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Motion Graphics

Do You Love After Effects? Get to Seattle This Week for AE World!

aeworld



If you’re an After Effects fan, you should check out the After Effects World Conference. It’s being held in Seattle this week. Several members of the Adobe team as well as top gurus speaking at the conference. I'll be there.

You can find out more at –
http://www.aftereffectsworld.com/why-attend-2/

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Setting the Ambient Light in After Effects

This Motion Control 3D tutorial shows how to create believable depth by adding ambient light to an animated photo in After Effects. Watch more at http://www.lynda.com/After-Effects-tu.... This tutorial is a single movie from the ninth chapter of the Motion Control 3D: Bringing Your Photos to Life in Three Dimensions course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 40 minutes long and reveals how you can transport your photos into a three-dimensional world using the Motion Control 3D plugin for Adobe Photoshop and After Effects.

Start a 7-day free trial to lynda.com 
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Two More Green Screen Tutorials



Two more videos from our new class on Greenscreen workflow

Check out the class here – http://www.lynda.com/After-Effects-tutorials/Adobe-Green-Screen-Workflow/141500-2.html

Start a 7-day free trial to lynda.com 
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New Class on Greenscreen Workflow at Lynda.com

Greenscreen1

Working with green-screen footage can be a daunting task. The Adobe suite of video tools provides a wide array of choices, but how do you know which to use? This course aims to answer that important question. By providing an overview of the import process, and then moving into Premiere Pro, After Effects, and popular third-party keying tools, author Rich Harrington guides you through the keying process. Learn how to use the Ultra Keyer, KEYLIGHT, Primatte Keyer, zMatte, and more, while discovering ways to work with transparency and create great backdrops in Photoshop.

This course was created and produced by Rich Harrington. We're honored to host this material in our library.
  • Topics include:
  • Deciding where to key your footage: Premiere Pro or After Effects
  • Importing footage to key
  • Stacking layers in Premiere Pro
  • Using the Ultra Keyer
  • Using Keylight
  • Enhancing a key with 3D lights
  • Deciding when to use a third-party tool
  • Processing backdrops in Photoshop
  • Exchanging transparency data

Check out the class here – http://www.lynda.com/After-Effects-tutorials/Adobe-Green-Screen-Workflow/141500-2.html

A Sample

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Motion Graphics Tutorial: Liquid Pours and Ink Chambers

This motion graphics tutorial shows how to create interesting abstract backgrounds for your effects by filming liquid pours and ink chambers in a live-action studio. Watch more at http://www.lynda.com/After-Effects-tu.... This tutorial is a single movie from the Practical Motion Background Workshop course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 25 minutes long and shows how to capture footage of everyday objects and combine it with effects in popular postproduction tools like After Effects and Premiere Pro, resulting in rich, abstract backdrops for your project.

Start a 7-day free trial to lynda.com 
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Tritone Effect for Creative Color in After Effects

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If you’re looking for a creative way to tint your images, use After Effects. The versatile Tritone effect goes well beyond the typical sepia tone effect, as it allows you to treat highlights, midtones, and shadows separately. In addition to simple tints, you can use the filter to create stylized looks.

  1. Select a clip in the After Effects timeline.
  2. In the Effects panel, type Tritone. Drag the effect onto a video clip.
  3. Press the E key to reveal the effect on that layer, and then double-click on the effect called Tritone to open its controls in the Effect Controls panel.
  4. Click on the Midtones color swatch to open the Color Picker. Choose a color to map the midtones to.
  5. Click on the Highlights color swatch to open the Color Picker and select a brighter color for the highlights.
  6. Remap the Shadows color swatch.
  7. Use the Blend With Original slider to mix the original state with the new color effect.


For more Adobe tips, check out
Creative Cloud User.
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Scrubbing Audio in After Effects

audioscrub

To hear the audio while you’re dragging through your After Effects timeline, hold down the Cmd (Mac OS) or Ctrl (Windows) key while dragging.

While not as good as a full preview, it can help you find your place quickly. You can improve audio scrubbing by turning off the visibility for layers with video- or processor-intensive effects.

For more Adobe tips, check out Creative Cloud User.
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Hearing Audio in After Effects Previews

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When working in After Effects, you might not hear your audio tracks. This is because audio must be loaded into RAM before it can be heard.
  • Make sure that there’s audio in your composition.
  • Make sure that the speaker icon is not muted in the Preview panel.
  • Click the RAM preview to load a video and audio preview.

For more on After Effects and all the Adobe pro video tools, check out the new website — Creative Cloud User.
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Two Cool (Free) Plugins for Adobe Premiere Pro

Simple Mask



This plugin allows to create a simple alpha mask on the source clip and composite it with the existing alpha channel by adding, subtracting or intersecting. Both rectangular and elliptical shapes are supported. They can be repositioned and rotated.

Downloads:


Vignette


This plugin allows to create a vignette on the source clip. Both rectangular and elliptical vignettes are supported. Vignettes can be repositioned and rotated, applied in any color and blending mode available, to the inside or to the outside. Alternatively only the mask can be rendered, replacing the source layer altogether or the vignette can be filled with transparency.

Downloads:


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New Wacom Tablet Offers Potential for Motion Graphics, Animation, and Video Pros

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Wacom has just announced the new
Cintiq 22HD touch. This device combines tablet and display into one, plus now features multi-touch. Here are the features I'm most excited about.

  • Multi-touch to directly interact with UI elements like color correction controls.
  • A 21.5" full HD display (with 1920 x 1080 pixel resolution)
  • 16 customizable, application-specific ExpressKeys located on the side of the display bezel.
  • User-defined Touch Strips, placed on the back of the display to adjust functions like zoom, scroll, brush size and canvas rotation
  • An adjustable stand allows for display rotation, offering both landscape and portrait viewing angles as well as the option to set an incline between 10° and 65°.

The Cintiq 22HD touch ($2,499 USD) will be available in May at select locations and Wacom’s eStore.

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Adobe Unveils the Next Generation Video Tools and Offers 40% Off for a Limited Time

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While visiting the National Association of Broadcasters Conference in Vegas, Adobe had a huge booth.  At it, they showed the next generation of their video products (such as Adobe Premiere Pro, After Effects, and SpeedGrade).  While they didn't promise a release date, the likelihood was definitely stated as "soon." which should mean major updates to all their tools can't be far behind.
If you want to see a detailed overview of Adobe Premiere Pro — check out my class on Lynda.
Adobe offered a special deal that is only good for a few days.  Save 40% off a year of Creative Cloud (which drops it to $29 a month). This offer can be used by anyone (even if you don't own a qualifying upgrade product).  I strongly suspect this will be the best deal offered this year.
Remember, a few key facts about Creative Cloud.
  • You get every Adobe Creative software tool.  Adobe Premiere Pro, After Effects, Photoshop, Prelude, SpeedGrade, Encore, Story and more.
  • You get tools like Digital Publishing Studio, Acrobat, and Muse for creating apps, PDFs, and websites.
  • You always have the latest version installed on your drive.  These do not run in the cloud, the apps are local just like before.
  • You get  20GB of Cloud storage and other cloud benefits that keep rolling out.
  • You get a professional Behance account to build portfolios and search for jobs.
  • You get updates sooner with no need to wait.

So if you're sitting on the fence, consider the offer.  It expires April 19.
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My NAB Speaking Schedule

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Monday

  • 10:15—11:00 am | Tiffen Booth – C8818 (Free)
  • 12:15—1:00 pm | Tiffen Booth – C8818 (Free)
  • 1:15—1:45 pm | Drobo Booth — N6926 (Free)
  • 2:00—3:15 pm | Practical Motion Background — Post|Production Conference
  • 3:30—4:45 pm | Advanced Motion Control 3D — Post|Production Conference
  • 5:00—6:15 pm | Hyper-syndication — Post|Production Conference


Tuesday

  • 10:15—11:00 am | Tiffen Booth – C8818 (Free)
  • 11:15—11:45 am | Drobo Booth — N6926 (Free)
  • 2:00—3:15 pm | Photoshop for Premiere Editors — Post|Production Conference
  • 2:00—3:15 pm | Practical Motion Background — Post|Production Conference
  • 3:30—4:45 pm | Time Floats By — Post|Production Conference
  • 5:00—6:45 pm | Digital Publishing UnConference — Post|Production Conference


Wednesday

  • 9:15—10:00 am | Tiffen Booth – C8818 (Free)
  • 10:30—11:00 am | Adobe Booth – SL3910 (Free)
  • 12:00—12:45 pm | Tiffen Booth – C8818 (Free)
  • 1:00—1:30 pm | Adobe Booth – SL3910 (Free)
  • 2:00—3:15 pm | Successful Site Surveys — Post|Production Conference
  • 3:30—4:45 pm | Dynamic Link and more — Post|Production Conference
  • 5:00—6:45 pm | Hot Panel: Future of Digital Publishing — Post|Production Conference


Thursday

  • 9:15—10:00 am | Tiffen Booth – C8818 (Free)
  • 10:30—11:30 am | Drobo Booth — N6926 (Free)
  • 12:00—12:30 pm | Adobe Booth – SL3910 (Free)
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Try All My Lynda.com Training for Free

lynda_harrington_classes

You probably know I have a ton of classes over at Lynda.com on photography, video, and business. What you may not realize is that you can try them all for free (or even watch them all if you want to give up bad network TV for a week or so). Over at my photo blog (Photofocus) we have a unique offer.
Get TEN free days of Lynda.com with a membership trial. That deal is available know where else. Here's a direct link.

The fine print:
You’ll get 10 days of free unlimited access to lynda.com. We’ll ask for your billing information, but you won’t be charged unless you continue with a paid membership after the trial. Your membership will include access to all 1,601 lynda.com courses. Choose a premium membership for downloadable exercise files that let you work along with the instructors.

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I'm Speaking at Adobe MAX

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I'm super excited to be speaking at the official Adobe conference this year…. Adobe MAX.

To start things off, don't miss my shooting pre-conference session.

Shooting and Editing Footage from DSLR Cameras
The use of DSLR cameras to shoot video has skyrocketed. Learn from Photoshop and Adobe Premiere Pro Certified Instructor Rich Harrington as he introduces you to DSLR shooting and helps you put all the pieces together in post-production using Adobe’s powerful software.

This all-day lab will:
  • Introduce you to the entire process of shooting DSLR videos
  • Teach you important planning and shooting techniques
  • Show you how to edit and stabilize footage and make it look better in Adobe Premiere Pro and Photoshop
 
Link: http://max.adobe.com/sessions/preconference-training.html


I have some cool new classes I am going to be teaching.
Creating Motion Graphics for the Web
Date: Monday5/6/13
Time:17:00 - 18:30

Creating Motion Graphics for the Web
Date: Monday5/6/13
Time:15:30 - 16:30

Creating Motion Graphics for the Web
Date: Wednesday5/8/13
Time:11:00 - 12:30

Motion Control 3D: Bringing Photos to Life in Three Dimensions
Date: Wednesday5/8/13
Time:9:30 - 10:30


Adobe MAX 2013
L.A. Convention Center
& Nokia Theatre L.A. LIVE
May 4 - 8, 2013

Registration Pricing

  • Early Bird - $1,295 (Nov 1 - Feb 28, 2013)
  • Regular Pricing - $1,495 (Mar 1 - May 3, 2013)
  • On-site Pricing - $1,695 (May 4 - May 8, 2013)
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Green Screen in FCPX


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. In earlier episodes Rich gave you some important tips on lighting, shooting, and processing backgrounds for your green screen project.

The key to a great green screen is a combination of how you shoot and how you post process your material. In this episode join Rich as he shows you how all these pieces come together when keying in editing software, such as Final Cut Pro X.


Check out more DSLR videos here – http://www.youtube.com/playlist?list=PL45101D7EFD3E733A
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Photoshop tutorial: Understanding resolution

This Photoshop tutorial explains the concept of resolution when it comes to video graphics, and how pixels per inch, or PPI, translates to fixed format resolutions like 1080p or 720p. Watch more at http://www.lynda.com/After-Effects-tutorials/Photoshop-Video-Editors-Core-Ski.... This tutorial is a single movie from the Photoshop for Video Editors: Core Skills course presented by lynda.com author Rich Harrington. The complete course is 3 hours and 8 minutes long and shows how to use Photoshop to perform typical video editing tasks, like lens correction, color grading, and more.

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Get 7 days of free unlimited access to lynda.com.
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Green screen tutorial: Acquisition strategies for background plates


Watch more at
http://www.lynda.com/After-Effects-tutorials/Green-Screen-Techniques-Video-Ph.... This green screen tutorial shows how to photograph background plates for green screen, explaining how to compose and process your photos. This tutorial is a single movie from the Green Screen Techniques for Video and Photography course presented by lynda.com authors Rich Harrington and Abba Shapiro. The complete course is 3 hours and 16 minutes long and walks you through the process of hanging and lighting the backdrop; positioning your subject; and completing the scene with postproduction techniques in Adobe After Effects, Photoshop, and Premiere Pro. Introduction 1. An Introduction to Green Screen 2. Prepping the Green Screen 3. Lighting the Subject 4. Working with the Subject 5. Best Shooting Practices for DSLR Video 6. Background Selection 7. Creating Backgrounds in a Nonlinear Editing Tool 8. Creating the Composite for Motion Conclusion

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Get 7 days of free unlimited access to lynda.com.
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Green screen tutorial: Working with a light meter


Watch more at
http://www.lynda.com/After-Effects-tutorials/Green-Screen-Techniques-Video-Ph.... This green screen tutorial shows how to use a light meter to measure your luminance levels, set your shutter speed, and refine your lighting setup. This tutorial is a single movie from the Green Screen Techniques for Video and Photography course presented by lynda.com authors Rich Harrington and Abba Shapiro. The complete course is 3 hours and 16 minutes long and walks you through the process of hanging and lighting the backdrop; positioning your subject; and completing the scene with postproduction techniques in Adobe After Effects, Photoshop, and Premiere Pro. Introduction 1. An Introduction to Green Screen 2. Prepping the Green Screen 3. Lighting the Subject 4. Working with the Subject 5. Best Shooting Practices for DSLR Video 6. Background Selection 7. Creating Backgrounds in a Nonlinear Editing Tool 8. Creating the Composite for Motion Conclusion

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Get 7 days of free unlimited access to lynda.com.
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Photoshop tutorial: Animating a logo with keyframes in Photoshop


This Photoshop tutorial shows how to animate a logo with the video editing timeline, with a rubber banding technique: setting keyframes at landing places and stretching them out. Watch more at
http://www.lynda.com/After-Effects-tutorials/Photoshop-Video-Editors-Core-Ski.... This tutorial is a single movie from the Photoshop for Video Editors: Core Skills course presented by lynda.com author Rich Harrington. The complete course is 3 hours and 8 minutes long and shows how to use Photoshop to perform typical video editing tasks, like lens correction, color grading, and more. Introduction 1. Pixels Demystified 2. Preparing a Photo 3. Creating a Logo Bug 4. Animating a Logo 5. Gradient Wipes 6. Correcting Lens Distortion 7. Using Actions for Video Workflows 8. Advanced Color Grading and Effects 9. Enhancing Depth of Field 10. The Photoshop/Premiere Pro/After Effects Relationship Conclusion

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Photoshop tutorial: Using the Spot Color effect


This Photoshop tutorial shows how to apply a spot color effect to a black and white image with the Lighten and Darken blending modes and the Black & White adjustment's color channels. Watch more at
http://www.lynda.com/After-Effects-tutorials/Photoshop-Video-Editors-Core-Ski.... This tutorial is a single movie from the Photoshop for Video Editors: Core Skills course presented by lynda.com author Rich Harrington. The complete course is 3 hours and 8 minutes long and shows how to use Photoshop to perform typical video editing tasks, like lens correction, color grading, and more. Introduction 1. Pixels Demystified 2. Preparing a Photo 3. Creating a Logo Bug 4. Animating a Logo 5. Gradient Wipes 6. Correcting Lens Distortion 7. Using Actions for Video Workflows 8. Advanced Color Grading and Effects 9. Enhancing Depth of Field 10. The Photoshop/Premiere Pro/After Effects Relationship Conclusion

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Get 7 days of free unlimited access to lynda.com.
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How to Prep a Photo for a Video Timeline in 60 seconds


A short tutorial on sizing photos for use video projects. This is a super easy technique and very fast.
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Making Long Exposures without a Tripod

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A fun technique when shooting water is to go for the long exposure.  The water goes silky and becomes great to look at.  For many, this type of shooting means a solid tripod and a remote release.  But what happens if you don’t own those items (or have them with you)?  That’s easy…  improvise.
  • Put the camera in manual mode and set it on a flat surface like a bench, garbage can, or railing.
  • Set your aperture to the smallest aperture you have.
  • Attach a ND filter if you have one.
  • Set the timer delay on the camera.  This way after you push the button to release the shutter, the camera will wait a few seconds before firing (this will stabilize the shot).
  • Turn on in-camera noise reduction.
  • Fire away.


