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| 09|09|2009 |
Marc FranklinLately, I’m being asked to do more and more with greenscreen keys. Some of the keys I get are shot really well, and the rest aren’t. This is how to deal with the bad ones.... »
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| 08|01|2009 |
Sean SafreedUsing 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.... »
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| 07|16|2009 |
Peter SchneiderThis tutorial shows how to build a USB power device from the industry-standard HIROSE 4-pin connector. The purpose of the box is to be able to charge/power small cameras and cell phones, using NP-type batteries and all HIROSE 4-pin compatible connectors. All parts are readily available from the Internet:... »
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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 |
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|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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