Posted on March 2, 2012 in Digital Effects | 1 Comment
After Effects’ 3d camera doesn’t do a very good job of simulating the distortion when using extremely wide lenses like a Fish-Eye Lens. Dan Stevers demonstrates how to overcome this with a “name your own price” plugin from AE Scripts.
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Posted on February 29, 2012 in Editing | 2 Comments
Presynkt Productions demonstrates their Red Scarlet workflow from ingesting into Adobe Premiere Pro CS5.5 and coloring in DaVinci Resolve.
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Posted on February 27, 2012 in 3D Graphics | No Comments
Assembly of the Lego set 10179 from Star Wars Ultimate collector series in stop motion in 3d. Created using 3ds max and V-ray. It took Francisco Prieto over 3 years, modelling all the pieces by himself. and rendered frame by frame.
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Posted on February 27, 2012 in Music, Sound Design | No Comments
Alan Menken’s music for Disney movies has won him eight Academy Awards, more than any one alive. Martha Teichner of CBS News discusses the composer’s work for movies and theater, including an excerpt of the upcoming Broadway musical “Leap of Faith.”
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Posted on February 23, 2012 in 3D Graphics, Credits, Digital Effects, Editing | 1 Comment
Need some inspiration? South by Southwest Film and Music Festival released a list of the finalists in the Title Sequence Category from Film and Television productions. The final awards will be present on Tuesday, March 13 at 8pm.
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Posted on February 20, 2012 in Editing, Selling Your Film | No Comments
It was Harry Tatelman’s job to convert Universal’s films into television fare by taking out the foul language, and some of the violence and nudity. When he was given the task of editing Scarface’s 160 ‘F’ words along with its other blue content few thought it could be done. But in the end it may be the most creative censorship ever to hit the TV airwaves.
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Posted on February 16, 2012 in Sound Design | No Comments
In this SoundWorks Collection video profile, producer Michael Coleman sits down with the oscar nominated sound team of HUGO including co-supervising sound editor Philip Stockton, co-supervising sound editor Eugene Gearty, and re-recording mixer Tom Fleischman.
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Posted on February 9, 2012 in Digital Effects | 1 Comment
In this tutorial, VinhSon Nguyen will be taking a look at how to build this 3D transforming text animation using Mettle’s ShapeShifter AE plug-in.
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Posted on February 8, 2012 in Editing | No Comments
Philip Bloom asked seven professional editors (Michael Friedman, Cameron King, Adam Barton, Eli Ungar-Sargon, Alan Seawright, Chip Dizárd) to share their experiences with working with the much maligned Final Cut Pro X. Perhaps the lover’s scorn for the Apple editing system was more emotional than rational?
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Posted on February 6, 2012 in 3D Graphics | No Comments
In this Maya tutorial by Daniel Reynolds he shows how to get you up and running in Maya 2012 with a little sword to demonstrate certain principles in the world of 3d.
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Posted on February 3, 2012 in Digital Effects | No Comments
This tutorial by ShortFormVidoes demonstrates how to create a Compass Gimbal that you would find in an aircraft using After Effect’s built in effects.
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Posted on February 1, 2012 in Editing | 4 Comments
Apple just released Final Cut Pro X 10.0.3 – and with the addition of a small numeral change comes a handful of important updates, key among them multi-cam support, advanced chromakey tools, support for output cards for preview monitors, and (about time) an upgrade path to import old FCP 7 projects into X (although you have to pay for that feature)
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Posted on January 31, 2012 in Digital Effects | 1 Comment
Vimeo user Peter Bohush demonstrates how he uses the Pro version of Mocha to track and rotoscope an actor for a special effects shot in his film, Broken Spirits.
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Posted on January 31, 2012 in Digital Effects | 1 Comment
Using only stock effects in After Effects, Vimeo user Flomotion shows you how to create a fireworks effect with a fractal noise and a dash of CC Flo Motion.
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Posted on January 31, 2012 in Music | No Comments
David Lynch once said: “Sound is almost like a drug. It’s so pure that when it goes in your ears, it instantly does something to you.” In light of his forthcoming BFI retrospective, The Guardian put together some of his greatest musical moments.
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