After Effects Apprentice Free Video: Eraser Tool Modes
Chris and Trish Meyer | 01/07- 05:36 PM
How to target precisely what you’re erasing, from the source image to just your most recent paint stroke.
As we mentioned awhile back, we’ve been busy the past year and a half creating an extensive, multi-course video training series based on our popular beginner’s book After Effects Apprentice. Each course has two or more movies that are free for all to view; we’re re-posting those videos here on PVC to make sure you don’t miss them. In this movie, Trish discusses the different Eraser tool modes - Layer Source & Paint, Paint Only, and Last Stroke Only - and demonstrates when to use each.
Low-voltage portable cool lights you can build yourself and save $$!
Before you go out and spend hundreds of dollars on a cheap light kit online or through a catalog, consider the option of making your own portable, durable and ultimately flexible low-voltage lighting kits. You’ll not only have more control over how much light you want to put on your background and your subject, but also how much you want to spend!
LIGHTING STRATEGIES: What Makes Soft Lights Cast Soft Shadows?
Art Adams | 12/27- 05:13 AM
When it comes to soft light, size matters.
It’s one thing to understand that soft sources make soft shadows. It’s another thing to understand why. Fortunately a friend from the insect world can help us if we will look at soft light through his eyes.
Simulated Camera DOF In Video with Photoshop CS5.5
Jeff Foster | 12/23- 01:19 PM
Part Two: Video Editing & Animation with Photoshop CS4/CS5 Extended Series
Learn how you can create a simulated Camera DOF effect on your video footage right inside of Photoshop CS5.5 Extended! This technique can be applied to on any video footage and doesn’t require any plug-ins, but rather, it utilizes the 3D Camera to achieve a realistic DOF effect.
Hard lights are great for textures, but soft lights are great for defining spaces.
In a previous article I described how to place a hard key light. In this article I’ll look at why soft sources are a bit more realistic in color cinematography, require less precise placement, and can help define the volume of a space.
Hard light and faces… do they go together? The short answer is yes… but be careful!
The most important thing you will ever learn about lighting is this: LIGHTING IS NOT A FORMULA. Learning about lighting, though, is a process of becoming aware, and in this first of many articles I’m going I’m going to try to increase your awareness of one specific thing per article. The more awareness you have the more easily you’ll be able to adapt your lighting to your circumstances because you’ll see, with your own eyes, what you need to do to make an image that satisfies your inner artist.
I think the best place to start is with classical key light placement. This knowledge is not something you will use verbatim as this is not a style that is in vogue at the moment. The underlying principles, however, should be of daily benefit.
Want To Fly In First Class On Your Next Gig? Here’s How!
Bruce A Johnson | 12/09- 06:07 AM
...and it is actually CHEAPER than coach!
I just got back from a whirlwind cross-country trip for a freelance gig I’m working on. Between me, my field producer and my audio operator, we managed to boil down our equipment complement to six checked bags and three carry-ons. Now prices vary on different airlines, but the way it worked for me was this:
We flew USAirways from Cleveland to Phoenix, changing planes in Charlotte. When I got online to check us in the night before, I was resigned to paying $60 in checked bag fees for each of us ($25 for the first bag and $35 for the second, all meticulously packed and weighed to be less than 50 pounds.) However, in the middle of the check-in procedure, a pop-up box asked me if I would like to upgrade my entire party to first class - for $50 each. On USAirways, this upgrade includes TWO FREE CHECKED BAGS. (Bonus: They can then weigh up to 70 pounds.) In the time it took me to click the “yes” box, I had saved $30 overall and managed to get prime seating for the crew, and moved to the head of the boarding queue to guarantee overhead-compartment space for the two cameras and backpack-full-of-computers-and-iPad we were carrying onboard. I call that a bargain at twice the price!
Coming home at the end of the shoot from Tucson to Madison, I played the same game on United. Since both of those flights were on regional jets, first class was not offered, but once again the cost of checking two bags and first-call boarding was less than the cost of checking the bags alone. While it is easy to imagine scenarios where this technique may not work (e.g., first class is booked full) it is a trick that I will be trying every time I need to check bags from this day forward.
Got any travel tricks of your own you’d like to share? Let’s hear them!
After Effects Apprentice Free Video: Tracking with mochaAE
Chris and Trish Meyer | 12/03- 02:03 PM
A quick start on using this powerful alternative motion tracker bundled with After Effects.
As we mentioned earlier, we’ve been busy this year creating an extensive, multi-course video training series based on our popular beginner’s book After Effects Apprentice. Each course has two or more movies that are free for all to view; we’re re-posting those videos here on PVC to make sure you don’t miss them. This movie provides a quick start on how to use Imaginer Systems’ mochaAE - a powerful 2.5 planar motion tracker that comes bundled with After Effects (but which has a quite un-After Effects-like user interface).
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.
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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