Simulated Rack Focus for Believable Composites

If you’re looking to give your green screen composites another step of realism or to simulate the look of a shallow DOF with a DSLR, then this video tutorial will show you how! Using Adobe After Effects, I show you first how to get a great green screen composite with Keylight and then alter both the foreground and background plates along the Timeline to give a simulated rack focus pull. Check out this step-by-step video tutorial and feel free to leave comments and questions below.

The C300 short Hustle and some before and after images

Hustle from Daniel Bérubé on Vimeo.

A number of filmmakers involved in the Boston Creative Pro User Group got together in January to give the new Canon C300 a test. Their result is this short piece called Hustle. New camera tests on Vimeo are a dime a dozen these days but after speaking with the BOSCPUG folks involved in post I got a few before and after color grading stills. As an amateur colorist myself, I always enjoy seeing these types of before and after images. Not so much to analyze the technical quality of the image and a camera’s latitude but more to look at the creative decision in the grade. I hope you enjoy seeing them too.

Tip Tuesday: Disable a clip in the Avid Media Composer timeline

In honor of TipTuesday over on Twitter I thought I’d share this simple Avid Media Composer tip that I use to counter the lack of a clip enable / disable feature in Media Composer. It’s all about saving an effect and getting easy access to that saved effect. There’s actually several tips in here that can be used for most all effects in Media Composer.

The Masters of Compositing Series - Part 1: Petro Vlahos

This is the first in a series of interviews with the pioneers and masters in the compositing/VFX film & television industry. I originally recorded these interviews for my published book “The Green Screen Handbook” (Sybex/Wiley, pub) and had intended to produce one full-length documentary from the materials. But after a couple of years past now, I thought they would be better served as individual parts of a series to help educate and inform people about these historic times from the early days of VFX compositing through modern-day techniques.

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Drobo B800i At The 11th Annual San Francisco SuperMeet

At the 11th Annual San Francisco SuperMeet, Justin Russo of Drobo, showed off the new Drobo B800i, 8 Bay, iSCSI SAN storage. This unit is optimized for small businesses to provide reliable and high-performance storage to servers running applications like file services, data protection, email, and server virtualization.

HPA Tech Retreat, Day One

Welcome to Indian Wells, an offshoot of Palm Springs, CA. So why is the first day’s “Super Session” titled “Snowflakes with an Increasing Chance of Clouds”? As moderator Leon Silverman said, modern post workflows are like snowflakes because no two are alike, and they change as soon as they hit the ground.

Testing the 7toX Final Cut Pro 7 to Final Cut Pro X conversion

When Apple released the latest Final Cut Pro X update there was a very important 3rd party utility released right alongside the 10.0.3 update that finally allowed the importing of legacy FCP7 projects into FCPX. It wasn’t entirely surprising that it was Intelligent Assistance releasing 7toX for Final Cut Pro. I say that because they had already created Xto7 (to move projects from FCPX to FCP7) and are arguably the best company for creating high-quality XML workflow tools for the FCP universe. There’s been tons of blog posts about 7toX for Final Cut Pro since its introduction but most of them are nothing more than a here it is here’s the link kind of thing, including one of my own. Many have taken a simple sequence to try this conversion but my thought was to throw everything at 7toX for Final Cut Pro and see how well it did ... or didn’t work.

2D Footage with a 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.

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