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Porsche Spot VFX Breakdown

Porsche Spot VFX Breakdown

Director Ian McCamey shows how many layers it took to create one shot in our "Porsche: Magnet" spot

By Art Adams | June 02, 2009

Shot by shot, this breakdown shows all the steps required to pull off a single shot for "Porsche: Magnet," a spec spot I shot several months ago for director Ian McCamey. Read More

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3d after effects axis

After Effects Apprentice Video Tutorial #6

A quickie on how to use the 3D Axis Arrows to manipulate 3D layers.

By Chris and Trish Meyer | June 02, 2009

We've recently released After Effects Apprentice (2nd Edition). The DVD-ROM that comes with the book includes an hour and a half of video tutorials that provide gentle introductions to major features inside After Effects. We are releasing these videos one per month here on PVC; they are also available on Focal Press' web site - make sure you visit their After Effects micro-site for more free chapters and tutorials.In this sixth video, we provide a quick overview of how to use the 3D Axis Arrows to manipulate 3D layers in After Effects. We know that many After Effects users - especially those from print and video editing backgrounds - have probably not used a 3D program before; hopefully this will bring you one step closer to overcoming any apprehension you may have over diving into 3D. The next movie will cover how to use the 3D camera tool to manipulate both cameras and 3D viewports. In the meantime, click on the Play Video link below, and enjoy!(Note: For those who are hearing-impaired, lynda.com has added Closed Captioning to these tutorials. They are available here. We are also in the process of creating video training for all of the After Effects Apprentice lessons; they will also appear on lynda.com. If you do not have a lynda.com subscription, click here for a free 7-day pass.)After Effects Apprentice was designed for students looking to learn After Effects from scratch, as well as those who do not use AE full time (such as editors or web designers). It starts gently with an introduction to keyframing, and progresses through the important features (such as masks, mattes, effects, text, audio, 3D space, shape layers, expressions, parenting, and building advanced hierarchies of compositions) until you end up keying, stabilizing, and compositing a shot in high def. The second edition has been fully revamped for After Effects CS4, and includes integration with Photoshop CS4 Extended and Flash Professional CS4.The content contained in After Effects Apprentice - as well as the CMG Blogs and CMG Keyframes posts on ProVideoCoalition - are copyright Crish Design, except where otherwise attributed. Read More

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Two Creative Stop Motion Videos

Inspirational Brain Food for Creatives

By Matthew Jeppsen | June 02, 2009

The following two stop-motion videos are quite visually engaging and well-executed. They've been shot on a floor from overhead, the perspective and attention to detail is a striking effect. Be sure to watch the credits of "Sorry I'm Late" for a behind-the-scenes peek at how it was accomplished. Inspiring stuff. Read More

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After Effects Tips 5: Going for a Scroll

Techniques to easily create scrolling banners, ticker tapes, and other graphics.

By Chris and Trish Meyer | May 30, 2009

It seems such a simple idea: a banner scrolls across the top or bottom of your comp, repeating the same few words over and over, and doing so seamlessly for as long as you need. Here's how to create such an animated banner in After Effects, using either the Offset (or Motion Tile) effect or the Autoscroll animation preset. If you have After Effects CS4 and would like to follow along, download the CS4 project file: AE-Tips-5_scrolling_CS4.zip Read More

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newsletter

Newsletter Update

Keep an eye out for the second PVC Pipeline | Post newsletter next week!

By Scott Gentry | May 28, 2009

A few weeks ago, we published our fourth electronic newsletter: PVC Pipeline | Production, which included a pair of equipment reviews, a wrap-up of NAB, plus an inexpensive trick for offlining 24p material. Subscribers had exclusive access to these articles for the past few weeks. These articles are now available for all PVC visitors to view; a list of them is included below.We are about to publish our fifth newsletter, which will be the second edition of our PVC Pipeline | Post publication. It looks to be another must-read, with Richard Harrington showing how to make your Flash video content searchable, Chris Meyer explaining the workflows required by the new pixel aspect ratios introduced in Adobe Creative Suite 4, Scott Simmons giving Final Cut Pro editors a primer on how to use Avid Media Composer, and more. To receive exclusive access to these articles before everyone else, click here for your free subscription! Read More

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Science of the Movies premieres tonight on Science Channel

Science of the Movies premieres tonight on Science Channel

The Science Channel brings on a show for the tech movie geek in all of us

By Scott Simmons | May 26, 2009

If you're a movie fan then tune in to the Science Channel tonight or (more likely) set your DVRs accordingly as tonight premieres the show Science of the Movies.What is the show about? From the Science Channel website:Science Channel invites you on a geektastic journey to the cinematic intersection of art and science in the all-new "Science of the Movies", Tuesdays at 9 PM (ET/PT).Appealing to the movie junkie in us all, the new series explores the remarkable - yet rarely celebrated - scientific world that exists behind the screen, spotlighting the visionary artists, entrepreneurial spirit, innovative technology and remarkable techniques responsible for creating unforgettable, edge-of-your-seat moments in blockbuster films.In tonight's episode titled Spider Man Motion Control we get "Host Nar Williams explores the motion-control technology behind cloning and the famous "Spidey-sense" shot from "Spider-Man"; Nar rides a CG elephant created by the creature special-effects team behind "300"; Nar embarks on a chase scene using wireless camera mounts." There's a complete episode guide over on the Science Channel website. Man I hope it's not too cheesy. Read More

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Will your AJA IoHD give your DreamColor monitor a free ride?

