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Alex Lindsay
Alex Lindsay started his film career doing pre-vis for Star Wars: Episode 1 at Lucasfilm and then final shots as part of ILM's "Rebel Unit. From there, he founded dvGarage, which builds visual effects tools and training for filmmakers, and the Pixel Corps, a Guild for Digital Content Creators. 
A Sober Look at the Past, Present, and Future of Final Cut ProNAB Live From Pixel Corps“Will Apple Release a New Final Cut Pro Studio and What Will Be New?”Datavideo HS-2000 ReviewTablet MadnessGreenscreen Primer Part 2It’s the End of the World as We Know It…NAB 2009 ImpressionsPodcasting DesignGreenscreen Primer Part 1Red releases Details on “Scarlet”, “Epic” and more
July 2011April 2011February 2011September 2010October 2009June 2009May 2009April 2009March 2009November 2008Complete Archives |
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Greenscreen Primer Part 2When a camera throws away color data, it is throwing away exactly what we need to do our work.
In the first installment, we looked at the basic set up for shooting Greenscreen. Most of what I covered is exactly what we see people skip everyday. What I’m going to talk about next is what everyone else ignores at their peril. We’re talking about capture systems and codecs. more »
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It’s the End of the World as We Know It…...and I feel fine. (The iPhone 3G S and the next video revolution.)
I posted a fun little video about creating a shoulder mount rig for the iPhone 3G S on Friday. You can see it here. While done in a tongue and cheek way, the most important thing for Pros watching the video is actually the first minute. I was dead serious there. The new iPhone is a game changer… make no mistake about it. more »
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NAB 2009 ImpressionsThe trends and the products that stood out at NAB 2009.
2009 was almost the first NAB’s I’ve missed in a decade. In the fall, I looked at my schedule and declining conventions and wasn’t sure if I was even going to go. Interestingly enough, this year’s show actually turned out to be one of the most useful and interesting years in recent memory. For me, it was not about big news items but, rather, many small revolutions that, as an aggregate, were very exciting. In this article, I will cover the trends that seemed to emerge and the products that caught my eye. more »Greenscreen Primer Part 1With Greenscreen, 80 percent of your post budget is lost on the set…learn how to get it back!
I pulled my first Greenscreen in 1996 working on “Star Wars: Episode 1” pre-viz. The footage was rough (pre-vis handycam footage) and the After Effects Color Difference Key was a complete mystery. Now, the Pixel Corps, we shoot an average of two hours of greenscreen footage a day, mostly 4:4:4 uncompressed. While the tools have progressed significantly, the process itself, and the rules, have changed surprisingly little. In this article, I’ll cover the major issues you need to solve when shooting greenscreen footage. There will be future installments to discuss theory and keying technique. I will argue about 90% of the professionals out there do not use most of the information I will lay out here… and it makes their process much more difficult. I will say, everything we do in the Pixel Corps is designed to lower costs and accelerate delivery speed while constantly improving quality. We’re not particular to be particular. We do everything because it shaves time or improves quality. more »
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2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
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