Get Organized Before Your Edit

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April 17, 2014

by CEO at RHED Pixel

Save time, money and agony with tips from the trenches by two of the industry’s top workshop leaders and content producers who have spent many hours editing together. Learn about ways to organize your footage starting with how it’s ID’d in the field. Learn strategies for organizing assets-particularly when you have to keep track from multiple sources. Plan a smooth workflow for managing interviews. Plan for prepping and integrating stock or archival images.

You’ll also learn how to integrate graphics into your workflow and plan for music mixing in- or out of house.

A presentation from NAB by Amy DeLouise and Rich Harrington…. just click thru the frames to advance the slides:

 

 

 

 

Nodes 2: Create Generative Motion Graphics with Flexibility and Speed

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April 16, 2014

by Yanobox

Site logo

Nodes 2 offers unprecedented power to create connected motion graphics and abstract particle universes. Nodes is used by leading artists to create high-end screen graphics in motion pictures like The Avengers, Planet of the Apes and Ender’s game.

 

Nodes supports Final Cut Pro X, After Effects, Motion and Premiere Pro on Mac OSX.
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Build Networks

Explore Universes

Animate Forms

Start out with primitives, 3D models or footage to create a point cloud. Then populate the animation with text and manage connections dynamically.
Spread the nodes in infinite space and create universes with fifty- thousand glowing particles.
 
Apply 3D effects such as oscillation, noise, coordinate projection or morphing to create organic animations of the elements.
 
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Beautiful Connection Algorithms

Define relationships between nodes with several modes and options or script specific links. Use the new distance algorithms to animate dynamic connections. Render wireframes, growing lines, curved lines with oscillating tangents or draw an abstract line painting.
 
Nodes 2 - Import 3D models
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 

Import 3D Models

Import OBJ 3D models and sequences created with popular 3D software. Add nodes and text to the vertices, render wireframes from faces, and play with animated meshes. The possibilities are endless.

> Download our Free OBJ 3D Primitives

Extract nodes from footage

Generate custom point clouds from your videos and images. Use luminance to affect the position or node size.

 
Nodes 2 - Extract nodes from footage

Create with Dynamic Primitives

Assemble diagrams and complex screen graphics with global control over the content. The procedural geometry primitives let you easily setup and animate the layout of thousand of connected nodes, texts and lines.
 
Nodes 2 - Create Diagrams
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Fully Integrated into After Effects

Nodes 2 natively supports the After Effects Camera. This allows for seamless integration with other industry standard plugins also compatible with the 3D environment offered by AE. This feature enables clever methods of layering to quickly create sophisticated 3D compositions with multiple instances of Nodes.
 
Nodes 2 - Layering Nodes

Accelerated Fonts

Carrousel Effect

Coordinates Projection

 

Fluidly play with five thousand real time layers of text thanks to the new accelerated fonts.
The new auto-highlight function is super simple to use. Set a few parameters for the roll-out, hit play and you get an instant carrousel effect that cycles through your text or images.

Projection offers a new kind of experimentation. Different modes let you progressively blend the position of nodes from cartesian to polar, cylindrical or spherical coordinates and create amazing structures.

 
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Nodes 2 in FCPX
 

 

 
 
 

 

 

 

Presets and Templates to get started

Start from scratch creating your own crisp compositions or use the provided presets. Nodes comes with hundreds of presets, so you can hit the ground running.

Tutorials

Requirements

Apple Final Cut Pro
Version 7 and 10

Apple Motion
Version 4 and 5

Mac OSX Moutain Lion or Maverick
Version 10.8 or 10.9
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Adobe After effects
Version 10, 10.5, 11 and 12
(CS5, CS5.5, CS6 and CC)

Adobe Premiere Pro
Version 6 and 7
(CS6 and CC)

NODES 2 for FCP, After Effects, Premiere Pro and Motion is kinda steeply priced at $299

 

Official Trapcode Suite Training by Peder Norrby

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April 15, 2014

by Peder Norrby

Here are the video tutorials made by me – Trapcode’s developer himself, Peder Norrby. These tutorials smell more of “boring engineer” than “cool” :-) Nonetheless, these videos contain almost everything you need to know about the Trapcode products. If you can manage to watch them all, I promise you will learn enormous amounts! I encourage anyone who uses the Trapcode Suite to watch them.