Will your AJA IoHD give your DreamColor monitor a free ride?

By Allan Tépper | May 25, 2009

If you own an IoHD device from AJA which you use as your input/output device for Final Cut Studio, it may give your HP DreamColor monitor a free ride. As explained in my recent article How to connect your HD evaluation monitor to your editing system properly: Let me count the ways!, the DreamColor monitor is quite attractive, yet quite demanding, since in order to allow use of its color engine (and therefore monitor in ITU-R BT.701 color space), the monitor demands that the incoming signal be both RGB (not component) and true progressive (not interlaced or even PsF). Since the HDMI output of your IoHD can be set up to be RGB, the fact that you own the IoHD may be (under certain circumstances) a "free ticket" for the DreamColor. Read More

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Will your Matrox i/o interface give your DreamColor a free ride?

Will your Matrox i/o interface give your DreamColor a free ride?

By Allan Tépper | May 25, 2009

If you own an MXO2, MXO2 Rack, or MXO2 Mini which you use as your input/output device for Final Cut Studio, it may give your HP DreamColor monitor a free ride. As explained in my recent article How to connect your HD evaluation monitor to your editing system properly: Let me count the ways!, the DreamColor monitor is quite attractive, yet quite demanding, since in order to allow use of its color engine (and therefore monitor in ITU-R BT.701 color space), the monitor demands that the incoming signal be both RGB (not component) and true progressive (not interlaced or even PsF). Since the HDMI output of your MX02, MXO2 Rack, or MXO2 Mini can be set up to be RGB, the fact that you own one of these interfaces may be (under certain circumstances) a "free ticket" for the DreamColor. Read More

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How AJA’s new Hi5-3G may fix your DreamColor connection

How AJA’s new Hi5-3G may fix your DreamColor connection

By Allan Tépper | May 25, 2009

The 30-bit (10-bit per channel) HP DreamColor monitor is quite attractive for the price, yet quite demanding regarding the type of input signals it accepts, as I explained on page 2 of my article How to connect your HD evaluation monitor to your editing system properly: Let me count the ways!. In order to have the color engine active (which is necessary to monitor in ITU-R BT.701 color space), the DreamColor demands that its input signal over HDMI be both RGB (not component) and progressive (not interlaced or even PsF). If your system doesn't currently output RGB over HDMI... or if it does that, but doesn't put out true progressive at the progressive framerate you are editing, then the US$690 Hi5-3G from AJA can help, since it can convert a component signal over HD-SDI (or even 3G-SDI) and deliver a real time RGB signal over HDMI. Specifically, the Hi5-3G can help if it receives a signal which is either true progressive or PsF, since it can easily convert PsF into true progressive... but it cannot do the same from a true interlaced signal. For that, you need a EXT-HDSDI-2-HDMIS from Gefen, which costs US$1299. For more details, see page 2 of the article called How to connect your HD evaluation monitor to your editing system properly: Let me count the ways! Read More

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How to connect your HD evaluation monitor to your editing system properly: Let me count the ways!

How to connect your HD evaluation monitor to your editing system properly: Let me count the ways!

It has become much more complex than just BNC, DVI, or HDMI

By Allan Tépper | May 23, 2009

In this article, you will learn that the best way to connect can go way beyond the physical connections you see on your NLE's professional interface and HD evaluation monitor. Believe it or not, it sometimes also depends upon whether you are editing interlaced or progressive... and also, whether your NLE's professional interface card or box delivers an RGB or component signal over whatever video output connector(s) it has. Read on and you will see how this often does matter, and does affect the way you should connect! Read More

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80a 85 absorb color daylight filters tungsten wratten

Why Does Blue Hurt So Much?

The 80A filter eats up more than twice the light of an 85. What gives?

By Art Adams | May 22, 2009

I never thought I'd worry about when to use an 80A filter. Designed to allow daylight film use under tungsten light, it eats up an incredible amount of light. Why would I ever do such a thing?I wouldn't... in film. Digital, however... if you shoot with a RED under tungsten light, the 80-series is a filter family you need to know intimately. Read More

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Shooting Indy Cars with the GT35pro

Shooting Indy Cars with the GT35pro

Back in April I took my HV20 and 35mm lens adapter to shoot Indy cars

By Scott Simmons | May 22, 2009

Indy Racing League test at Barber Motorsport Park from Scott Simmons on Vimeo.

