2D to 3D Conversion with Mocha Pro & Freeform Pro

In this tutorial, Martin Brennand, the senior product specialist from Imagineer Systems shows how to convert 2D film to stereoscopic 3D. Mocha Pro is used for the roto and clean plating, Freeform Pro is used for the extrusion and a useful script breaks down the masks into luminance depth graded by layer order.

Download Source files from ae tuts+

Work Natively with PSD files in Premiere Pro

In this tutorial, Principal Worldwide Evangelist for Adobe, Jason Levine will reveal the native import options when working with Adobe Photoshop files (PSD) in Premiere Pro CS5.5. Bring in individual layers, merge your layers together, or create sequences, all the while maintaining transparency, layer styles, animation, even layer sets!

Pico Flex Dolly for DSLR & Small HD Cameras

Here’s a very inexpensive dolly for small HD Cameras that will add more fun and creativeness. Small enough to still support large Ball/Fluid Heads with Full Size DSLRs, but specifically designed to be the smallest and lightest footprint for new small cameras like the GH2, Sony NEX-5n, Sony NEX-7, EP-3, and more.

VIA: emmagination

More information here.

Temporal Video Experiment

What happens when you want to interchange time and space in a video? Watch this video and the making of by lastfuture and find out.

I was sitting in a train traveling through The Netherlands recently when for some odd reason I decided I had to take a video of the landscape passing by. I had no real use for it but decided to try and make something of it. I remembered slit-scan photography, a method where a slit is moved across the picture plane essentially taking a temporal image, where different times of the scene are captured on different parts of the film.

Replicating this from a video meant taking the same column of pixels from each frame of the video and putting them next to each other. Then I decided that a still image was kind of boring really, and I explored what would happen if I took another pixel column and repeated the process. The result was a wonderful kind of movement where the far away objects would move across the width of the image faster than the ones in front. A kind of inverse parallax movement really.

To accomplish all this I saved the video as an image sequence, then I wrote a few scripts, the first of which took each frame and extracted every pixel column writing them into separate files. After ending up with about 8.7 Million one pixel wide images I took the second script to recombine them again, making as many images as the footage was pixels wide and making them as wide as the footage had frames, thus essentially interchanging time and space. After a few days I ended up with 720 images, each 12121 pixels wide and 1280 pixels high which I then loaded back in as an image sequence and performed some retiming magic on.

I’ll retry the same thing soon with something better than an iPhone. This is merely a proof of concept. With a steadier vehicle and a better camera (one with AE lock and higher fps for example) this could produce pretty stunning results that would be free of the squiggly shakes and the flashy exposure adjustments.

These are my first steps in Final Cut Pro and Motion, please excuse any video editing mistakes I might have overlooked. I gave my best.

David Lynch and the Independent Filmmaker

David Lynch and the Independent Filmmaker features original interviews with acclaimed director David Lynch. See and hear how Lynch brings his unique vision to the screen with technologies that are now within easier reach for independent filmmakers. Interspersed with behind-the-scenes footage from a recent project, Lynch muses on the art of filmmaking, offers wisdom to aspiring filmmakers, and shows you the power of today’s tools to give you Room to Dream.

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