The idea is that you watch them to thoroughly understand the workings of the tools and then get inspired to create you own cool effects using the knowledge you picked up. I’m always open for feedback, please comment below if you want to say something about these tutorials.

Clip Description on-line download
Shine in action Introduction view download :: 5.0M
Shine cutoff rays Avoid having rays cut off view download :: 4.8M
Shine in motion Setting Shine in motion view download :: 11M
Shine gobo Create a 3D gobo, advanced view download :: 10M
Starglow in action Introduction and basic use view download :: 5.2M
3D Stroke in action Introduction and basic use view download :: 5.4M
Sound Keys in action Introduction and basic use view download :: 3.2M
Lux in action Introduction and basic use view download :: 6.8M
Lux in depth More thorough view download :: 7.0M
Particular Getting Started by Harry Frank view
Particular in action Introduction (v1.0) view download :: 5.7M
Particular bounce Bouncing particles on 3D layers view download :: 11M
Particular custom Custom particles (in v2 “Sprite”) view download :: 22M
Particular new in v1.5 Depth of Field, Motion Path view download :: 20M
Particular v2 tut 1 Shading, Textured Poly etc view download :: 65M
Particular v2 tut 2 Streaklet, Ortho etc view download :: 23M
Particular v2 tut 3 Float, Transform World etc view download :: 48M
Echospace in action Introduction view download :: 7.7M
Echospace precomp Echospace with 3D precomps view download :: 6.4M
HDR Using HDR (32-bit float) view download :: 41M
Horizon Basic use view download :: 80M
Form Form Training by Harry Frank view
Form intro Introduction and basic use view download :: 78M
Form layer map Using Layer Maps view download :: 43M
Form audio Using sound to affect Form view download :: 60M
Form fractal Using the fractal noise field view download :: 51M
Mir Geometry and shading view (download from page)

 

Learn About All the Free Trapcode Resources

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April 14, 2014

by Red Giant

Get the most out of your Trapcode products. Visit Red Giant’s Resource Page to get free training, tips and secrets all in one place.  With the tools available here, learn how to utilize what Trapcode Suite has to offer.

Go to the Resouce Page

 

Red Giant is now on Tumblr! Click “Follow” to get inspiration, examples, tutorials, and links to presets delivered to your feed.

See Red Giant on Tumblr

 

Get a kickstart on your project at Red Giant People, where users and gurus alike share templates you can download to start creating faster.

Find Free Presets

 

Trapcode creator Peder Norrby has added a ShareLog where you can download presets and view tutorials, as well as add your own.

Visit the ShareLog

 

http://www.trapcode.com/storage/images/top_bg_logo_menu_v21.jpg

 

Particle Man

Tutorial that shows using the motion vectors feature introduced in Particular 2.2 to generate particles from the motion of a body.

GoPro Hero 3 Handheld 2-Axis Gimbal at NAB

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April 11, 2014

by feiyu-tech.com

Thanks to Rodney Mitchell of the DCMV Creative Pro User’s Group for posting this article!

 

 

Introduction

Via NAB, the new G3 Steadycam two axis handheld gimbal allows you to use your little GOPRO easy to shoot the videos and photos as smoothly as movies, let you share your life with your relatives and friends in anytime and anywhere. You will always be the focus of the life no matter when and where you are, let the multi-angle, smooth and clear records to become the eternal memory.All of this will easy to realize in your hands. Soon it will become your travel must-have items.

Feature

Steadycam, by Steady+ cam (the first three letters of “camera”) make up, G3 Steadycam handheld gimbal is light weight, easy to carry, simple to use, power-and-go,also has electronic slow to follow mode which a mechanical stabilizer cannot do that, and it can steady the up and down before and after. Compatible use with GOPRO3 , GOPRO3+.