For more photo techniques, check out Photofocus —
www.Photofocus.com

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Motion Graphics Tutorial: Using Blending Modes for Design


This motion graphics tutorial shows how to use blend modes in After Effects to create interesting abstract backgrounds from live-action footage. Watch more at
http://www.lynda.com/After-Effects-tutorials/Practical-Motion-Background-Work....
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Motion Graphics Tutorial: Dancing Shadows



This motion graphics tutorial shows how to create interesting abstract backgrounds for your effects by moving a light source around a reflective object, such as jewelry, to create the illusion of abstract dancing shadows. Watch more at
http://www.lynda.com/After-Effects-tutorials/Practical-Motion-Background-Work....
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Get 7 days of free unlimited access to lynda.com.
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An Interesting Webinar About Bad Robot and JJ Abrams Workflow

badrobotwebinar

While I'm not that interested in Avid workflow these days, I must say that this
webinar looks interesting. One of my favorite production companies is going to walk through their technical approach to editing and effects.

If you’ve watched any popular TV show or film in the past few years, you’ve no doubt seen the redheaded robot logo at the end of every Bad Robot production. Now get an exclusive behind-the-scenes look at the inner workings of one of Hollywood’s hottest film/TV production companies, which features Avid© solutions at its core, by signing up to attend this special Avid webinar.

Join Avid’s Matt Feury and Bad Robot’s editorial, sound, and VFX teams for a discussion on the unique workflows the teams are using to create the upcoming movie, Star Trek into Darkness.



Register now
Monday, December 10, 2012
11am PT / 2pm ET
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My Books are On Sale for a Short Time

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Looking for a discount on some of my books or videos? Here's the complete list.

http://www.peachpit.com/authors/bio.aspx?a=8d9d5e27-627c-4a26-a0d1-ad82002cba8b

  • Editor's Guide to Adobe Premiere Pro, 2nd Edition Book EBOOK
  • Understanding Adobe Photoshop CS6 Book EBOOK
  • Creating DSLR Video: From Snapshots to Great Shots Book EBOOK
  • Motion Graphics with Adobe Creative Suite Studio Techniques Book EBOOK
  • From Still to Motion: A photographer's guide to creating video with your DSLR Book



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Adobe Sneak Peaks at Create Now Live

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Adobe is hosting a special event about Adobe Creative Cloud on December 11, 2012, starting at 10AM PST.

Create Now Live is an online event hosted on Facebook. Be sure to visit the event at http://on.fb.me/Sj0YBZ
You can register here –
http://www.adobeeventsonline.com/createevent/?sdid=KBANZ

Why attend?
  • Be first to find out what’s new in Adobe Creative Cloud, including products and features exclusively for members.
  • See what’s next in Adobe Photoshop.
  • Hear from Adobe evangelists and designers, photographers and filmmakers, who are breaking the creative mold.
    • Iconic design agency Karlssonwilker talks about taking their unique design sensibility to the web.
    • Go behind the scenes of "A Liars Autobiography: The Untrue Story of Monty Python's Graham Chapman" with Animation Director Justin Weyers.
    • Kelby Media Group CEO Scott Kelby shows off hidden gems in Photoshop CS6.

Registration is not required to view the event.
Registered participants will receive speaker updates and a promo code for a $300 early bird discount on Adobe MAX 2013.

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Keying Greenscreen Video in Premiere Pro and After Effects


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he reveals professional keying techniques using Adobe Premiere and After Effects.

In this episode you will learn how to use Adobe Premiere Pro CS6 tools such as the 8-point Garbage Matte and Ultra Key to create the initial or placeholder key. Then, watch as Rich kicks the project over the After Effects to create the final project using elements like Keylight and 3D Lights.
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The Refine Edge command in Adobe Photoshop


This Motion Control 3D tutorial shows how to analyze a photo and make precise selections with the Refine Edge command in Photoshop. Watch more at
http://www.lynda.com/After-Effects-tutorials/Motion-Control-3D-Bringing-Your-.... This tutorial is a single movie from the fourth chapter of the Motion Control 3D: Bringing Your Photos to Life in Three Dimensions course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 40 minutes long and reveals how you can transport your photos into a three-dimensional world using the Motion Control 3D plugin for Adobe Photoshop and After Effects.

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Get 7 days of free unlimited access to lynda.com.
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Setting Ambient Lights in After Effects


This Motion Control 3D tutorial shows how to create believable depth by adding ambient light to an animated photo in After Effects. Watch more at http://www.lynda.com/After-Effects-tutorials/Motion-Control-3D-Bringing-Your-.... This tutorial is a single movie from the ninth chapter of the Motion Control 3D: Bringing Your Photos to Life in Three Dimensions course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 40 minutes long and reveals how you can transport your photos into a three-dimensional world using the Motion Control 3D plugin for Adobe Photoshop and After Effects.

Follow Me on Twitter or Facebook

Get 7 days of free unlimited access to lynda.com.
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Backdrops for Chroma Keying


AdoramaTV presents DSLR | Video Skills with Richard Harrington. Today, Rich explores different editing techniques to make realistic backdrops for chroma keying. Learn how you can adjust the focal point or the depth of field of your photo by using some of these key tools in Adobe Photoshop CS6.

When you have a photo you want to use as a background, sometimes the focal point or the depth of field isn't suitable for using behind your subject when keying a green screen. In this episode, Rich touches up four photos to use as potential backdrops for his green screen project. By using tools such as the camera lens blur effect, masking, or the blur tool you can make your own custom depth mattes that will work perfectly with your chroma key.

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Creating a Film Look on a Video Budget


Richard Harrington presents Creating a Film Look on a Video Budget using Tiffen Dfx software and Digital Film Tools Software.

A free class that shows a lot of tips for color grading. Some of it is specific to Tiffen Dfx software, but a lot of the concepts work everywhere.

Take 30% off with this unique code: RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos
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Better Keying from Production to Post


Here's a free class I taught on green screen. It was sponsored by Tiffen who sell a great keyer I use called Zmatte…. but the class has benefits for all users.

Greenscreen has become an essential tool in modern video and film workflows. This webinar features visual FX industry veteran Marco Paolini and Motion Graphic Designer and Editor Richard Harrington. You'll learn modern shooting advice to produce better keying footage (particularly the need for quality lighting) as well as on-set advice to follow. You'll then explore how to prepare background plates, generate multiple mattes, wrap the light and more. This workshop will teach you techniques that work with any post workflow and also gives you a quick start on successfully keying with zMatte.

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Adaptive Wide Angle Command in Photoshop CS6


Adobe Photoshop CS6 adds to an existing feature that you may not have even been using called Photomerge. Rich Harrington will show you the new Adaptive Wide Angle command to remove all of the lens and perspective distortion in merged photos. You will also learn how to use these exact techniques with video footage, too.
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Demystifying the After Effects CS6 Performance Cache


Adobe After Effects CS6 maximizes your system's performance. Rich Harrington teaches you how to take full advantage of this new capability for faster previews, less re-rendering and, yes, great performance.
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Create Broadcast Graphics

A recent presentation I gave that goes in-depth on Adobe Photoshop and broadcast graphics workflow.

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Take Control of Depth of Field with the Photoshop Blur Lab


Adobe Photoshop CS6 includes three new blurring filters. Rich Harrington will show you new ways to blur specific areas in a photo, as well as achieve tilt sheet and vignette effects.
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Faking Camera Lens Blur in After Effects


Learn how to use the Camera Lens Blur feature inside Adobe After Effects. A cool and little used feature.
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Advanced Camera Tracking and 3D Text Extrusion



Adobe After Effects CS6 can apply its new 3D Camera Tracker to extruded 3D Text of course. Rich Harrington will also show you how to use these tools, while also highlighting new 3D features including the new Ray-traced 3D engine and advanced lighting options.
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Vector Graphics Workflow for After Effects CS6


Adobe After Effects CS6 offers new workflows for vector graphics. Explore these new features with Rich Harrington, including converting vector files to shape layers so that they are automatically included in AE project files, as well as new 3D extrusion tools.
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3D Text Effects in Photoshop

Are you trying to create 3D text? Join Instructor Richard Harrington as he teaches you how to transform your text to new dimensions in Adobe Photoshop CS6.

Be sure to also check out the new book – Understanding Adobe Photoshop CS6
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After Effects CS6 Camera Tracker is Amazing



Adobe After Effects CS6 has a camera tracker that can add a new dimension to your compositing. Rich Harrington shows you the best approaches to AE's new 3D Camera Tracker for a variety of techniques including object placement and completely relighting a scene.
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Free Webinar on Professional Keying

Better Keying from Production to Post

August 22, 2012 (limited to 100 signups!)
Sign Up Here – https://www3.gotomeeting.com/register/193658510

zmatte

Greenscreen has become an essential tool in modern video and film workflows.  This webinar features visual FX industry veteran Marco Paolini (http://www.imdb.com/name/nm0660052/) and Motion Graphic Designer and Editor Richard Harrington (www.RichardHarringtonBloig.com).  You'll learn modern shooting advice to produce better keying footage (particularly the need for quality lighting) as well as on-set advice to follow.  You'll then explore how to prepare background plates, generate multiple mattes, wrap the light and more. This workshop will teach you techniques that work with any post workflow and also gives you a quick start on successfully keying with zMatte.

  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One attendee with receive a full license of the software – random drawing, but must be present to win.
 

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I Visit HP and Explore How They Design Products

Hewlett-Packard Product Development from RHED Pixel on Vimeo.

Richard Harrington discusses Hewlett-Packard's product development with Ronald Rogers at HP's headquarters in Fort Collins, CO.



A few weeks ago I visited the design labs for HP. I got an impressive look at how they design, test, and build computers. I also saw things to come and must say I am very glad that we have a company focussing on building machines for video and animation pros.

Have a listen to a detailed interview about how HP works and judge for yourself.
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Master Motion Graphics in Adobe Creative Suite

mograf

My book called "Motion Graphics with Adobe Creative Suite Studio Techniques" is on sale this week as Adobe Press's $9.99 book of the week.

Almost all motion graphics artists today use After Effects, Photoshop, or Illustrator to some degree in their projects. But how do they decide which tool is best for the job and how can they utilize the various components in the Creative Suite together for the most efficient and effective workflow? This book cuts to the chase and shows readers an in-depth view of the various components in the Creative Suite as best utilized in professional motion graphics projects.

This includes all the hands on projects too!

Get the book today, expires soon!


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Green Screen Production Quick Start


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he explains the essentials of green screen production. Follow along as he walks you through the steps from lighting, testing, to keying in post production.

When preparing to record a subject in front of a green screen, it is important to find the correct lighting and backdrop. Once you have the green screen set and a test subject lit, you are ready to record and key your new background in post-production In this episode, Rich demonstrates several techniques to keying in Adobe After Effects.

AdoramaTV features talented hosts including: Mark Wallace, Gavin Hoey, Joe McNally, Joe DiMaggio, Tamara Lackey, Bryan Peterson, and Rich Harrington.

Check Out More Tutorials – http://www.youtube.com/playlist?list=PL45101D7EFD3E733A
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What's New in Photoshop CS6 for Video and Motion

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I recently an eSeminar on the new features in Photoshop that benefits the motion graphic artist and video editor.
In case you missed it, we have posted a
recording of the eSeminar.
I covered many new features in this one hour session, and here’s a brief outline of the features and how you can use them in productions:
  • The adaptive wide angle feature to improve your images
  • Search features to find layers and effects used in a project
  • Blur tools to enhance and blur portions of an image to use as background plates
  • Content Aware tools to scale and improve aspect ratios in images
  • Camera RAW improvements to help you remove noise
  • Crop tool presets to create broadcast ready images
  • Accelerated special effects in Photoshop that speed your editing workflow
  • Text style features for creating lower thirds
  • Color correction tools that can be used for quick and easy color grading
  • Cloning tools that help remove distracting elements in a video clip
  • Bridge basics to name and share images with clients
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Free Webinar on Getting a Film Look

Creating a Film Look on a Video Budget

July 18, 2012 (limited to 100 signups!)
Sign Up Here –
https://www3.gotomeeting.com/register/508525966 

edge filmstocks
These days, a "film look" is more popular than ever.  This workshop will give you practical shooting advice to achieve a shallow depth of field and more filmic look in camera.  You'll also learn how to enhance even the toughest footage for a better look using a comprehensive suite of tools.  Learn how to create realistic textures and curves using the Tiffen Film Stocks plugin. You can also create dynamic color mapping with PhotoCopy and enhance the light in your scene with Rays.
  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One attendee with receive a full license of the software – random drawing, but must be present to win.
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Choosing the Right Frame Rate for Video


This tutorial discusses which frame rate you should choose, depending on your specific requirements. Watch more at
http://www.lynda.com/course-tutorials/DSLR-Video-Tips-Rich-Harrington/103707-... This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré.

Follow Me on Twitter or Facebook

Get 7 days of free unlimited access to lynda.com.
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Free Webinar on Color Grading

Webinar-Newsletter-Master 2

Creative Color Grading – Fast!  

