April 18, 2011, 10:25 am
In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington uses the Adobe Media Encoder to go from your finished sequence right to the web, blu-ray, or other outputs with a quick hand-off and jump back into your editing.
In this tutorial, we will walk through the steps in animating a twirling character using Toon Boom Stage 10. We will learn how to draw rough poses, how to polish them, and how to transform them into a smooth, seamless animation!
“Editing is unique to film,” Stanley Kubrick told Rolling Stone in 1987. “You can see something from different points of view almost simultaneously, and it creates a new experience.” Big Little Lies director Jean-Marc Vallée certainly agrees. Throughout the series, Vallée uses editing as a passageway into characters’ points of view, subjectively portraying objective realities. In his detailed and insightful video essay “Editing & Empathy in Big Little Lies,” Mzak explores how Vallée uses creative, subtle editing devices to share characters’ points of view.
For those that stopped by the Digital Production Buzz booth in South Lower, it was great to see you. I just wish our production schedule allowed me more time to visit. I always enjoy chatting with you.
It doesn’t matter if you’re short on time, lack design skills, or just plain hate creating graphics — Premiere Pro has you covered with motion graphics templates. Whether you need a credit roll, lower thirds, titles, slates, captions, transitions, looping backgrounds, or logos, Adobe has plenty of available options. The good news? You don’t even have to leave the program to use them.
Much of Steven Spielberg’s Ready Player One is set in the Oasis, a virtual reality world full of digital avatars, game and film characters, and expansive cg environments. To produce that world, the director relied heavily on a virtual production methodology overseen by Digital Domain where actors were filmed in motion capture volumes and where shots could be designed and tweaked live with a simul-cam or ‘v-cam.’
Last time, in our look at learning DaVinci Resolve, we talked about the basics of importing footage into your Media Pool. In the next three articles, I want to look at bringing in footage from the three major NLE’s, Avid Media Composer, Adobe Premiere Pro and Final Cut Pro X, as this is one of the more common workflows, as editors more more and more towards doing their color correcting in Resolve. Let’s get started by looking at getting your footage out of Media Composer and into Resolve.
Today Western Digital Corporation (WDC) introduced its highest capacity conventional magnetic recording (CMR) HDD with the Ultrastar DC HC520. The HC520 comes in capacities up to 14TB introducing a new, lower level of TCO for the cloud and enterprise guys. The new drive leverages WD’s fifth-generation HelioSeal technology to help deliver density, and better power usage per TB, and price per TB.
There have been very few attempts at hero suites in the film industry. The most notable have been SGO's Mistika and Quantel's Rio. Neither have ever been particularly accessible to independent filmmakers, primarily due to their price tags. Mistika, until very recently, was available either as a single-shot compositor in the form of MambaFX or as part of a turn-key workstation with starting prices in the six-figure range. Rio's pricing was similar.
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