 

Convenient and practical power switch design, integration lightweight design and delicate appearance. It can help you easily to achieve the shooting of fast moving, chasing, steering, and low angle.

 

It equipped with four batteries and one battery charge. Each battery type is 16340, and capacity is 1800mAh. You just need to use three batteries and one can be used as backup. The use time is over 2 hours.

Feiyu tech kindly remind you: You should first amount the GOPRO to gimbal, then put on the batteries and power on. Otherwise it will cause the phenomena of gimbal disorderly shaking.

 

Purchase by an Email:   sales@feiyu-tech.com

Linda@feiyu-tech.com     merry@feiyu-tech.com

jessica@feiyu-tech.com     ally@feiyu-tech.com

moses@feiyu-tech.com

“Screen Fillers” Graphic User Interface Elements

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April 10, 2014

by

tuts+

This massive 21 part tutorial will walk you through how to create intricate graphic user interface elements that you can use to fill screens. We are going to use mainly shape layers with all sorts of modifiers and expressions to animate the elements.

“Screen Fillers” Graphic User Interface Elements – Part 1

Thumb ep 01

After Effects TUTORIAL – How to Turn a 2D Image into 3D using a Displacement Map

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April 9, 2014

by Tara Arts Movie

In this tutorial,  Tara Arts Movie shows you how to make a 3D looking image from just a static 2D image using Photoshop and After Effects from ADOBE.  The end result is kinda cool.  This effect is really handy to bring to life stills when its not possible to gain any video footage. You may remember this effect from the activist film Kony 2012 where they used it to great effect.

Search on youtube for more videos on ‘Displacement Maps’ to create this unique and somewhat easy look to spice up your static photos with more than just a Ken Burns effect.

IF you don’t have after effects or would rather bypass it, here’s another video showing how to do it using only Photoshop your NLE…

 

NAB: BlackMagic Design WOW’s!

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April 8, 2014

by BlackMagic Design, Grant Petty

I received this email from Grant Petty of Blackmagic Design this evening…

It’s NAB 2014 time and we have some very exciting new products this year and I wanted to update you on all the details! I apologize for the long email but we have so many new items to introduce!

http://www.blackmagicdesign.com/media/products/davinciresolve/main/advanced.jpg

Hollywood’s most powerful color corrector
is now also the world’s most amazing editor!

DaVinci Resolve 11 combines the world’s most advanced color corrector with professional multi track editing, so now you can edit, color correct, finish and deliver all from one system! Davinci Resolve is completely scalable and resolution independent so it can be used on set, in a small studio or integrated into the largest Hollywood production pipeline! Only DaVinci Resolve features the creative tools, compatibility, speed and legendary image quality you need to manage your entire workflow, which is why it is the number one solution used on Hollywood feature films.

DaVinci Resolve 11

DaVinci Resolve 11 is a major upgrade and we have added over 70 new editing features including dual monitor support and familiar professional tools like dynamic JKL trimming, audio crossfades and fully customizable keyboard shortcuts for faster editing.

DaVinci Resolve 11 now has a new spline curve keyframe editor integrated into the edit timeline that positions keyframes directly under each clip and in context with the clip. You can also add and animate open FX plug-ins directly in the timeline as well as use plug-ins for transitions.

There are new collaborative workflow tools in DaVinci Resolve 11 which allows an editor and multiple colorists to work on different workstations, sharing the same timeline and working in tandem as they complete shots. Another advantage of the enhanced editing features is the better round trip collaboration with Apple Final Cut Pro X™.

Color correction features have been upgraded in DaVinci Resolve 11, including new color grading controls that are designed for photographers who are moving into cinematography. There is also a new camera RAW palette featuring highlight and shadow recovery, mid tone detail, color boost, saturation, lift, gain and contrast.

For on set work, DaVinci Resolve 11 can now securely back up and save digital camera files. The new DaVinci Resolve clone tool copies media drives, memory cards and camera packs to multiple destinations simultaneously. All copies are checksum verified, so you get exact bit for bit digital copies of the source media.