July 11, 2012 (limited to 100 signups!)
Sign Up Here –
https://www3.gotomeeting.com/register/706598326

Learn how to approach color grading tasks from production to post.  Learn important techniques about what to shoot in the field including camera profile, white balance information, and essential metadata.  Then in post you'll learn how to create popular looks that clients want.  This workshop will explore both general techniques and theory as well as a detailed look at Tiffen Dfx Video/Film tool set.
  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One attendee with receive a full license of the software – random drawing, but must be present to win.
 
Take 30% off with this unique code: RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos
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Three Free Workshops for Video and Media Pros from Tiffen

The Tiffen Company and digital video expert Richard Harrington are teaming up to offer media pros three free webinars to take their video projects to the next level.  Richard Harrington will show techniques he uses at RHED Pixel (www.RHEDPixel.com) to enhance the look of video images, raise production values, and achieve better composites.  These demos will explore a variety of post production tools and show techniques that can improve the workflows for any user of Adobe Premiere Pro, After Effects,  Final Cut Pro, or Avid.
 
These 60 minute workshops are free, but will only be offered live.
 

Creative Color Grading – Fast!  

July 11, 2012 (limited to 100 signups!)
Sign Up Here –
https://www3.gotomeeting.com/register/706598326


Learn how to approach color grading tasks from production to post.  Learn important techniques about what to shoot in the field including camera profile, white balance information, and essential metadata.  Then in post you'll learn how to create popular looks that clients want.  This workshop will explore both general techniques and theory as well as a detailed look at Tiffen Dfx Video/Film tool set.
  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One attendee with receive a full license of the software – random drawing, but must be present to win.
 

===========================

Creating a Film Look on a Video Budget

July 18, 2012 (limited to 100 signups!)
Sign Up Here –
https://www3.gotomeeting.com/register/508525966 

filmstocks

These days, a "film look" is more popular than ever.  This workshop will give you practical shooting advice to achieve a shallow depth of field and more filmic look in camera.  You'll also learn how to enhance even the toughest footage for a better look using a comprehensive suite of tools.  Learn how to create realistic textures and curves using the Tiffen Film Stocks plugin. You can also create dynamic color mapping with PhotoCopy and enhance the light in your scene with Rays.

  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One attendee with receive a full license of the software – random drawing, but must be present to win.
 

===========================

Better Keying from Production to Post

August 22, 2012 (limited to 100 signups!)
Sign Up Here – https://www3.gotomeeting.com/register/193658510

zmatte

Greenscreen has become an essential tool in modern video and film workflows.  This webinar features visual FX industry veteran Marco Paolini (http://www.imdb.com/name/nm0660052/) and Motion Graphic Designer and Editor Richard Harrington (www.RichardHarringtonBloig.com).  You'll learn modern shooting advice to produce better keying footage (particularly the need for quality lighting) as well as on-set advice to follow.  You'll then explore how to prepare background plates, generate multiple mattes, wrap the light and more. This workshop will teach you techniques that work with any post workflow and also gives you a quick start on successfully keying with zMatte.

  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One attendee with receive a full license of the software – random drawing, but must be present to win.
 
Take 30% off with this unique code: RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos

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Photoshop Video Editing Shortcut Keys


LDC_Video

Enable Timeline Shortcut Keys


  • Start playing the timeline | Spacebar
  • Back one frame | Left Arrow or Page Up
  • Back ten frames | Shift + Left Arrow or Shift + Page Up
  • Forward one frame | Right Arrow or Page Down
  • Forward ten frames |Shift + Right Arrow or Shift + Page Down
  • Move to the beginning of the timeline | Home
  • Move to the end of the timeline | End
  • Move to In point of the current layer | Up Arrow
  • Move to the Out point of the current layer | Down Arrow
  • Back 1 second | Shift + Up Arrow
  • Forward 1 second | Shift + Down Arrow
  • Jump to the next/previous whole second in timeline | Hold down the Shift key when clicking the Next/Previous Frame buttons (on either side of the Play button).
  •  
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Free Templates for Adobe Premiere Pro, After Effects, and Encore

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When Adobe shipped Creative Suite 6, they left out several important files. The products included several awesome templates, presets, and more for titles, DVD menus, and animated text.


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Chroma Keying Backdrops - Photoshop for Video

An oldie, but goodie with Photoshop and After Effects:

Instructor Richard Harrington shows you how to use Photoshop to create a library of backdrops for use in chroma keying.

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Using Adjustment Layers in Adobe Premiere Pro

If you need to apply an effect to multiple clips at once, an adjustment layer can really come in handy. Experienced After Effects or Photoshop users may already be familiar with the technology which makes its debut in Adobe Premiere Pro CS6.

The concept is simple, you create a new specialty layer that can hold effects and sit above other video tracks. Everything beneath the adjustment layer will be processed by the effect. Adjustment layers can have their trim handles and opacity modified to further refine the effect and its placement. An adjustment layer is often easier to modify since it is a single effect, rather than multiple instances applied to several clips.

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To use an adjustment layer, follow these steps.

  1. Click the New Item button at the bottom of the project panel and choose Adjustment Layer. Click OK to create the adjustment layer to match the dimensions of the current sequence.
  2. Locate the new adjustment layer that was added to your project. You can rename it or move it to a bin to make it easier to track.
  3. Drag the Adjustment layer to a higher track in the timeline. Trim its handles to cover just the portion of clips you want to affect.
  4. With the adjustment layer selected, drag an effect on to it from the Effects Browser (or simply double-click the effect).
  5. Adjust the effect using the Effect Controls panel.


TIPS

  • Be Sure to Blend – Blending an adjustment layer can significantly change the behavior of an effect. This is a great way to create new looks from existing plug-ins.
  • Color Grade Approach – One way to grade color is to combine adjustment layers with standard effects. Use essential color correction techniques to neutralize and issues with individual clips. Then use an adjustment layer across the entire scene to grade or stylize. This makes it easier to iterate different looks or refine an adjustment.

Be sure to pick up the new edition of:
An Editor's Guide to Adobe Premiere Pro
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Making Lower Third Video Graphics

Instructor Richard Harrington shows you how to make lower thirds in Photoshop. Brought to you by Creative Cow.

Part 1




Part 2

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Creating an Alpha Channel for Video


In this Adobe Photoshop podcast tutorial, Richard Harrington teaches how to make an alpha channel based upon the luminance of an image.
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Trying out Blending Modes in Photoshop or After Effects

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Blending modes are an integral part of both design and color correction workflows as they let you mix the content of two or more layers. Part of the reason many pass on blending modes is that they are hard to use if you don’t know which one you want. The truth is that the list can get a little long and if you aren't familiar with them, it can get a little confusing.

Here’s a much better way to experiment:

  1. Select the layer or layers you want to blend.
  2. If using Photoshop, choose the Move tool (In After Effects, you can skip this step).
  3. Press Shift + = (Shift plus Equal) to scroll through the list.
  4. To move backward, press Shift + – (Shift plus Minus) to return to a passed blending mode.


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How to Resize Images in Photoshop for use in Video

DP BestFlow - How to Resize Images in Photoshop for use in Video from ASMP dpBestflow on Vimeo.



Richard Harrington shows you how to adjust photographs in Photoshop to make sure they are ready for your video project.

From the
dpBestflow.org project.
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What's New With NVIDiA CUDA Acceleration

ProVideo Coalition - Nvidia & Cuda at NAB 2012 from RHED Pixel on Vimeo.



Richard Harrington interviews Justin Boitano, Director of Marketing for Nvidia, on the latest technology for CUDA. Learn how video editing and motion graphics are getting faster.
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In-Depth Interview about the New HP Z1 Workstation

ProVideo Coalition - HP Z1 Workstation at NAB from RHED Pixel on Vimeo.



Richard Harrington interviews Travis Humphries, the global product manager at HP, about the new
HP Z1 workstation. This looks perfect for an extra editing or motion graphics workstation.
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Creating Perfect Alpha Channels in Photoshop



Achieve perfect transparency in your video graphics.
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Animating your Photos with After Effects

When working in After Effects, there are five key components to animating a layer. These properties are very easy to quickly access through keyboard shortcuts.

Adobe After Effects 10.0003
  • Press A to Twirl down the Anchor Point.
    • Press P to Twirl down the Position.
    • Press R to Twirl down the Rotation.
    • Press S to Twirl down the Scale.
    • Press T to Twirl down the Opacity.

You can also use following modifier keys to speed up your work.
  • Hold down the Shift key to display additional properties after selecting the first item.
    • Hold down the Option (Alt) key to display a property and add a keyframe at the Current Time Indicator.

To learn more, see
this course on lynda.com: Documentary Photo Techniques with Photoshop and After Effects

Maximizing your Web Video and Podcast Audience with Hypersyndication table of contents:

  • Introduction
  • 1. Organize Your Photos with Adobe Bridge
  • 2. Understanding Resolution
  • 3. Working in the Right Color Space
  • 4. Removing Damage
  • 5. Content-Aware Repairs
  • 6. Controlling Focus
  • 7. Removing Distractions
  • 8. Toning Images
  • 9. Documentary Motion Control with After Effects
  • 10. Exporting Animation
  • Conclusion

Watch the whole class for free (actually all my classes). Free 7-day trial.

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Add Ratings to Your Photos with Adobe Bridge




This Bridge tutorial titled Adding Ratings is from chapter one of the Documentary Photo Techniques with Photoshop and After Effects course presented by lynda.com author Rich Harrington. This specific tutorial describes how to use Adobe Bridge to add rating to your photos to decide which shots you prefer. The complete Documentary Photo Techniques with Photoshop and After Effects course has a total duration of 2 hours and 2 minutes and explores the world of documentary storytelling, using various techniques in Adobe Photoshop and After Effects to transform damaged photos into brand-new works of art.

Documentary Photo Techniques with Photoshop and After Effects
To view more of this course on lynda.com, click the link above.

Documentary Photo Techniques with Photoshop and After Effects course presented table of contents:

Introduction
1. Organize Your Photos with Adobe Bridge
2. Understanding Resolution
3. Working in the Right Color Space
4. Removing Damage
5. Content-Aware Repairs
6. Controlling Focus
7. Removing Distractions
8. Toning Images
9. Documentary Motion Control with After Effects
10. Exporting Animation
Conclusion

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Editing Video in Photoshop CS6


Richard Harrington & Rafael Concepcion show you how to work with video in Photoshop CS6.

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The Difference Between Print and Video Resolution




This tutorial titled Resolution Requirements for Video is from chapter two of the Documentary Photo Techniques with Photoshop and After Effects course presented by lynda.com author Rich Harrington. This specific tutorial explains the difference between print resolution and video resolution. The complete Documentary Photo Techniques with Photoshop and After Effects course has a total duration of 2 hours and 2 minutes and explores the world of documentary storytelling, using various techniques in Adobe Photoshop and After Effects to transform damaged photos into brand-new works of art.

Documentary Photo Techniques with Photoshop and After Effects
To view more of this course on lynda.com, click the link above.

Documentary Photo Techniques with Photoshop and After Effects course presented table of contents:

Introduction
1. Organize Your Photos with Adobe Bridge
2. Understanding Resolution
3. Working in the Right Color Space
4. Removing Damage
5. Content-Aware Repairs
6. Controlling Focus
7. Removing Distractions
8. Toning Images
9. Documentary Motion Control with After Effects
10. Exporting Animation
Conclusion

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Beautiful Graphics for Video Editors

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Designing Backgrounds with Photoshop and After Effects

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As a motion graphics designer, you often have to work harder than other types of designers. Unlike those in the print world who can usually get by with a white background for the printed page, you must put more thought into your projects.
Motion backgrounds have become a staple of broadcast and motion graphics design. In fact, entire companies exist just to create and sell backdrops. The use of backgrounds (whether static or dynamic) is essential to good motion graphics design. Fortunately, certain features in After Effects and Photoshop can be combined to create some fantastic "wallpaper."
Read the whole article here –
http://www.peachpit.com/articles/article.aspx?p=1660202

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Repairing and Retiming Footage

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Unfortunately, you are not always in complete control of a project from start to finish. As a motion graphics artist, you will often be excluded from the field production stage. Footage will be shot without you (and often without regard to your needs). We learned an important lesson early on: If you're at the end of the line (which is where video editors and motion graphics folks are in the process), you're responsible for everything that's wrong with the final product. Sadly, there's not much you can do to change this fact.
Except of course, you can "fix it in post."
Now, we hate this phrase as much as you. Fortunately, After Effects and Photoshop offer some great options for repairing footage. You can fix color and exposure problems, change the speed or duration of clips, and even remove unwanted objects.
Read the whole article here –
http://www.peachpit.com/articles/article.aspx?p=1660189

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What is the After Effects Puppet Tool?



This is a recording from a conference a few years back.

You can get some hands-on practice files here as well –
Puppet Tool Animation
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Working with 3D Objects in Photoshop and After Effects



Learn how to work with 3D objects in tools like Photoshop and After Effects.

This video is part of the book Motion Graphics with Adobe Creative Suite 5 Studio Techniques.
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Color Grading Video in Photoshop and AE

Photoshop and AE: Color Grading Video



In this episode of Video Adrenaline for Photoshop and After Effects, Richard Harrington explores how to use Photoshop and AE together as color-grading tools.

Check out more at –
http://library.creativecow.net/harrington_richard/
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Controlling Focus with AE's Camera Lens Blur Effect



Learn how to control depth of field with the camera lens blur effect in After Effects.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.
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Saving a Logo for Video

When creating graphics for use in a video editing program (like Premiere Pro) you may need to do a little extra preparation. Let’s convert a vector graphic (like an Illustrator file) so it’s ready for the video screen.

1.
Create a video-sized document. Choose File > New... and choose a preset that matches your video editing timeline.

2.
Add the logo. Choose File > Place then navigate to your desired logo file and click Place and then click OK.

3.
Scale the logo to size. Drag the Transform handles to size the logo, hold the shift key to scale proportionately. You can use the guides to help you keep the logo properly sized. Be sure the logo stays inside the inner box (also called the safe title area). Press Return (Enter) to rasterize the logo.

Logo_1

4. Give the logo a transparent backgroundClick the visibility icon for the Background layer to hide it. Now, only the logo itself is visible and the rest of the file is transparent.

Logo_2

5. Store the transparency in an alpha channelChoose Window > Actions to view the Actions panel. Click the small triangle in the panel’s upper-right corner and choose Video Actions from the menu that appears. Select the Alpha Channel from Visible Layers action and click the Play button. Click Continue and a new alpha channel is added to the image.

Logo_3

6. Save the fileChoose File > Save As. Name the file and be sure the Alpha Channels box is checked. Click OK to save the file.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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The History of Alpha Channels

Ch16-Figure-28-Alpha-3
Alpha channels grew out of work done at the New York Institute of Technology in 1977. The goal was to embed transparency data directly into each file to cut down on rendering. The name alpha was chosen because it’s the part of a mathematical equation that represents blend-ing between composited images. The embedded alpha channel eliminated the need for a separate traveling matte. After Effects users should consider embedding alpha channels as Photoshop users do. Embedded mattes reduce the need for two-step rendering and eliminate the possibility of a misaligned matte.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track


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Stabilizing Footage with the Warp Stabilizer

Premiere Pro Video Adrenaline: Stabilizing Footage with the Warp Stabilizer



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington delivers the great new feature in AE CS5.5 for image stabilization and ties it seamlessly into PP using Dynamic Link. Take advantage of this new feature to seamlessly exchange files between the two programs.