Back in April the Indy Racing League took their cars to the beautiful Barber Motorsports Park in Birmingham Alabama. It wasn't an actual race but rather an open test, meaning teams could run throughout the weekend and tweak their cars until their heart's content. It was the only road course that the IRL was testing on this season and from reports around the Internet the league was very happy with the fan support as there was a huge turnout, especially for a test. The hope is that the IRL will return to the track for a fully sanctioned race very soon. A test day is great in that for a small fee you can get up close to the action around the track and in the pits. I took my trusty Canon HV20 and the GT35pro lens adapter and head down for a day of shooting Indy cars. Read More

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iPhone DSLR Remote Control App

iPhone DSLR Remote Control App

Video and Nikon support coming Real Soon Now

By Matthew Jeppsen | May 22, 2009

Over at ProPhotoCoalition I've got a post up about a hot new app coming for the iPhone/iTouch that enables you to remotely control Canon DSLR cameras over wifi. It has some limitations, not the least of which is the requirement that the camera be connected to a laptop computer. However, the possibilities are tantalizing. Read on... Read More

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canon 5d mkii underwater

Sea&Sea Releases Underwater Housing for Canon 5D MKII

more at ProPhoto Coalition

By Scott Gentry | May 21, 2009

Rather expensive indeed. However, depth of field, still images, 1080p. I think we need one for a long term test...Sea&Sea via [ProPhoto Coalition] Read More

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Sony Latin America also upgrades 3G HDV camcorders to universal, for a small fee

Sony Latin America also upgrades 3G HDV camcorders to universal, for a small fee

Now Latin American videographers can also upgrade their Sony 3G HDV camcorder to 25p and world-class compatibility!

By Allan Tépper | May 19, 2009

On February 10th, 2009, I informed our readers that Sony USA was offering upgrades to world-class compatibility on their 3G HDV camcorders. As explained in that first article, the Sony upgrade activates the otherwise dormant modes of these cameras, i.e. 576i PAL, HD 25p, and HD 50i modes, on top of the original "24p" (23.976p), "30p" (29.97p) and "60i" (59.94i) modes. Now I am happy to report that Sony BPLA (Sony Broadcast Professional Latin America) is offering the same upgrade on the same cameras in their region. Read More

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dichroic dye far red filter infrared ir nd optics schneider tiffen

Tiffen tests new no-ND IR filter for EX1/EX3/F35

Crisp clean blacks, and only a half-stop light loss, make this new filter a winner

By Art Adams | May 19, 2009

The broadband dyes used in the Sony F35, EX1 and EX3 sensors work wonderfully well in most regards. They allow us to capture subtle hues of color that electronic cameras have not been able to capture in the past. Unfortunately this comes at a price: the red dye passes a little too much light at the edge of the visible spectrum, so the cameras see red in some places where our eyes don't. Read More

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analogous color color theory color wheel complementary palette text

On Artbeats.com: Color Theory

Why some color combinations work better than others.

By Chris and Trish Meyer | May 19, 2009

Over on Artbeats.com, we're starting a trio of articles on the use of color: basic color theory, ideas for how to select a workable color palette, and techniques for remembering and easily applying your chosen colors throughout a project. This month is the article on basic color theory, including some basics on picking colors including combinations that do or don't work for text. Click here to download the PDF of "Color Theory" from Artbeats.com.If you'd like some additional creative examples for how to use color, we wrote a column over a decade ago called Getting Behind the Color Wheel which you might enjoy. As with most of our articles, it's archived here on PVC.The content contained in our books, videos, blogs, and articles for other sites are all copyright Crish Design, except where otherwise attributed. Read More

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The most ridiculously cool Steadicam shot you’ll see this week

Segway Steadicam transition to stage during a live concert

By Matthew Jeppsen | May 16, 2009

Saw this link being tweeted amongst those who use that newfangled Twitter thingy. It was a behind-the-scenes video clip of a Eurovision performance rehearsal in which a Steadicam operator rode a Segway at top speed towards the stage, leapt off the Segway onto the stage and proceeded to carry the move into a few circles around the talent, before exiting stage right. It's the sort of video you have to watch again immediately. After seeing this clip, I hit The Google for a bit and dug up some other BTS clips, as well as the final Steadicam shot from the live performance. You can watch 'em all below. Read More

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nanoFlash recorder: Now lower price, and more features

nanoFlash recorder: Now lower price, and more features

Now pay less, get independent audio input, native progressive recording, and under/overcrank

By Allan Tépper | May 13, 2009

Convergent Design has announced a price reduction on their nanoFlash recorder, which we covered during the NAB on April 21st. Now the list price is US$2995 and more features have been added, including an analog audio input, over/undercrank, and native recording of 720p23.976/25/29.97 which comes from the camera with pulldown over 50p or 59.94p. In other words, the nanoFlash will remove the extra frames based upon the metadata. The nanoFlash recorder now offers over/undercranking of a pure 720p59.94p stream. Read More

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camera clip color exposure filter optics red saturation schneider white balance

Optically White Balance the RED with Schneider CTB Filters

Get the red out--and put some blue back in!

By Art Adams | May 12, 2009

The RED can capture some pretty amazing images in 5600k daylight, but it stumbles a bit when shooting in 3200k tungsten light. The Schneider CTB's help it get back on its feet. Read More

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