DaVinci Resolve 11 also features an automatic color chart color balancing tool that automatically gives a primary base grade by analyzing shots containing standard color chip charts even if they were shot in different lighting conditions with different exposure and color temperatures. It’s really easy to use and you just lay an onscreen grid over the color chart and then auto grade!

This is an exciting update and it will be available June free of charge to all DaVinci Resolve users! Most of these new features will also be available in DaVinci Resolve Lite.

http://www.blackmagicdesign.com/dvres/

http://images.blackmagicdesign.com/media/products/davinciresolve/main/davinci-hero.jpg

 

Blackmagic URSA Camera

Over the last few years it’s been really amazing to watch some of the work being done on our cinema camera and some of the rigs that have been built around it. But when we designed it we never really thought it would be used on such large jobs. It was really designed to be a small intimate camera used for creative work where you need to get in close and personal.

So we have been watching these larger rigs and thinking about how people are working when they do large shoots. Our thinking is that we needed to design a professional full sized camera that had all the extra on set equipment built into it, so there was no need to rig it up as much. We also wanted a camera with enough size to fit a very powerful cooling system so we could run high frame rates without fan noise.

The result is URSA, our new camera for professional shoots. It features a stealthy machined aluminum design that’s incredibly strong and has been designed for large film crews. We designed the camera to be divided into separate DOP, camera assistant and audio engineer workstation areas so multiple crew can work around it at the same time.

The DOP station features a massive 10 inch fold out on set monitor and separate 5 inch screen for settings, camera status and scopes. The camera assist station features a separate LCD screen for camera settings, status and scopes and the audio station features audio meters, controls and audio connections.

URSA also includes an upgradable Super 35 4K image sensor with global shutter, 12G-SDI connections, XLR audio inputs with phantom power and dual CFast based RAW and ProRes recorders. There is a total of 3 LCD’s built into this camera!

One of the reasons we have been able to put in such high quality displays and features is because the camera is user upgradable. What this means is the whole sensor and lens mount simply unbolts from the front using 4 bolts and then it can be removed and replaced. So in the future when new sensors are available you can upgrade simply by swapping the sensor and lens mount assembly. This makes the camera virtually future proof!

URSA is available initially in 3 models. One includes EF lens mount and one has a PL lens mount. An example of how you can upgrade the camera would be if you ordered the EF one, you could later purchase the PL lens mount and install it yourself.

One of the weirdest ideas we had was to make URSA available without a lens and sensor and the URSA HDMI features a ‘cheese plate” with threaded holes and a HDMI input where the sensor and lens mount would normally be. This means you can use any camera on the URSA body and get all the benefits of big screen, scopes, professional audio inputs, CFast recorders and more!

The camera runs at 60 fps, however the body has the high speed processing and high capacity cooling to run beyond 100 fps, so when faster sensors are available you could upgrade and then get higher frame rates.

There are a lot more features in the camera than I have space to describe here. The Blackmagic URSA EF will be available in July for $5,995 and the Blackmagic URSA PL will be available for $6,495 from July.

http://www.blackmagicdesign.com/ursa/

Adobe Unveils the Next Generation of Their Creative Cloud Video Tools

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April 7, 2014

by

Creative CloudIn 2012, Adobe unveiled the future of their software distribution strategy. Despite some initial hiccups in public perception, Creative Cloud has since taken the video post production world by storm. In addition to the monthly fee structure, Creative Cloud offered another major benefit over the Creative Suite — the ability for Adobe to push out major software updates and new features with a previously unheard of regularity. Now that NAB (filmmaker Christmas) is finally rolling around for another year, Adobe is releasing their next round of major features for their video-centric software, and let’s just say that the future is bright.

First, here’s a quick slide from Adobe’s presentation that gives you a quick look at all of the major new features in their video applications.