Check out more at –
http://library.creativecow.net/harrington_richard/
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What is the difference between Rotation and Orientation in After Effects?

When you want to rotate a 3D layer in an After Effects composition, type W to switch to the Rotation tool (V will switch you back to the Black Arrow selection tool when you’re done), and then choose Rotation or Orientation from the drop-down menu at the bottom of the Tools panel.

  • Rotation is the best choice for animating.
  • Orientation is better for posing.

This is because when you keyframe Orientation, it always takes the shortest path between two angles. So if you start with a layer rotated 0 degrees and orient it clockwise to 350 degrees, in the final animation, it will rotate counter-clockwise from 0 to 350.

On the other hand, Rotation remembers which direction you rotated the layer and how many times around you went.

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Special Effects and Performance Art



A cool find of performance art and technology. I love the planning that went into these 3 pieces.

"This video is most interesting is that it did not join any computer post-effects, only the use of cameras, projectors and Play Station Move is realized as the science fiction version of the magical effects."

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Painting Frames in Video Layers with Photoshop

Photoshop Extended lets you combine two great features for creative options. You can open up a video file and then use your painting tools to edit individual frames or to create an animation. This process is typically called rotoscoping.

1.
Open or create a new video file. You can either open an existing video file (File > Open). You can also create a new video layer to isolate your animation (Layer > Video Layers > New Blank Video Layer.

2.
Prepare to animate. Animation tasks are easier when you change Photoshop’s layout. In the Application bar, click the Motion workspace button to reconfigure Photoshop.

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3. Select a layer and time. You need to choose where to animate. In the Animation or Layers panel, select a video layer. Next, move the current time indicator to the video frame you want to modify. This is where the animation will begin.

4. Start Painting. You can use any of your painting tools to modify the layer. Try using several strokes to create an animated image. You can also use the Clone Stamp, Pattern Stamp, Healing Brush, or Spot Healing Brush to modify individual frames in a video file.

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5.
Move Forward. Since your goal is to animate, you’ll need to use more than one frame. You can use the playback controls at the bottom of the frame to advance to the next or previous frame. To make painting easier, click the submenu of the Animation panel (upper right corner of the panel) and choose Enable Onion Skins. This will show you a preview of the previous stroke when painting.

Paint3


6.
Change your Mind? Any painting you do on a video frame applies non-destructive edits. This means you can discard the altered pixels on a frame at any time. Simply choose Layer > Video Layers > Restore Frame or Restore All Frames command.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Techniques for Slowmotion Video

DSLR: Techniques for Slowmotion



In this video tutorial with Robbie Carman and Richard Harrington, learn various ways for converting DSLR footage into instantaneous, buttery smooth slow motion using After Effects, Twixtor, or Cinema Tools; you might also use Optical Flow in Apple Motion, Advanced Frame Blending in AE, and FCP .

Check out more at –
http://library.creativecow.net/harrington_richard/
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Batch Processing Images in Photoshop



An oldie, but goodie. Learn how to process several photos at once. This is designed for video workflows, but all will benefit.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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How to Use Raw Red Video Natively



Learn about how to use work with Red video natively (actual raw video) in this tutorial on Adobe Premiere Pro and After Effects.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.
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An Old, But Useful Tutorial on AE Shapes



Learn how to use the Shape Tools to create dynamic motion graphics elements. This tutorial was recorded as part of a session at the 2007 NY Post Production Conference (www.nypostconference.com).

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Photoshop and AE: Refine Edge Command and 3-D Motion Control

Photoshop and AE: Refine Edge Command and 3-D Motion Control



In this installment of PS and AE, Richard Harrington shows to use Adobe Photoshop and After Effects together to get great 3D extrusion. He'll take some photos and split them out into 3D space, as well as use the Refine Edge command and the content-aware fill option to quickly build your layers to pop out and move around in the 3D camera.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Timecode in After Effects



Learn about how to use timecode in Adobe Creative Suite CS5.5.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.
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3-D Models in Photoshop and After Effects

Photoshop and AE: 3-D Models



In this episode of Video Adrenaline for Photoshop and After Effects, Richard Harrington explores the interaction between Photoshop and AE when creating 3D models. Learn how to use Photoshop to retexture a model and import as a live 3D model into After Effects.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Spot Color Effects for Video Plus a Free HD Download



A free tutorial using After Effects or Final Cut Pro X to do advanced secondary and spot color effects. Learn how to tweak a color in a video clip (even with a moving subject). This technique is fast and easy (and is a client-pleaser too).

Plus thanks to iStockphoto, you can get:
This vide clip for free –
http://www.istockphoto.com/stock-video-13410332-poppy-on-meadow.php
A free audio file too –
http://www.istockphoto.com/freeaudio

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Animation for Producers — Free Panel at GV Expo

Pasted Graphic


Wednesday, November 30 | 5:30pm - 8:00pm
Washington, DC Convention Center
http://on.fb.me/vt8dtC


Don't miss this special Animator's Roundtable at GV Expo. It's
FREE and open to the public. This is the chance for DC's best Animators, Motion Designers, and VFX Artists to meet their Producer counterparts.

Producers and Animators don't always understand each others areas of expertise. Creating an animation or graphics heavy video can often be daunting, so the Animator's Roundtable has activated its universal translator to help Producers and Animators speak the same language and communicate better! Our expert panel, a mix of Producers and Animators, will share their knowledge and a few tips on planning for and using animation effectively. They'll help you figure out how to solve your creative challenges with the magic of graphics.

Special Guest Panelists:

  • Chris Dominici, Potomac Motion
  • Richard Harrington, RHED Pixel
  • Pradeep Mistry, PCM Animation
  • Ann Ramsey, US Dept. of Health and Human Services

This is a FREE event starting right after the close of the exhibit hall floor. Come join us for some networking and a great discussion, so if you're a Producer, an Animator, or just intrigued, this event is for YOU!


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Animating the Lens Blur Filter

Photoshop and AE: Animating the Lens Blur Filter



In this episode of Video Adrenaline for Photoshop and After Effects, Richard Harrington explores how to use the Lens Blur Filter in AE CS5.5 to create variable depth of field. This filter is an improvement on the last version of the same.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Online Safety Infographics

I'd like to share with you two videos RHED Pixel produced for the Family Online Safety Institute. Lot's of information about what kids do online and some fun motion graphics too.






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Discount Code for GV Expo in Washington, DC

150_GVE11_SQLogo

I'll be speaking at the Government Video Expo’s Digital D.C. Conference!

The event takes place November 29th – December 1st at the Walter E. Washington Convention Center in Washington, D.C.

The Digital Media DC conference is DC's leading training event for professionals in the TV, video, film, motion graphics and New Media industries. Now in its seventh year, DMDC offers 3 full days of sessions in four parallel tracks and includes 48 unique sessions focusing on the latest techniques and practices for editors, motion graphics designers, new media professionals and video producers.

DMDC is produced by Future Media Concepts, the nation’s leading training organization and features the world's best Certified Instructors, award-winning editors, authors and power users. This year, with one Full Pass, attendees may move freely between all the tracks and attend sessions of their choice.

I'm happy to offer a 10% discount code for all those who attend. Just type ‘FMC’ in the customer code on the registration form to secure your discount.

Visit
www.gvexpo.com for more information.

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Adobe Sneak Peek – Video Meshes




In this video, Sylvain Paris will show you a sneak peak of a potential feature for editing videos, including the ability to create 3D fly-throughs of 2D videos and change focus and depth of field.

Rich's Take:
  • This has some serious potential for compositing
  • RotoBrush, Content Aware Fill… apparently Adobe wants to take every hard job and make it easy.


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Using Content Aware Scaling to Resize Images

Photoshop and AE: Content Aware Scale

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In this installment of Photoshop and AE Video Adrenaline, Richard Harrington demonstrates how to combine Photoshop and After Effects to look at a great feature called Content Aware Scale. In Photoshop, you can detect skin tones or choose to protect a selected area from transform, but be able to completely re-scale an image while leaving the selected area unchanged. Richard then brings these concepts into After Effects for video in the next installment of Video Adrenaline for Photoshop and After Effects.
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Get My Motion Graphics book for $10

Adobe Press has my new Motion Graphics book on sale for this week only!
nografbookmini
Motion Graphics with Adobe Creative Suite 5 Studio Techniques
By Richard Harrington, Ian Robinson
Published by Adobe Press
Series: Studio Techniques
Pages: 456
Watermarked eBook

Almost all motion graphics artists today use After Effects, Photoshop, or Illustrator to some degree in their projects. But how do they decide which tool is best for the job and how can they utilize the various components in the Creative Suite together for the most efficient and effective workflow? This book cuts to the chase and shows readers an in-depth view of the various components in the Creative Suite as best utilized in professional motion graphics projects.

Sale ends on Sunday at 10/2 at 12:01 AM PST

This includes a link to download exercise files as well.
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Creating Logos and Bugs for Video

Logos and Bugs from RHED Pixel on Vimeo.



Use Adobe Photoshop to prepare logos and bugs to overlay your video.


Be sure to check out the book –
An Editor's Guide to Adobe Premiere Pro.
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Setting Up Photoshop for Video and Motion Graphics Part 2

This is part two on setting up Photoshop for a video workflow. Be sure to see part one posted yesterday.

Units & Rulers

Figure ch01-08
Under Units & Rulers, modify Photoshop’s measuring system to match video. If you work in a print environment, you can quickly jump back and change your measurement units by double-clicking on the ruler.
  • Set Rulers to pixels.
  • Set Type to points.
  • Ensure that screen resolution is set to 72 pixels/inch.
  • Ensure that the Point/Pica Size is set to PostScript (72 points/inch) so that type acts like other video applications.
  • Click Next.

Guides, Grid, & Slices


Figure ch01-09
The next category helps you precisely align design elements.
  • I find that a Light Red guide is easier to see than the default Cyan.
  • Set up a grid using Lines with a gridline every 40 pixels and 4 subdivisions. You can now turn the grid off and on from the View menu or from the keyboard using Cmd+" (Ctrl+").
  • Disable Show Slice Numbers unless you are doing a lot of web work. Slices are used with rollover graphics to trigger button effects on web pages.
  • Click Next.

Plug-Ins


Figure ch01-10
  • If you need to travel with your plug-ins on a removable drive (for example a freelance assignment) then you can specify an Additional Plug-Ins Folder.
  • Click Next.

Type


Figure ch01-11
The Type category consolidates several important type options into one area.
  • Check the box next to use Smart Quotes if you’ll need true quote marks and apostrophes more than foot and inch marks.
  • Leave Enable Missing Glyph Protection checked
  • Choose to Show Font Names in English (or the native language of your software).
  • Check Font Preview Size and specify a size that you like. The Huge size is helpful if a producer or client frequently sits over your shoulder.
  • Click Next.

3D


Figure ch01-12
The 3D category controls both the performance and the appearance of Photoshop’s 3D toolset. Stick with the defaults until you master these tools.
  • Click OK.
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Setting Up Photoshop for Video and Motion Graphics Part 1

Photoshop has its roots as a video and film application. The print—and more recently, web—industries have claimed it as their own. Now it’s our turn. Digital video has emerged as the fastest growing technology area; more and more books and applications are popping up on the shelves, promising solutions for all skill levels. It is my goal to help you reclaim Photoshop and learn to harness its diverse imaging abilities to enhance your video projects.

Photoshop has all the tools you need (and many you don’t). Let’s get started by setting up Photoshop to work with our video applications. First we’ll modify its preferences which control how the application functions. To begin, call up your Preferences panel by pressing Cmd+K (Ctrl+K). These Preferences suggestions are based on Photoshop CS5. Most of these options exist in earlier versions of Photoshop, but naming conventions may vary.

General

Figure ch01-02
In the General category, choose:
  • Adobe Color Picker (a consistent, cross-platform color selection tool).
  • Image Interpolation set to Bicubic (best for smooth gradients).
  • Use Shift Key for Tool Switch unchecked.
  • Resize Image During Place checked.
  • Zoom Resizes Windows checked.
  • Zoom with Scroll Wheel checked.
  • Click Next.

Interface

Figure ch01-03
The Interface category groups several preferences together that affect the application’s appearance.
  • Set UI Font Size set to Medium or Large depending upon the resolution of your display. Use a larger size for bigger monitors.
  • Leave Show Channels in Color unchecked. This option affects how your channels and images are viewed and diminish the on-screen viewing quality.
  • Uncheck Enable Gestures if using a laptop (unless you love them).
  • Click Next.

File Handling

Figure ch01-04
In the File Handling category, you need to make some changes to ensure cross-platform functionality. Even if your shop only uses Macs or PCs, you will work with others who are on other operating systems. Be cross-platform compliant when saving your Photoshop files.
  • Always choose the Save an Icon and Macintosh or Windows Thumbnail options. This will allow you to quickly locate files through visual cues.
  • Always append file extension with lower case tags.
  • Set Maximize PSD and PSB File Compatibility to Always.
  • Click Next.

Performance


Figure ch01-05
The performance category groups several options together which manage your installed RAM and hard drives.
  • Memory Usage identifies how much RAM you have installed. Photoshop has a minimum requirement of 1 GB for CS5.
  • Allow at least 20 History States (levels of Undo). You will vary this number based on RAM and personal experience as you grow less dependent on undos.
  • Memory will generally not be a big deal because you’ll work primarily with low-resolution sources in this book. However, if you have extra (local) drives, make Photoshop aware of them. Set your emptiest drive as the First Scratch Disk. Ideally you will choose a drive that is not the system (boot) drive.
  • If you have a robust video card and will be doing a lot of image clean up, then check the boxes for Enable OpenGL Drawing.
  • Click Next.

Cursors


Figure ch01-06
Photoshop uses specialized cursors to make it easier to know which tool is in use.
  • Set Painting Cursors to Normal Brush Tip. I personally prefer to check Show Crosshair in Brush Tip. (The Caps Lock key disables this preview feature.)
  • Set Other Cursors to Precise. This way, you can actually see your sample point for your Eyedropper and Stamp tools.
  • Click Next.

Transparency & Gamut

Figure ch01-07
Under Transparency & Gamut, you can generally leave these options alone. Personal preferences do vary however.
  • You can change the grid size to make it easier to see transparent pixels.
  • You can change the grid color if you despise light gray. You can also disable the grid altogether. Remember, the grid will not print or show up in your video graphics.
  • Click Next.
Comments

Chromakey with After Effects

Chromakeying in After Effects from RHED Pixel on Vimeo.



Learn how to key footage with Adobe After Effects and Keylight.

Be sure to check out the book –
An Editor's Guide to Adobe Premiere Pro.
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Using Anti-aliasing in Photoshop for Screen Graphics

aliasing
The image on the left is aliased, notice the jagged stair-step edges. The image on the right has anti-aliasing applied to the text.

