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| 05|01|2006 |
In this demo from the NAB show floor, Automatic Duck president Wes Plate shows how to import Pro Tools files into Final Cut Pro while maintaining all the metadata and functionality to allow further tweaks possible within Final Cut Pro. ... »
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| 04|11|2006 |
By Steven J. Walker
Using Cinema 4D, After Effects and WalkerFX 2.2, this tutorial shows how to make your composites look real. ... »
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| 04|01|2006 |
By Bob Ott
Variable Frame Rate recording lets you perform slow and quick-motion functions at a range of frame rates ... »
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| 03|01|2006 |
By Bob Donlon of Adobe
In this tutorial, I’m using Adobe After Effects 7.0 to animate a vector logo, add an alpha channel and export the animation in Flash Video format.... »
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| 02|01|2006 |
By Matt Ivey of Grass Valley
Step 1 Import content into Turbo using Workstation mode With the Turbo iDDR (intelligent digital disk recorder) operating in its Workstation view, pull down the Clips menu and click on Import. You will see... »
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| 12|01|2005 |
The nine Boris Continuum Complete Rays filters offer similar functionality to produce varying lighting effects. This tutorial uses the Rays_Puffy filter, which spreads light from a source point for a soft, "puffy" appearance.... »
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| 11|01|2005 |
Blend modes produce dramatic looks, but they’re processing-intensive. By harnessing the power of the Tiger OS and your computer’s graphics card (GPU), Avid provides real-time compositing power.... »
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| 10|01|2005 |
It’s a style you’ve probably seen at the end of theatrical features — during the rolling titles listing the credits, small windows also roll onto the screen... »
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| 09|01|2005 |
Never make the mistake of thinking that a lens is a mere accessory to
the camera—especially in HD imaging.... »
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| 08|01|2005 |
Many advanced compositing techniques are based on variable transparency
matte keys. ... »
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