|
crowd sourcing the experts |
||||||||
| |
||||||||
 |
||||||||
Mark ChristiansenMark Christiansen is the author of After Effects Studio Techniques (Adobe Press). He has created visual effects and animations for feature films including Pirates of the Caribbean 3, The Day After Tomorrow and films by Robert Rodriguez. Past corporate clients include Adobe, Cisco, Sun, Cadence, Seagate, Intel and Medtronic, and broadcast work has appeared on HBO and the History Channel. Mark's roles have included producing, directing, designing and effects supervision, and his solo work has appeared at film festivals including L.A. Shorts Fest. Long a Contributing Editor at DV Magazine during its heyday, Mark has been contracted as a marketing and technical writer on numerous occasions for Adobe Systems Inc. as well as related companies such as Red Giant Software. He has taught at fxPhd.com and Academy of Art University. His career began at LucasArts Entertainment and he is a Phi Beta Kappa graduate of Pomona College. 
Adobe Media Encoder - another hidden gem?After Effects Script of the Week: Add Parented Null to Each Selected LayerUse Dynamic Link to bring Warp Stabilizer to Premiere Pro CS5.5After Effects Script of the Week: Tracker2MaskAfter Effects Script of the Week: rd_MergeProjectsAfter Effects Script of the Week: Get Sh*t DoneAfter Effects Script of the Week: pt PanoramaAfter Effects Script of the Week: pt TextEditAfter Effects Script of the Week: Change Render LocationsAfter Effects Script of the Week: pt ExpressEditAfter Effects Script of the Week: MochaImportAfter Effects Script of the Week: KeyTweakAfter Effects Script of the Week: pt EffectSearchAfter Effects Script of the Week: ImmigrationScript of the Week: Shortcut Key ReferenceScript of the Week: True Comp DuplicatorScript of the Week: 3D ExtruderScript of the Week: BG RendererIntroducing: After Effects Script of the WeekRed Giant’s newest Plot Device: Magic Bullet Looks 2Free Stereo Footage from Artbeats, and an After Effects tutorial showing how to use it in CS5.5Premiere Pro for DSLR in a few easy stepsASSIMILATE announces Mac support for SCRATCH, updates product line and pricesAfter Effects CS5.5 in ProductionASSIMILATE SCRATCH first out of the gate with RED Epic HDRx support
December 2011October 2011September 2011August 2011July 2011June 2011May 2011April 2011August 2010July 2010April 2010March 2010December 2009October 2009August 2009July 2009June 2009April 2009March 2009February 2009November 2008September 2008August 2008July 2008May 2008April 2008March 2008February 2008January 2008December 2007October 2007May 2007Complete Archives |
|
10 (+1) Reasons Scarlet Changes the Game in 2009Don’t overlook the impact of RED’s entry-level camera, even for pros like you. RED will not debut Scarlet, its entry-level camera, until early next year, which means that those who are already hype-weary with all things RED are already moving on to a different part of the site. Nontheless, there are solid reasons that Scarlet will change the entire landscape of low-budget digital video, assuming RED can get enough of them into the hands of the public (more about that at the end). Scarlet’s impact will be somewhere between that of the Canon 10D when it debuted and that of the iPhone. Here’s why. 1) 3K native sensor. It’s easy to lose sight of how major a step forward 3,000 pixels of horizontal resolution is for a digital video camera when that camera is debuted alongside an existing 4K camera and a 5K camera due at the same time. So let’s try this with the hype language used by the digital still camera manufacturers: 8.5 megapixels. Per frame. And this is not cheating by calling a 1280 native sensor HD (yes I’m talking to you, HVX-200). 3k means you could cut this image down 35% to HD. You could sneak it onto an IMAX screen without anyone seeing pixilation. It will be years before Sony or Panasonic have anything like this at the price. Speaking of which… more »
(12) Comments •
Most recent comments by:
chucksav,
Tim Sassoon,
J. Matthew,
J. Matthew,
Rob,
J. Matthew,
Mike Curtis,
Mark Christiansen,
Scott Gentry,
glennser,
•
Permalink
Page 1 of 1 pages Advertisement |
|
|
||||
|
|
|||||||
Rendering Motion Projects in Final Cut Pro
The key to dramatically faster render times
If you have begun to explore Final Cut Studio’s application integration by embedding your Motion project files into your Final Cut Pro sequence, you may have noticed a rather large increase in render time for that sequence.
Part of the cause of the increased render time is due to the level of complexity of your Motion project, but there’s a setting in Final Cut Pro that can dramatically reduce render times with little to no impact on the quality of your Motion project—except for certain types of projects.
Cinema Craft Encoder MP for Compressor 3
High Quality MPEG-2 Encoding for Final Cut Studio 2
Cinema Craft, the industry leader in MPEG-2 encoding for DVD, is going to release a Compressor 3 plug-in by the end of this month. I wrote an article on Ken Stone’s site that takes a look at both the plug-in itself and the technology behind it…the Cinema Craft Xtream encoding engine. The majority of Hollywood releases on DVD have been encoded using the Xtream engine, and it’s the same engine that’s at the core of the Cinema Craft Encoder MP plug-in for Compressor.
In addition to high quality, Cinema Craft Encoder MP is a full Compressor plug-in (vs. a QuickTime Component) so it has access to all of Compressor’s features like frame controls and geometry.
If you’re going to be in Los Angeles on May 21st, 2008, I’m going to do a demo of the software at the May LAFCPUG meeting.
BG
To be considered for listing, contact pr (at) provideocoalition (dot) com
Copyright © 2011, HD Expo, LLC a division of Diversified Business Communications. DBA Createasphere
All rights reserved. HD EXPO, High Def EXPO, Createasphere, E-Tech, Entertainment Technology Exposition, 3D Production Workshop, VariCamp, P2 Camp, ColorCamp 101, and Lighting, Filters & Gels for HD are all trademarks of HD Expo, LLC.