Did you ever play with Lego building blocks as a child? Perhaps you noticed how hard it was to build an arch or a curve. The best you could achieve still had noticeable stair stepping. Guess what, pixels are just like those building blocks. Curved or diagonal lines will not look good at low resolutions, and you must soften the edge.
By choosing to use an Anti-aliasing method, Photoshop will generate smoother results—especially when using selection tools (such as the Quick Selection tool) or vector-based type. Anti-aliasing works by softening the color transition between edge pixels.

Since only the edge pixels are changed, you lose no detail in the image itself. Anti-aliasing is a useful option for creating text, making selections for filters, or copying and pasting. It will be a recurrent topic throughout this book. You can adjust the anti-aliasing for many tools directly in the Options bar. You should apply this option before a selection is made.

This post is sponsored by iStockphoto – 
Get a free audio track for your video project or photo slideshow
http://www.istockphoto.com/freeaudio
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Adobe Point Text vs. Paragraph Text

Photoshop002

When you need to create text for your projects, you can turn to Adobe Photoshop, Adobe Illustrator, or After Effects. With each application, there are two ways you can create a text layer. You can use either Point or Paragraph text in each application, both offer benefits and you should carefully choose which you want.

Point Text

Click in the Comp window and start typing to create Point text. Point Text treats each line you type as a separate block of text. New lines will only be created when your press the Return (Enter) key. This method is useful if you want to align the text to a specific point on-screen.

Paragraph Text

Click the left mouse button down and drag in the Comp window to create a Paragraph text block. The edge—the text’s bounding box— is defined by how far you dragged the mouse when you created the paragraph text layer. This style of text wraps text around to the next line when your type reaches the edge of the current line.

You can resize the bounding box by clicking to place the cursor within the text, then dragging on one of the sizing handles around the perimeter of the bounding box. Shift-dragging a sizing handle will constrain the proportions of the bounding box. Make sure you don’t accidentally drag a sizing handle with the Selection tool, or you’ll scale the text, not it's bounding box.

This post is sponsored by iStockphoto – 
Get a free audio track for your video project or photo slideshow
http://www.istockphoto.com/freeaudio

Comments

Free Webcast: Motion Graphics with Adobe Creative Suite 5 Studio Techniques

credgemograf


I have a
new webcast on motion graphics that's been released by Creative Edge. It's a one hour show and it features some of the best techniques from a new motion graphics design book.

The whole thing is
absolutely free… just be sure to click the full-screen button so you can better see things.

Almost all motion graphics artists today use After Effects, Photoshop or Illustrator to some degree in their projects. During this complimentary webcast, you will learn how the Adobe Creative Suite can benefit your motion graphics workflow; discover ways to connect After Effects, Photoshop, Premiere Pro and Illustrator; gain important knowledge of essential techniques like repairing and retiming footage, stylizing footage, background design, and using 3D objects and cameras; and explore advanced techniques like DVD menu design, motion control 3D and panoramic images. This webcast is ideal for both intermediate and professional users who want to incorporate CS5 into their own work.


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Photoshop for Video Returns with New Episodes

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In case you missed it, the Photoshop for Video podcast is back with new episodes!

These two have been released and more are in the queue. A big thanks to Creative COW for sponsoring the show.

Photoshop and AE: Refine Edge Command and 3-D Motion Control

Photoshop and AE: Layer Comps

You can find a list of more shows here – http://library.creativecow.net/tutorials/adobephotoshop

Or subscribe in iTunes –
http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=173706237 where the show has hit #7 in its category!

______________________________________________________________________


If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here –
http://www.twitter.com/rhedpixel




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Understanding Type on Pattern

Unlike most print designers, video artists must design type over diverse canvases. Often this background contains a full spectrum of color. Achieving sufficient contrast is the key to preserving legibility. When using light-colored type, it is essential to make it larger than if it were dark type. Don’t be tempted to use all uppercase to make the letters stand out. Unfortunately, uppercase letters take more time for the viewer to recognize word shapes and process what they are seeing. This is generally time they don’t have.
Applying a stroke, outer glow, or tight drop shadow is an effective way to getting a contrasting edge. The biggest problem with type and video is that there will always be light and dark elements in your scene. It is crucial to add a contrasting edge to any type that is going to be keyed over a full-chroma, moving background.

typepattern

A Hue/Saturation adjustment layer offers a nondestructive way to check contrast of type over a patterned background.
One way to test your contrast is to convert the file to grayscale. This can be achieved with several methods:

  • You can print it out in Grayscale.
  • Add a saturation adjustment layer, and desaturate (set to 0% Saturation).
  • You can use the History panel to create a duplicate document that you flatten and desaturate.

Adequate separation between foreground and background elements will make for better viewing for your audience. Think of color as tonal value. Some combinations show very low contrast when desaturated.


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Free Motion Graphics Webcast onThursday, July 21

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THURSDAY, JULY 21, 2011, 10 AM PDT/1 PM EDT

For this
one-hour webcast with Richard Harrington, co-author of Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Almost all motion graphics artists today use After Effects, Photoshop or Illustrator to some degree in their projects. During this complimentary webcast, you will:
  • Learn how the Adobe Creative Suite can benefit your motion graphics workflow
  • Discover ways to connect After Effects, Photoshop, Premiere Pro and Illustrator
  • Gain important knowledge of essential techniques like repairing and retiming footage, stylizing footage, background design, and using 3D objects and cameras
  • Explore advanced techniques like DVD menu design, motion control 3D and panoramic images
This webcast is ideal for both intermediate and professional users who want to incorporate CS5 into their own work.

There will be five copies of the book given away and all attendees get
15 days of complimentary access to all of Creative Edge including Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Comments

Photoshop's Spell-checker

Photoshop has become a freestanding graphic creation tool. It is now possible to proof your text in a number of different languages. If you are familiar with a word processor’s spell-checker, Photoshop’s will seem completely standard. Remember, you must set the language for a text field by using the dropdown menu in the Character panel. To launch the spell-checker, choose it from the Edit menu (Edit >Check Spelling). If it flags a word that you know is right, you can choose to ignore it or add it to your dictionary. There’s no earth-shattering technology here, but the cries of web and video designers have been answered.

dictionary

Related to the spell-checker is a Find-and-Replace command. This allows you to go through all of your text layers and swap out words. Say that you’ve listed Williamstown Resort throughout your full screen graphics. A few days later, the client calls and says it’s actually Williamsburg Resort. You can have Photoshop scan through and replace all instances of the improper name throughout your composition. Again, the technology is standard, but it can be a time saver.

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A Good Argument for Larger Type

Ch 04 Start
Remember when your mom used to yell at you for sitting too close to the TV? Now look at you, just inches from your computer's screen.

When designing video graphics, speaker slides, or even websites, you’ll likely use type that’s entirely too small. Remember, use a larger font and get some distance between you and your monitor. Get up, and stand a few feet away for a while (or even stand in the back of the room for slides. Review your graphics from a more reasonable vantage point.

For more on design... check out these books:


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Free Webcast on Motion Graphics Plus Free Ebooks for Signing Up

image002

This complimentary webcast is brought to you by Creative Edge, videos and books for creative people.

THURSDAY, JULY 21, 2011, 10 AM PDT/1 PM EDT

For this
one-hour webcast with Richard Harrington, co-author of Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Almost all motion graphics artists today use After Effects, Photoshop or Illustrator to some degree in their projects. During this complimentary webcast, you will:
  • Learn how the Adobe Creative Suite can benefit your motion graphics workflow
  • Discover ways to connect After Effects, Photoshop, Premiere Pro and Illustrator
  • Gain important knowledge of essential techniques like repairing and retiming footage, stylizing footage, background design, and using 3D objects and cameras
  • Explore advanced techniques like DVD menu design, motion control 3D and panoramic images
This webcast is ideal for both intermediate and professional users who want to incorporate CS5 into their own work.

There will be five copies of the book given away and all attendees get
15 days of complimentary access to all of Creative Edge including Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Comments

Adobe Premiere Pro and Production Premium are Half Off for Switchers

Well, it looks like the folks at Adobe know an opportunity when they see it. They've launched a new campaign at http://www.adobe.com/products/premiere/switch.html.

If you are a Final Cut Pro or Avid owner, you can save 50% on full copies of Adobe Premiere Pro.

The better deal in my mind is Adobe CS5.5 Production Premium.
  • Adobe Premiere Pro
  • Adobe After Effects
  • Adobe Photoshop Extended
  • Adobe Media Encoder
  • Adobe Encore (DVD, Blu-ray, Flash)
  • Adobe Illustrator
  • Adobe Flash and Flash Catalyst
  • Adobe Story and CS Review

Just use the code
“SWITCH” during checkout. The code also looks to get you an additional discount on upgrades too (though not 50%). The discount doesn't show up until you go to pay, so don't panic.

The offer expires September 30, 2011.

Remember, the Adobe demos are fully functional for 30 days, so you can try them out with no risk.

I've got a bunch of Photoshop, After Effects, and Adobe Premiere Pro tutorials over at
Creative COW in the podcast section.
You should also check out the new book for migrating editors–
An Editor's Guide to Adobe Premiere Pro

Even if you're unsure of your future, this is a great deal. We've used Photoshop, After Effects, and Adobe Media Encoder for years with Final Cut Studio. Classic FCP Editors should check out
Video Made on a Mac: Production and Postproduction Using Apple Final Cut Studio and Adobe Creative Suite.

If you have trouble finding the promo, try these two links
http://www.adobe.com/special/offers.html?promoid=IUAXH
http://forums.adobe.com/message/3773888#3773888

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Motion Graphic Resource Books

bookstack
A lot of resources are available that can impact your designs. The following list offers a few that we find most essential. This list is not exhaustive, but think of it as my "top picks."

Typography



Color


Design



Comments

My New Photoshop Training is On Sale



by Richard Harrington
Make Photoshop Come to Life in Your Video Production
List Price:
$49.95 $39.95
Automating Photoshop: Photoshop for Video
Get the most out of Photoshop in your video productions, learning Photoshop from COW Leader Richard Harrington. In this DVD, Richard, author of one of the top ranked Photoshop books, focuses on automating Photoshop and other power user techniques for video artists.

Comments

Adobe Reveals its Video Plans for Next Several Years




Join Jim Guerard, vice president and general manager of Professional Video, as he discusses the massive shifts happening in the industry today, how Adobe is responding through rapid innovation, and the company's pillars of focus moving forward.

It's always great when the companies that make the tools that I use are actually open. Here's where Adobe is going. Listen close to some of the points (it's a tad dry... but trust me... LISTEN to what's being said).

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Trying Out Blending Modes

Photoshop001
Blending modes are an integral part of both design and color correction workflows as they let you mix the content of two or more layers. Part of the reason many pass on blending modes is that they are hard to use if you don’t know which one you want. The truth is that the list can get a little long and if you aren't familiar with them, it can get a little confusing.

Here’s a much better way to experiment:
  1. Select the layer or layers you want to blend.
  2. If using Photoshop, choose the Move tool (In After Effects, you can skip this step).
  3. Press Shift + = (Shift plus Equal) to scroll through the list.
  4. To move backward, press Shift + – (Shift plus Minus) to return to a passed blending mode.

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How to Be Awesome with Photoshop Actions

actions4
The Actions palette provides a video-friendly graphic user interface (GUI) for computer programming. Here’s some general advice to get results quickly.

  • Brush strokes, cloning, and most manual tools from the toolbox do not work. There are several alternatives, such as using a Gradient Fill layer instead of the Gradient tool.
  • To play a single step of an action, double-click on it.
  • Change Your Mode. Button mode lets you launch actions quickly; it’s in the Actions palette’s submenu. You’ll need to disable it to get recording and editing features.
  • Get Accelerated. Set the Playback Options from the Actions palette submenu to play back an action accelerated. Photoshop can process faster than it can redraw the screen.
  • Be Batchful. You can choose File>Automate>Batch to run an action on an entire folder of images. You can batch multiple folders at once. Create aliases or shortcuts within one folder that point to the desired folders. Be sure to click the Include All Subfolders option.
  • Be Safe. Back up your custom actions to two folders, the default location and a secondary backup. This way, a reinstall or upgrade won’t blow your custom actions away.
  • Change Your Rulers. To create an action that will work on all files, you must record some commands with the rulers set to percentage.
  • Size Specific. Use File>Automate>Fit Image to resize images for a specific height or width.
  • Be Careful Where you click. Photoshop will record the names of layers as you select them. This may cause playback issues, because the action will look for specific names.
Use keyboard shortcuts to select layers and such so that the action won’t look for a specific name for that step.
  • Choose layer above Option+] (Shift+Alt+])
  • Choose layer below Option+[ (Alt+[)
  • Choose top layer Shift+Option+] (Shift+Alt+])
  • Choose bottom layer Shift+Option+[ (Shift+Alt+[)
You can also arrange layers with shortcuts.
  • Move the current layer up the layer stack Cmd+] (Ctrl +])
  • Move the current layer down the layer stack Cmd+[ (Ctrl +[)
  • Move the current layer to the top Shift+Cmd+] (Shift+Ctrl+])
  • Move the current layer to the bottom Shift+Cmd+[ (Shift+Ctrl+[)

For more on actions, check out Automating Photoshop – GET IT HERE – http://store.creativecow.net/p/126/automating_photoshop_photoshop_for_video

Comments

DVD Menu Sizes

menu4
A DVD menu can come in two shapes, standard (4:3) or widescreen (16:9). The sooner you learn these sizes (and to accept their limitations) the sooner you’’ be designing your next project.

1. Launch Photoshop CS or newer.
2. Choose File > New…
3. From the New document preset list choose on of the following options:
  • NTSC DV 720 X 480 (with guides) for a standard 4:3 menu commonly used in North America or Japan.
  • NTSC DV Widescreen, 720 X 480 (with guides) for a 16:9 menu
  • PAL D1/DV, 720 X 576 (with guides) for a 4:3 menu used in Europe and other parts of the globe.
  • PAL D1/DV Widescreen, 720 X 576 (with guides) for a 16:9 menu used in Europe and other parts of the globe.
4. Click OK to create the document.
5. The guides added to the document identify the title safe region. All objects meant to be seen must fall onside them. The outside region is similar to the ‘bleed’ area in a print project.
  • Action Safe – The outside box. All elements meant to be seen should fall inside of the inner 90% of the menu. Still design the background edge-to-edge.
  • Title Safe – The inside box. All text elements meant to be read should fall inside the inner 80% of the menu.
6. Start to design.

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Four Tips for Better Video Type

font
Remember when you were a kid watching Saturday morning cartoons? Did your Mom or Dad yell at you for sitting to close to the TV?

“You’ll go blind!”

Well that’s good advice to remember. Type for the Television screen is very different then for print or web. Here are four things to keep in mind:

  • Use a larger point size. Stand up and walk 20 feet away from the computer screen. Can you still read it?
  • Be sure to anti-alias your type. Check the character panel for anti-alias methods for smoother edges at low-resolutions.
  • Layer styles help readability. Don’t over-bevel, but a light bevel can help. Also add a contrasting edge with either a glow or drop shadow
  • Sans serif fonts are often easier to read on television sets. If using a serifed font, be sure to use a true bold version, not a Faux Bold effect.