Adobe New Features

Now let’s take an individual look all of the major new features in each piece of software.  Click here for whats new in each including After Effects, Prelude, and Premiere…

 

Improve your work quality and speed in 5 easy steps

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April 4, 2014

by…

LightLeakLove

We all know that technology progresses more and more rapidly as the years go by.

The development of technology means that more and more NLE’s (non linear editing platforms) are being created, and as a result, its becoming more and more important for video editors to show their worth in other ways than being a master at a single NLE.

For video editors to really stand out from the rest in today’s competitive world, there are a couple of strategies to help pick up your game and prove your worth. If your craft is your currency, then now’s the time to invest!

1. IMPROVE YOUR SPEED

Employers like to hire people who are fast and produce good quality work. They get work done, can take on more jobs, and increase the overall output of the business. But don’t confuse “speed” with “sloppiness”. Being faster at your job can mean spending less time on performing the edits, thus giving you more time to actually think about your edits! Some of the best ways to improve your speed are below:

Keep it tidy - Keep your edits as tidy as you can – I’ve never met a video editor that was super efficient and fast, yet had their edits looking like a scrambled mess. Ensuring your sequences, bins , sound files and folders are set up correctly and neatly also means that if you have to stop a project mid way through, it will be easy for another editor to jump straight in and know where to start from where you left off. Try to keep your edits tidy as you go; it will be a lot easier to maintain than trying to tidy it all up at the end.

Organization – To keep your work organized and improve your efficiency, use apps such as Post Haste (Digital Rebellion) to set up template folders which you can copy and paste onto your edit drive every time you start a new project.

Shortcuts – Each NLE you use will have a number of shortcut keys already set up to streamline your editing process. Learn and memorize these shortcuts – they can save you minutes per edit, or hour s over the course of a week. If you are finding you use two or three keystrokes to get the action you require, set up your own keyboard shortcuts to initiate the action on one go.

2. FACE TO FACE WORKS

It is easy to get into the habit of working on your edit while your director or producer talks to the back of your head.
It’s hard not to; most edit suites are set up with the client, director or producer sitting behind the editor while looking on at the monitor. If you have the habit of never turning around during creative discussions, cut it out – quick.

Face to face communication gives you the ability to be seen as a creative collaborator as opposed to just the driver of the edit. Talk about the edit, the cuts and your vision to your director or producer, and get more of an understanding of what their vision is.

It will transform you from the “desktop editor” to the collaborative team member driving the edit.

3. SEE MORE

If all you are watching is your own edits, how will you ever know what other methods or trends are emerging in the market? Take some time to watch some quality films, television shows and creative content and get inspired. It’s simply not enough to know about all the latest tech and software developments are. To truly enhance your skills, see what others are doing and assess what they did well, what you would change, and what new or interesting techniques they have applied.

It’s also worth going back over your own old edits and assessing where improvements could be made. You need to be able to understand when something has been done well or poorly, and apply learnings to your future work to stop it from happening again.

4. DEVELOP YOUR SKILLS

There are so many tutorials on the web with tips on how to use the software correctly, including tips and tricks, shortcuts, or advanced video editing techniques.

There are also a tonne of other courses outside the direct field of Video Editing that are a worthwhile investment. Consider courses on storytelling and scriptwriting to improve the messaging in your edits; photography or graphic design to help with shot placement and flow; or even typography to choose the right font for your edit. Each field will directly improve your edits and give you a more rounded knowledge of your creative field.

5. EXERCISE YOUR MIND AND BODY

If you’re spending hours and hours at your desk every day, chances are you are going to be draining your creativity and motivation levels and increase your lethargy.

Make sure during your work days you get up every hour or so for a stretch, walk or even to get a tea or coffee – the break will refresh you and increase your energy levels.

Keeping physically healthy impacts every aspect of a person ; mentally, emotionally, physically and sometimes spiritually. Ensure you are eating the right food, staying fit, and staying inspired by mentally challenging yourself (whether it be through travel, learning and development, spiritual mens etc).

By utilizing these 5 tips you’ll see the results reflected in your ability to work smarter (not harder) and also in the quality of your work.

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