP 1 CAREFULLY SELECT YOUR SHOTS When compositing faces digitally, it’s important to develop a process to cut down on time and keep the production budget on target. This begins with shooting. Often, when a... »
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