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Time Repmapping Footage in Premiere Pro

time_remap_banner

There are many options to change the speed of clips, including the rate stretch tool, time remapping to achieve a variable speed value, and using After Effects own remapping abilities to fine tune your results.

See it here –
http://podcasts.creativecow.net/adobe-premiere-tutorials-podcast/time-repmapping-footage

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Using 3D Objects in Photoshop

Figure-08_19_thumb

Want to learn about Photoshop 3D? Read my article over at Tip Squirrel

Using 3D Objects in Photoshop
Photoshop’s 3D Engine is very flexible. It allows you to transform layers three dimensionally. More importantly, it lets you create new 3D elements including primitive shapes (such as cones or spheres). You can also make complex elements can be created using grayscale meshes.

Read the whole article over at Tip Squirrel –
http://www.tipsquirrel.com/index.php/2011/04/using-3d-objects-in-photoshop/

Be sure to also check out the new book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques

Comments

Motion Control with After Effects



Rich Harrington from RHED Pixel joins Bert Monroy this week at Photoshop World in Las Vegas to show you how to do motion control in After Effects!
Comments

My New Book on Professional Video Editing with Adobe Software Ships Soon

egapp
My brand new book on Adobe Premiere Pro is written and off to the presses. It was written specifically for the many professional editors who already know how to edit using tools like Final Cut Pro and Avid, but need to now learn Adobe Premiere Pro. The book is a fast-paced, but thorough exploration of what an experienced video editor needs. The idea literally came from my own staff who were frustrated by all the existing books and classes on the market.

The official description:
In this intermediate level book three experienced editors take students step-by-step through the entire editing process in Premiere Pro, from file creation all the way through output. Along the way they’ll learn the ins-and-outs of (or “to do things such as”) file management, essential and intermediate editing techniques, color correction, audio mixing and repairing, titling and effects, and delivering their video onto tape, the web, and mobile devices. They’ll learn to work within the Adobe ecosystem as well, getting up to speed quickly on time saving tools such as Dynamic Link, Adobe Story, and more.

As they work through sections, they’ll find references to engaging videos that accompany the book, giving them a visual and audio frame of reference and solidifying their knowledge of the program.

Students will learn to:
  • Quickly organize their existing Final Cut or Avid projects, or create new projects to use right away in Premiere Pro
  • Understand how to use Premiere Pro with other Adobe software
  • Edit their footage the way they like but with tips and techniques from authors with tons of experience in all the editing programs and who speak your language.
  • Put their skills to work immediately by using the accompanying lesson files to work through the steps in the book

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Documentary Photo Effects in Adobe Premiere Pro

cow_dpe

In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington takes a look at how to integrate still photos into your Premiere Pro timeline to acquire the very popular documentary photo effects style with pans and scans.

Be sure to check out the many
tutorials at Creative COW.

Comments

A Useful Article on Final Cut Pro X

FCP_Hero_big

Over at Macworld.com, industry veteran (and personal friend) Gary Adcock has a
detailed overview of the new Final Cut Pro X. The software was shown at NAB as a sneak peak.

"As a professional user, I was excited by a lot of what I saw Tuesday night—particularly magnetic tracks that keep audio and video from losing sync, auditioning that will more easily separate good takes from bad ones, and non-destructive color correction and filtering. All will be fantastic additions to my workflow. Additionally, metadata will now be harvested on import, allowing for better online/offline workflows, while the application's new content aware environment keeps everything in line for easy alternate versioning (similar to Photoshop's history palette).

As intriguing as the brief demonstration was, we weren't shown enough for me to make a critical judgement on whether this will be a home run for professional users, as Apple's presentation certainly implied, or something less spectacular."

Be sure to read the whole article here – http://www.macworld.com/article/159202/2011/04/final_cut_pro_x_blog.html

I'm reserving my own judgement until I get my hands on the software and try it out fully.

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Image Stabilization & Rolling Shutter Reduction with After Effects CS5

With the release of After Effects 5.5, Adobe introduces an entirely new method for stabilizing footage that can also be useful to video editors. The Warp Stabilizer can remove jitter caused by camera movement. The effect is very useful as it can remove both unstable parallax type movements (where images appear to shift on planes). An extra benefit for those shooting with CMOS type sensors (such as those on DSLR cameras) is the ability to compensate for the rolling shutter which can lead to an optical bending of material that has strong vertical lines.

1. Select a clip in an After Effects composition. You can also send clips from Adobe Premiere Pro to After Effects via Dynamic Link.

2. Choose Animation > Stabilize Motion. The Warp Stabilizer effect is applied to the layer. The footage is immediately analyzed between its in and out-points. The analysis process takes two steps and you’ll see a banner across the footage as it’s analyzed. You can also see a progress update in the Effect Controls panel. While the analysis is in progress, you can keep working in the project.

stabilize1

3. You can enhance the effect with several useful options for the Stabilization Method:

  • Result – You can choose Smooth Motion to retain the general camera movement (albeit stabilized) or No Motion to attempt remove all camera movement.
  • Smoothness – This option specifies how much of the original camera movement should be retained for Smooth Motion. Use a higher value for maximum smoothness.
  • Method – There are four methods available. The two most powerful are Perspective and Subspace Warp. If either method creates too much distortion you can try switching to Position, Scale and Rotation or just Position.

If you want to see just how much the stabilizer is actually doing, set the Framing to Stabilize Only. This will show you black around the edges. If the motion looks unnatural, you can always adjust the Smoothness settings.

4. You can also control how the borders are drawn for the effect. With the Framing pop-up you can choose to simply stabilize the shot. You can also tell After Effects to automatically scale or even synthesize new edge content.

stabilize2

5. If you see vertical distortion or warping in the shot, enable the Rolling Shutter Ripple option under the Advanced category. In order to use these advanced options you need to use either the Subspace Warp or Perspective method for Stabilization. Be sure to experiment with both methods as the choice may vary based on the source footage.nIf you want maximum stabilization quality you can choose the Detailed Analysis option under the Advanced category. This makes the Analysis phase do extra work to find elements to track. This option is much slower, but produces superior results.

6. Use the RAM preview option to preview the effect as needed.





Comments

Better Black and White Conversion

title_banner

In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington explores how to make a better black and white image with a combination of filters.

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Photoshop Actions That Help the Video Pro

actions4
Entire Web sites and commercial products have been developed that significantly extend Photoshop’s ability as a video tool. Here are a few of my favorites.
  • ActionFX – One source that has both free and for-sale actions is the diverse Web site, ActionFX (http://www.actionfx.com) Members have access to thousands of Photoshop actions, as well as other add-ons.
  • PanosFX – A great site that is really becoming one to watch is PanosFX (http://www.panosfx.com). This site has some incredible free actions as well as some very affordable and powerful tools for sale.
  • Adobe Exchange – Adobe offers several user contributed actions on their website, check out http://tinyurl.com/adobexchange.

Be sure to check out the book
Photoshop for Video.


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Useful Videos About Documentary Editing

A colleague of mine, Steve Audette has posted some useful videos about the art and theory of documentary editing. Steve is a lead editor for WGBH public television and a very talented editor. Be sure to check some of these options out.

Here's one on After Effects:




Here are three more:

"Thoughts on Documentary Editing part one"
http://vimeo.com/13853751

"Thoughts on Documentary Editing part two"
http://vimeo.com/14002312

An Overview of After Effects for Documentary Editors
http://vimeo.com/18281019

Avid ScriptSync for Documentary Editors
http://vimeo.com/17502817
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Adobe Sneak Peek

I love when Adobe can't keep a secret. Be sure to check out this page to learn about some of the new things Adobe has in store.

These are short, and many are aimed at mobile platforms, but this is a good glimpse into the future.

Here's one of the videos – Don't miss the rest. –
http://tv.adobe.com/show/adobe-technology-sneaks-2011



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How to Repair and Retime Video Footge

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There are several reasons that footage might need repair. Archival sources (especially those that are tape-based) can wear with time or equipment failure. Rushed crews or poor preproduction can also impact the quality of a shot through inadequate lighting. Environmental conditions, such as a sunset or inconsistent cloud cover, can wreak havoc with footage as well.

Although the reasons may vary, you'll find a useful collection of tools in After Effects. The footage we'll show you is bad (in this case purposely so).

Check out the
full book chapter here for free.

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Exploring 3D Mesh Objects

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In this podcast Richard Harrington shows how to create your own 3D Objects in Photoshop and then import them into After Effects as true 3D Models.

Watch it for free or download it here –
http://podcasts.creativecow.net/photoshop-tutorials-podcast/exploring-3d-mesh-objects


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Photoshop's 21st Birthday

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Today is Adobe Photoshop's 21st birthday... Since I'm in New Orleans with a few Adobe employees, I hope we can properly celebrate. I wanted to point out the many great Photoshop resources I have for you that are FREE. I hope you can enjoy the wonder of Photoshop.


And for the next week (until February 27). Our iOS apps are
FREE (yes FREE).


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Rediscovered Gem: World Builder



I recently stumbled back across this great video. Perhaps it was meant for Valentine's Day. The storytelling and visual FX work are both top notch.

A strange man uses holographic tools to build a world for the woman he loves. This is a short by filmmaker Bruce Branit.

Enjoy... and remember to tell those you love how important they are.

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Animating with the Puppet Tool

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In this video tutorial Richard Harrington shows a quick technique used to animate and selectively warp an image inside of Adobe After Effect. Richard uses masking and refine edges to prepare the animation inside Photoshop.

Plus, I actually make a monkey dance (really)!

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Mastering the Photomerge Command (Part 1)

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Photomerge is a specialized “mini-application” within Photoshop that assists in combining multiple images into a single photo. You can access it from either Photoshop or Bridge. Depending on the resolution of your sources and the speed of your machine, it can take a while to complete.

Read the full tutorial at TipSquirrel –
http://www.tipsquirrel.com/index.php/2011/02/mastering-the-photomerge-command-part-1-2/


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Motion Graphics Salary Survey

DOWNLOAD_2010_MGDC
If you'd like to better understand the different compensation levels available to motion graphics designers, there's a good report that was just released.

The report analyzes different pay available based on experience, job title, and region worked. There's also good data about tools used (software and hardware) as well as working conditions. As they say, knowledge is power... and the report offers a good glimpse into the factors that can influence better pay and working conditions for designers.

The Motion Graphic Design Census is an unofficial web-based survey written by Bran Dougherty-Johnson and Jake Sargeant and hosted by Motionographer in 2009. Whether you're a designer or a business owner, this is good data for benchmarking.

The 2010 Census is available now.

The 2011 Census is currently collecting data.




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How to Experiement with Blending Modes

blend
Blending modes are an integral part of both design and color correction workflows as they let you mix the content of two or more layers. Part of the reason many pass on blending modes is that they are hard to use if you don’t know which one you want. The truth is that the list can get a little long and if you aren't familiar with them, it can get a little confusing.

Here’s a much better way to experiment when using Adobe Photoshop or After Effects:

1. Select the layer or layers you want to blend.
2. If using Photoshop, choose the Move tool (In After Effects, you can skip this step).
3. Press Shift + = (Shift plus Equal) to scroll through the list.
4. To move backward, press Shift + – (Shift plus Minus) to return to a passed blending mode.

Be sure to check out my two Photoshop books –
Photoshop for Video and Understanding Adobe Photoshop CS5.
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Understanding Type on Pattern

Unlike most print designers, video artists must design type over diverse canvases. Often this background contains a full spectrum of color. Achieving sufficient contrast is the key to preserving legibility. When using light-colored type, it is essential to make it larger than if it were dark type. Don’t be tempted to use all uppercase to make the letters stand out. Unfortunately, uppercase letters take more time for the viewer to recognize word shapes and process what they are seeing. This is generally time they don’t have.
typeonpattern

Applying a stroke, outer glow, or tight drop shadow is an effective way to getting a contrasting edge. The biggest problem with type and video is that there will always be light and dark elements in your scene. It is crucial to add a contrasting edge to any type that is going to be keyed over a full-chroma, moving background.

A Hue/Saturation adjustment layer offers a nondestructive way to check contrast of type over a patterned background.
One way to test your contrast is to convert the file to grayscale. This can be achieved with several methods:
  • You can print it out in Grayscale.
  • Add a saturation adjustment layer, and desaturate (set to 0% Saturation).
  • You can use the History panel to create a duplicate document that you flatten and desaturate.
Adequate separation between foreground and background elements will make for better viewing for your audience. Think of color as tonal value. Some combinations show very low contrast when desaturated.

Be sure to check out Photoshop for Video

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Saving a Logo for Video

When creating graphics for use in a video editing program (like Premiere Pro) you may need to do a little extra preparation. Let’s convert a vector graphic (like an Illustrator file) so it’s ready for the video screen.

1 Create a video-sized document Choose File > New... and choose a preset that matches your video editing timeline.

2 Add the logo Choose File > Place then navigate to your desired logo file and click Place and then click OK.
Logo_1
3 Scale the logo to size Drag the Transform handles to size the logo, hold the shift key to scale proportionately. You can use the guides to help you keep the logo properly sized. Be sure the logo stays inside the inner box (also called the safe title area). Press Return (Enter) to rasterize the logo.

4 Give the logo a transparent background Click the visibility icon for the Background layer to hide it. Now, only the logo itself is visible and the rest of the file is transparent.

Logo_3

5 Store the transparency in an alpha channel Choose Window > Actions to view the Actions panel. Click the small triangle in the panel’s upper-right corner and choose Video Actions from the menu that appears. Select the Alpha Channel from Visible Layers action and click the Play button. Click Continue and a new alpha channel is added to the image.

6 Save the file Choose File > Save As. Name the file and be sure the Alpha Channels box is checked. Click OK to save the file.

Be sure to check out my Photoshop book –
Photoshop for Video.

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Creating a Film Look with Photoshop Extended

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In this podcast Richard Harrington uses Adobe Photoshop Extended CS5 to work with footage files and create a film look. Richard uses smart filters, masking, grains and a vignette to create the final look. After Effects is used to batch render the comp.

Watch it here –
http://podcasts.creativecow.net/photoshop-tutorials-podcast/creating-a-film-look


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Advanced Photoshop After Effects Color Magic

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This is one of my most advanced, deepest, and most useful techniques. I show you how to isolate the color of a single object in moving video and swap it to anything you want. The magic is done with LAB color mode and tracking mattes. If you watch only one Motion Graphics or Video tutorial this month... this is it.

http://podcasts.creativecow.net/photoshop-tutorials-podcast/secondary-color-correction-with-lab

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Fonts Designed for Use On-Screen

Original_Mac_fonts
Some fonts are meant for printing only. This fact is easier to accept if you remember that the print industry has been around a heck of a lot longer than the television industry. Test your fonts. If they are too busy or have too many elaborate serifs, make them inactive or remove them from your system.

Many modern fonts look particularly good on screen. Some recent additions include Georgia, Verdana, Myriad, Impact, Trebuchet, Gill Sans, Helvetica Neue, and Futura. These are just a few of the fonts that have been optimized for viewing on computer displays. Any font marked as optimized for web output is also well suited for video work.

Here are a few of our favorite websites offering free and affordable fonts.



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Repairing and Retiming Footage with After Effects

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I am very proud of a new book that just came out called Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Todd Kopriva, had this to say “Anyone who wants to know how to get the most out of Creative Suite Production Premium to plan, create, and deliver motion graphics work should read this book.”

Here is a sample chapter from the book for free to whet your appetite and give you an idea of the great content in this book.
Check out: “Repairing and Retiming Footage"


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Designing Backgrounds with After Effects

ShowCover.aspx_
I am very proud of a new book that just came out called Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Todd Kopriva, had this to say “Anyone who wants to know how to get the most out of Creative Suite Production Premium to plan, create, and deliver motion graphics work should read this book.”

Here is a sample chapter from the book for free to whet your appetite and give you an idea of the great content in this book.
Check out: “Designing Backgrounds”


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Logo Animation with After Effects

ShowCover.aspx_
I am very proud of a new book that just came out called Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Todd Kopriva, had this to say “Anyone who wants to know how to get the most out of Creative Suite Production Premium to plan, create, and deliver motion graphics work should read this book.”

Here is a sample chapter from the book for free to whet your appetite and give you an idea of the great content in this book.
Check out: “Logo Animation”



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A Recent Motion Graphics Project



I'm really happy with how the compositing and photo restoration in this project turned out.

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After Effects Puppet Tool – One You May Have Missed



Want to learn how to turn photos into animation? Use the After Effects Puppet Tool. This is an older tutorial, but one of my best free ones.


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Go Figure (Online Safety Version)



A recent video we produced at
RHED Pixel for the Family Online Safety Institute. Some important information for parents and educators (and good animated typography for the design crowd).

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Motion Graphics Logo Animation

A free sample chapter from Motion Graphics with Adobe Creative Suite 5 Studio Techniques

If you've been in motion graphics for any amount of time, most likely you've been asked to animate a logo. Often, this is a kind of "right of passage" for young motion graphics artists. Unfortunately, so is dealing with not receiving the most optimum file formats to work with. Even if the stars align and we somehow end up with the proper files in their preferred format, logos also come with rules. Usually supplied by the original logo designer, these rules specify how the logo is to appear to best represent its brand. In this chapter we'll examine various workflows to help you find those opportunities where others might find difficulty.

Read the whole article here –
http://www.peachpit.com/store/product.aspx?isbn=0321719697
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Alpha Channels - Photoshop for Video




In this Adobe Photoshop podcast tutorial, Richard Harrington teaches how to make an alpha channel based upon the luminance of an image. Distributed by Tubemogul.
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A New Spot



A recent spot I got to work on for Constellation Energy. A WHOLE bunch of After Effects and Photoshop Extended work here.

  1. Match – Retimed stock shot, up-rezzed, luma keyed.
  2. Painting – Timelapse sky, 3D photogrammetry, Compositing, Color Grading, Virtual Cameras
  3. Cable Shot – Restoration, Hand-Tinting, 3D photogrammetry, Color Grading, Puppet Tool, Virtual Cameras (look for the horses to move)
  4. Lightbulb – Rotoscope, Color Grading, Glow
  5. Washing Machine – Heavy cleanup in Photoshop Extended and Color Grading
  6. Welder – Color Grading and Compositing
  7. Streetcar – Heavy cleanup in Photoshop Extended and Color Grading
  8. Phone Pole – Recomposing shot by selective stretching
  9. Switch – Compositing
  10. Valve Turn – Compositing and Depth of Field Blurring
  11. Employee Shots – Color Grading
  12. Meter Shot – Keying, Painting, Compositing, Rotoscope (it's 8 layers)
  13. Phone Shot – Retiming, Compositing, Screen Replacement
  14. Solar Panel – Timelapse sky, 3D photogrammetry, Compositing, Color Grading, Virtual Cameras

It was a fun spot... thanks to all who worked on it and for bringing us along.

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Organizing Images with Aperture


In this video you’ll learn to rank and sort images in Aperture. You’ll also learn about contact sheets and Web galleries for client review.
This a sample of the 6 hours of video included with the book Video Made on a Mac.

You can also visit the website www.peachpit.com/videomac in order to download sample files.

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Free After Effects Plugin from Boris and Creative COW

This one is too good to pass up... Free texture generating plug-in from Creative COW and Boris



COW Exclusive: Giving Away Boris Continuum Materials Unit - $199 Value!
Generate realistic textures such as Steel Plates, Bricks, Clouds, Granite, Wooden Planks, and Rock using the Boris Continuum Materials Unit! The textures are procedurally-generated to ensure smooth render at any scale. Each filter provides a variety of animation parameters including controls for the color, width, height, and other aspects of the material. Many of the Materials Unit filters let you add 3D detail to the material surface and include lighting controls. Apply the materials as realistic surfaces or use them as animated organic backgrounds. Each filter includes presets that make using the materials a point and click operation - even for complex animations.




Get the Boris Continuum Materials Unit - First 500 Downloads Only!
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Creating 3D with Photoshop’s Repoussé Command

A new addition to Photoshop CS5 Extended is the Repoussé command. The command can be used to create a 3D model from a 2D object (like shape layers or text).

Making a selection first can also isolate the effect. The target pixels can be extruded, inflated, and repositioned in 3D space. The resulting 3D model can be easily imported into After Effects for animation or compositing.

See the whole tutorial over at TipSquirrel.com.



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Why You Need to Update After Effects

There were a lot of updates in After Effects 10.0.1. Here are a few you may have missed. Thanks to Todd Kopriva for taking the time to point these out.

new and changed features
  • There were several fixes and improvements for RED (R3D) import and workflow. .
  • The Apply Color LUT effect can now use .3dl files with floating point values or 3DMESH/Mesh keywords, or those saved from an ASSIMILATE SCRATCH system (i.e., that have SCRATCH in the comments at the top of the file).
  • QuickTime (.mov) files from JVC solid-state cameras can be imported.
  • The standalone Adobe Media Encoder (AME) application can export MXF files containing MPEG-2 essence items that comply with the XDCAM HD format used by such systems as Avid Unity. Because you can use the standalone AME application to render and export After Effects compositions, this feature extends to After Effects.

notable bug fixes
  • Crash importing Sony XDCAM HD footage from Sony XDCAM Transfer application.
  • Slow playback of compositions containing several layers based on video footage items, especially for long-GOP footage from DSLR cameras.
  • Crash when using a PNG file with path name longer than 256 characters.
  • Colors rendered incorrectly with Avid DNxHD and AJA2vuy codecs in 16bpc and 32bpc projects.
  • QuickTime movies using Blackmagic RGB 10bit codec rendered with color shift or gamma shift.
  • Standard-definition-sized H.264 movies were imported with color space interpreted as HDTV (Rec. 709) instead of SDTV (Rec. 601 NTSC).

If you use After Effects on Mac OSX v10.6.4, be sure to apply the graphics update from Apple.
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Free After Effects FAQ Videos

Todd Kopriva (tech lead for Adobe After Effects and wonderful tech editor for my new book) has released a bunch of free videos that address frequently asked questions in After Effects.


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Making Photoshop Actions




Join in as instructor Richard Harrington gives a presentation on how to make your own actions to speed up your Photoshop workflow.

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Color Grading with After Effects



This a sample of the 6 hours of video included with the book Video Made on a Mac.

Check out this video to see a few color correction effects in After Effects in action. You can also visit the website www.peachpit.com/videomac in order to download sample files.
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Distressing Type Edges



Instructor Richard Harrington shows you how to stylize text by distressing it with an organic texture.
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Making Cast Shadows



Instructor Richard Harrington shows you how to make reflected or cast shadows in Photoshop.
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Calculations - Photoshop for Video 102



Instructor Richard Harrington revisits Photoshop's calculations command, and shows you how to generate an alpha channel or selection matte based on the color values of an image.
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Master Transparency in Photoshop

Peachpit has just posted a free sample from my new book Photoshop for Video called What About Transparency?

One of Photoshop’s greatest powers lies in its ability to preserve complex transparency. It’s possible to have several different levels of transparency within a Photoshop document, which leads to greater flexibility in compositing multiple layers together. For example, in an image set to 8-bit mode, Photoshop supports 256 levels of transparency. Switch to 16-bit mode, and that number jumps dramatically to 65,536 levels. By employing masks, both in layers and embedded into the saved files as alpha channels, this transparency data can travel seamlessly into the nonlinear editing (NLE) or motion-graphics environment.

Read the whole article here for free.

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I'm Coming to New Mexico

Looking for some training? How about a little time in the Southwest too.I'm speaking at the Motion Conference in New Mexico (October 16-19).

Advanced Motion Graphics Studio Techniques: After Effects, Illustrator, & Photoshop Extended
October 16, 2010 8:30 am — 3:30 pm
Santa Fe Convention Center

As a motion graphics designer, you'll use After Effects, Photoshop, or Illustrator to some degree in every project. But how do you decide which tool is best for the job and how can you use them together for the most efficient and effective workflow? This workshop cuts to the chase and teaches advanced techniques for all three applications (no matter what your experience level is with each). You'll learn essential techniques including typography, repairing and retiming footage, stylizing footage, background design, and 3D objects.

Learn how to integrate After Effects, Photoshop, and Illustrator for an efficient and effective workflow. Topics include:
  • Pixels and Vectors: Mastering Resolution
  • Typography for the Screen
  • Repairing, Stylizing and Retiming Footage
  • Perfect Loops: Designing Backgrounds
  • Creating and Importing 3D Objects
  • Check Your Sources: Organizing Files for Animation
  • Mastering Transparency: Perfect Masks and Alpha Channels
  • DVD and BD Menu Design
  • Motion Control 3D
  • Virtual Sets with Panoramic Photos

Digital SLR Workshop: High-End/Lo Cost Video Shoots
October 19, 2010 9:30 am — 4:00 pm
Albuquerque, NM 87107

With the arrival of high-definition video-enabled DSLR cameras, new creative options exist for design professionals unlike anything they’ve experienced before.
Here to guide you in a thorough exploration of the video-making process — from pre-production to post — is an experienced creative director and post production supervisor, Richard Harrington (author of From Still to Motion: A photographer's guide to creating video with your DSLR). Explore options for creating and working with video from your camera, from practical pre-production, essential production techniques and seamless post production. Topics include:

  • Explore the entire spectrum of video for DSLR camera owners, with recommendations on gear, lighting, lenses, audio, editing, color correcting, exporting, media management, and more.
  • Addressing technical challenges associated with DSLR video, such as camera movement, multiple camera coverage, low-light videography, and synchronized audio.
  • Explore additional creative techniques such as stop motion and time-lapse photography.

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The Role of Motion Graphics Backgrounds


The greatest challenge when it comes to backgrounds is that you need to show proper restraint. A background is just that... a background. Would you expect to see a gaudy patterned print at an art museum? You need to find the proper balance between an interesting background and preserving visual hierarchy of information.
We understand why the problem exists. As the stock animation industry has grown, competition has led to more and more companies trying to "stand out." This means that designs have become busier, louder, and generally obnoxious.

In contrast, let's look at the print industry. Sure, a designer might use a patterned paper or a colored backdrop, but never in a way that negatively impacts the readability of text or diminishes the value of a photograph. Creating a background is truly an invisible art. The goal is to make something that adds to the overall design, but does not stand out.

This is from
Motion Graphics with Adobe Creative Suite 5 Studio Techniques
Get it here – http://www.amazon.com/exec/obidos/ASIN/0321719697/richardharrin-20/

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Free AE Webinar on Tuesday: Harrington: Combining After Effects, Illustrator, & Photoshop Extended

Don't miss a free webinar this Tuesday on After Effects, Photoshop, and Illustrator

Start: September 14, 2010 7:30 pm
End: September 14, 2010 8:35 pm
URL: http://motion.tv/connect

As a motion graphics designer, you’ll use After Effects, Photoshop, or Illustrator to some degree in every project. But how do you decide which tool is best for the job and how can you use them together for the most efficient and effective workflow?

Join Rich Harrington of RHED Pixel for an evening of tips and techniques on how After Effects users can effectively integrate Photoshop and Illustrator in your motion design workflow.

overview: 7:15-7:30 PM: Pre-Show: Reels We’re Watching 7:30-8:20 PM: Rich Harrington: Combining After Effects, Illustrator, & Photoshop Extended 8:20-8:30 PM: Q&A 8:30-8:35 PM: giveaways | close
*all times are MST | UTC-6
To attend: - RSVP for the event :: RSVP now»


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Be sure to Check Out New Motion Graphics Book

My new motion graphics book is off to the presses!

Almost all motion graphics artists today use After Effects, Photoshop, or Illustrator to some degree in their projects. But how do they decide which tool is best for the job and how can they utilize the various components in the Creative Suite together for the most efficient and effective workflow? This book cuts to the chase and shows readers an in-depth view of the various components in the Creative Suite as best utilized in professional motion graphics projects. With 4-color artwork from real-life productions sprinkled throughout, this inspiring and practical guide will show intermediate to advanced readers what they need to know to incorporate CS5 in their own work. In the first half of the book, readers learn about design essentials as related to motion graphics, including typography, logo animation, repairing and retiming footage, stylizing footage, background design, 3D objects and cameras, audio design, and vector design. The second half of the book focuses on real-world design explorations including chapters on broadcast package design, title sequences, DVD menu design, motion control 3D, character animation techniques, and panoramic images.The accompanying DVD brings it all together by providing source footage and project files, allowing readers to experiment on their own.

Get it here – http://www.amazon.com/exec/obidos/ASIN/0321719697/richardharrin-20/
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Essential Animation Principles in After Effects

When animating object's in After Effects, you need to understand the essential animation properties.

  • Anchor Point (A) – This is the point at which the object rotates or scales. You will often need to adjust the anchor point of the object and move it to a more “natural” rotation point (such as the waist, a joint, a hinge, etc.). The easiest way to adjust Anchor Point is with the Pan Behind tool.
  • Position (P) – This is where the object is located along the X, Y, or Z-axis.
  • Scale (S) – This is the size of the object on the screen. Remember, scaling an object larger than 100 percent will create pixelization in raster objects. If you want to simulate a zoom, press S for Scale to access the scaling controls. To scale all the layers in unison, add a new Null Object to the composition. All the layers can be parented to the Null Object (via the parent Column). Then scale the null to affect all the dependent layers.
  • Rotation (R) – An object can be rotated around its anchor point. It can also be rotated along its X, Y, or Z-axis.
  • Opacity (T) – The lower an object’s opacity the more you can see through it.
  • Animation Assistants – Use your animation assistants to add Ease on the rotation and anchor point keyframes. Click on the word Scale to highlight both scale keyframes. Then choose Keyframe Assistant > Exponential Scale. This powerful assistant will accurately simulate the ballistics of a camera zoom.

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Free Digital Video E-books

  • Adobe offers some great primers on video technology. be sure to check these free e-books out.
  • Adobe Digital Video Primer (PDF: 9.8M) Whether you want to understand the differences between analog and digital, how to choose and set up a system that's right for you, or how to prepare and edit your content for delivery in virtually any format, the Adobe Digital Video Primer is a resource you'll use often.
  • Adobe HD Primer (PDF: 1.6M) This primer will help you understand what's involved in making the transition to authoring and distributing high-definition content and how to get the best results out of that transition.
  • Adobe Digital Audio Primer (PDF: 84k) In this primer, we'll introduce the basics of sound so you can work more effectively with Adobe® Audition™ and the rest of your digital audio or video toolkit.
  • Adobe DVD Primer (PDF: 6.3M) This in-depth primer will get you acquainted with DVD technology and teach you how to make your DVD content more dynamic. If you're already creating video productions, it will introduce you to state-of-the-art technologies you can use to repurpose your content for DVD distribution. If you're a beginner you'll find out how you can easily develop and author your own DVDs.
  • Adobe Professional DVD Production with Adobe Encore DVD Primer (PDF: 2.2M) This primer provides background information on the DVD-Video format and explains what makes Adobe Encore® DVD such a powerful application for professional DVD creation.
  • Adobe Streaming Media Primer (PDF: 1019k) The Adobe Streaming Media Primer offers a single comprehensive source for learning everything you ever wanted to know about streaming media — including pitfalls, costs, how-tos, and the basics.
  • Adobe DV Primer for Creative Professionals (PDF: 392k) Thinking about adding video to your repertoire? If you're a graphic designer, web professional, photographer, or other creative professional and you want to start working with video, this Primer is the place to start. You'll learn how video can expand your creative reach, the basics of the technology, and what you'll need to get started.

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After Effects Material Controls are Often Overlooked



In the rush to design, many motion graphic artists skip the advanced controls inside the Material Options category. These are essential as the refine how a 3D light interacts with your 3D layer. The properties that affect appearance the most are Diffuse, Specular, Shininess, and Metal.

The only changes made to the scene above were modifications to the Material Options. No other settings with lights were modified. The Material Options are powerful controls that are often overlooked. When you're first exploring Material Options, try lowering or raising their values one property at a time.

  1. To start, drop all of the values to 0% to remove the effect of the lights.
  2. Next slowly increase the Specular value. This will add a hotspot to your layer (it may get quite blown out). This value controls how reflective the layer is. The bigger the number the brighter the reflection.
  3. Raise the Shininess property which will cause the light to show specular highlights. The bigger the number the smaller the highlight.
  4. Use the Diffuse property to soften the results generated by the Specular and Shininess properties. This will soften the transition between lights and darks.
  5. Raising metal property will lower the color distinction between the darker areas and the highlight, but the highlight will still be brighter. It also affects how much the layer's color influences the color of the reflection.


From the new Adobe Press book – Motion Graphics with Adobe Creative Suite 5 Studio Techniques

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Creating 3D in Illustrator with the Revolve Command

The revolve command can take a vector line and sweep its path into a circular direction. This can be used to create a 3D object. For best results draw your line facing with its curve pointing to the right (the lines are anchored on the left edge). Once the object is created, you can reposition it with the same Position controls found in the Bevel and Extrude effect.

1. Select an object or line inside of Adobe Illustrator.


A line or a shape is all you need to create a 3D object. By default, the extrusion will rotate around the left edge so position the vector object accordingly.

2. Choose Effect > 3D > Revolve. Check the Preview box so you can see the effect update as you make changes.



With the Preview box checked, changes will update so you can experiment more easily. For complex objects, the screen may take a moment to redraw.
By default, Illustrator revolves objects around the left edge. You can change this to the right edge using the from pop-up.

3. If you object has a fill, you can use the cap command to make it appear solid or hollow.


4. Use the Angle property to set the number of degrees to revolve the path. While you can use any number between 0 and 360, I typically start with 360˚.

With the Preview box checked, changes will update so you can experiment more easily. For complex objects, the screen may take a moment to redraw. You can use the Offset slider to expand the path to create a ring-shaped object.



If you experiment with this effect, some pretty cool options are possible. Try using a dashed line and creating an irregular path. In this case a basket shape is possible and you can create abstract 3D objects for motion graphics work. Technique adapted from RC Concepcion.

From the new Adobe Press book –
Motion Graphics with Adobe Creative Suite 5 Studio Techniques


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After Effects Stacking Order Matters


Things can get tricky when you start to layer 2D and 3D layers in the same timeline. As a designer, you need to understand how After Effects interprets things so you can build your compositions correctly.
  • When working in 2D, the highest layer in the Timeline is in front of all the other layers. The lowest layer is behind them.
  • 3D layers are stacked based on their Z‑position value (assuming the camera is pointing at their fronts). This means that the object closest to the Active camera is in front of the other layers. This is true even if the layer is at the bottom of Timeline stacking order.
  • Track and Alpha mattes must always be immediately on top of the layer they are matting. This is true for both 2D and 3D layers.
  • Layer blend modes still follow the stacking order in the Timeline.
  • 2D layers mixed with 3D layers are ordered by their spot in the Timeline stack.
  • If two or more 3D layers have overlapping z‑position values, After Effects uses their Timeline stacking order to determine top position.

If you want to keep a logo bug or other element always on top of your 3D layers it's easy. Just place the element on the topmost layer in After Effects and don't enable the 3D switch. You can also do the same for a background layer that you want behind all your 3D layers. Just put a standard 2D layer at the very bottom of the timeline.

From the new Adobe Press book –
Motion Graphics with Adobe Creative Suite 5 Studio Techniques

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Master Photoshop Transparency

One of Photoshop’s greatest powers lies in its ability to preserve complex transparency. By employing masks, both in layers and embedded into the saved files as alpha channels, this transparency data can travel seamlessly into the nonlinear editing (NLE) or motion-graphics environment.

Want a free excerpt from the new edition of Photoshop for Video?

Learn about layer masks, alpha channels, and selections —
http://www.peachpit.com/articles/article.aspx?p=1617518




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Teaching at Motion Conference in Santa Fe

I'm teaching a class at this year's Motion conference. The Terrific Trio: Combining Adobe After Effects, Illustrator, & Photoshop Extended

October 16, 2010 8:30 am at motion{u} :: santa fe

As a motion graphics designer, you'll use After Effects, Photoshop, or Illustrator to some degree in every project. But how do you decide which tool is best for the job and how can you use them together for the most efficient and effective workflow?

This workshop cuts to the chase and teaches advanced techniques for all three applications (no matter what your experience level is with each). You'll learn essential techniques including typography, repairing and retiming footage, stylizing footage, background design, and 3D objects.

Learn how to integrate After Effects, Photoshop, and Illustrator for an efficient and effective workflow. Topics include:
  • Pixels and Vectors: Mastering Resolution
  • Typography for the Screen
  • Repairing, Stylizing and Retiming Footage
  • Perfect Loops: Designing Backgrounds
  • Creating and Importing 3D Objects
  • Check Your Sources: Organizing Files for Animation
  • Mastering Transparency: Perfect Masks and Alpha Channels
  • DVD and BD Menu Design
  • Motion Control 3D
  • Virtual Sets with Panoramic Photos

Pre-register today –
http://motion.motion.tv/schedule/sessions/motionusf-10-16-10/



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I'll be at the IBC Conference


For all the European geeks... I'll be teaching at the IBC conference in Amsterdam September 11 & 12.

  • Producing HDSLR Video Shoots - Essential Planning for Successful Productions
  • Motion Control 3D: Adding Perspective and Movement to Photos
  • Photoshop for Video Professionals
  • Motion Graphics Workflow with Adobe Creative Suite
  • Transcoding and Editing Strategies for HDSLR Post Production

Hope to see you there!

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Active Cameras Switching in After Effects

Many don't realize that they have the ability to add multiple cameras to a 3D composition. This makes experimentation easier as you can try out different camera moves without throwing the previous away. As you design, you can look through any camera you want with the 3D View Popup.

You can trim the layer handles for the camera to control when a camera becomes active.

The gotcha is that only the Active Camera will render. Which one's active? The answer is it depends:
  • If you have two overlapping cameras, the one on top of the layer stack takes precedence.
    • If you want to edit between cameras, you can adjust the in and out points in the timeline. Then sequence the camera layers so you can cut between them.

From the new Adobe Press book –
Motion Graphics with Adobe Creative Suite 5 Studio Techniques

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PanosFX Actions

While working on my latest Photoshop book, I did some research on Actions. I was looking for some new examples of actions that push the boundaries of what Photoshop can do. I came across several beautiful actions created by Panos FX.

From postcards and filmstrips to paper and sketch effects. These actions are great, they produce powerful results and are flexible enough to create several looks. The website has more than 30 free actions and the powerful ones for sale are very affordable. Be sure to check out their many products to build up your Photoshop toolbox. If you did pick up the new book, be sure to look on the DVD for some additional free actions.



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Lagoa Multiphysics 1.0 - Teaser Video



Very cool physical simulation for computer animation. It's amazing what's possible these days.

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Video and Audio Codec Guides



Looking for a good comparison of audio and video codecs. We've found a great comparison of digital video, audio, and graphic formats. They've also got some great shortcut guides posted for Avid and Final Cut Studio applications.
http://worldwide-studios.com/Worldwide_Studios/Resources.html

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Free 3D Textures for Photoshop Extended


Want more free textures for Photoshop Extended? Be sure to check out the free ones posted by Adobe.

http://www.adobe.com/go/ps3dcontent

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Render and Email in After Effects

After Effects supports scripts which can automate complex tasks. One of those scripts can actually render a file then email you upon completion. If you’re a tech geek, the gears in your head are already spinning. Just think, the leash has been cut! You are free to leave and relax while your machine churns away.

  1. Open up your General Preferences and be sure that the Allow Scripts to Write Files and Access Network box is checked.
  2. Add your files to the Render Queue like normal.
  3. Choose File > Run Script > render_and_email.jsx, you will now be prompted for your email settings.
  4. Enter server smtp address: such as mail.mac.com, click OK
  5. Enter the reply to address: such as the email you want to use to send the message.
  6. If your server required log-in (most do), click YES and enter your ID and password. Click OK.
  7. Enter the recipients email address. Click OK
  8. An email with the subject AE Render complete will be sent when the queue is finished.

How cool is that?

If you have an iPhone... you can also checkout apps like
LogMeIn and iTeleport to actually view (and control) your screen from your mobile device. I've actually set up rendered files and sent them via YouSendIt to clients remotely.

Into AE? Be sure to check out two new books – 
Photoshop for Video (Fourth Edition) and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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Two Render Tips for AE

Here are two quick tips to give you more control when you need to stop or re-render an item in After Effects.

A Better Stop


Normally when you click Stop on an item in the render queue, it adds it to the bottom of the list and will pick up where it left off. That may be what you want, but often you intended to bust the render, tweak it, and re-render. To stop a render and re-queue it to begin at the beginning, hold down the Option (Alt) key when clicking Stop Render. This will avoid the pickup and add the item to be re-rendered from the start of the original output settings.

Need to Re-render?

For one reason or another, it always happens, the need to re-render. Perhaps a small tweak to a keyframe or a timing issue. Chances are while your animation may have needed refining, the render queue was perfect. Save yourself some time and Re-queue that animation.

  1. Select a previously rendered animation.
  2. Press Command + Shift + D (Control + Shift + D) to duplicate the render item with the same settings and output name. This will rewrite over the previous file to the exact same destination.
  3. Save your work, then click Render when ready to output.

Into AE? Be sure to check out two new books – 
Photoshop for Video (Fourth Edition) and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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Free Online Crash Course on Photoshop CS5

My presentation on Photoshop CS5 from Adobe's booth at NAB. A highly condensed presentation with lots of info.

'

You can see it here too –
http://tv.adobe.com/watch/adobe-at-nab-2010/adobe-photoshop-cs5-for-video/

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Two New Photoshop Books



Both of my Photoshop books are fully updated (and released!)

Amazon has a combo deal.. get both books for $67

That's a ton of training, hundreds of hands-on files. 72 training videos and more.

See this page here – http://www.amazon.com/Understanding-Adobe-Photoshop-CS5-Professionals/dp/0321714261/ref=ntt_at_ep_dpt_3

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I'm Coming to Europe to Teach!


I'll be speaking at this year's IBC conference in Amsterdam in September. – http://www.ibc.org/page.cfm/link=299

"A 2-day training event in multiple tracks geared for production and post-production professionals in TV, video, film, motion graphics and new media. The conference features the latest advanced tips and techniques in producing, editing and delivering digital content.

Sessions are geared for intermediate to advanced TV, video, film and motion graphics attendees and are focused on digital video production techniques as well as post production using Apple, Avid and Adobe creative software tools.

Sessions are objective and are taught by FMC's world renowned team of Certified Instructors, power users and authors."


Here's the schedule – http://www.fmceurope.com/schedule.htm
Sign up here – http://www.ibc.org/page.cfm/Link=276/t=m/goSection=3

Hope to see some of you there.

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Color Grading Footage In Adobe Photoshop Extended



Learn how to adjust the color and exposure of video clips using Adobe Photoshop Extended.

From the book From Still to Motion
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Motion Control 3D Samples



Sample motion graphic created for The Johnson Group's documentary, Bedford: The Town They Left Behind. The film went into limited release in theatres across the country.

I am working up some new tutorials on the techniques... leave comments about what you want to see.

You can see it in HD here.

Here's a short free tutorial here.



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Free Final Cut Pro/Motion/AE Plug-ins



I always like free stuff... especially
good free stuff.

Here's the link –
http://www.idustrialrevolution.com/idrplugins/freebiepack1/index.html

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A great book on green screen

If you've been looking for a comprehensive guide on greenscreen this is it. Jeff covers everything from preproduction through shooting and post. Jeff's a great teacher who's passionate about his subject.

You can get a few samples of the book
here for free, but be sure to check out the whole thing.

  • See how to plan, set up, and execute your shots to reduce fixes in post
  • Choose the right keying process for your project
  • Master basic shooting setups and live broadcast keying
  • Understand proper lighting and how to match subjects to the background
  • Create a working storyboard and learn how to select and direct talent
  • Composite your footage and fix problem shots
  • Work creatively with virtual sets, motion tracking, and match moving
  • Master techniques that apply to all compositing software and plug-ins


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After Effects Plugins 64 Bit

With the move to CS5, many Adobe apps require a 64-bit operating system. What this means is more speed and a greater ceiling for memory. It also means you'll need to update your plugins.

Here's a definitive list on the state of After Effects plugins right from Adobe.

After Effects CS5 requires 64-bit plug-ins as well as a 64-bit operating system. As plug-in developers release 64-bit versions of their plug-ins, we will list them here. Most plug-in developers are working on 64-bit versions of their tools, and many have announced that their plug-ins will be available at or near the time that After Effects CS5 is available. Check this page often for updates.

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Create a Client Screener Disc



Check out this video to learn more about creating a screener disc for your clients. You can also visit the website www.peachpit.com/videomac in order to download sample files.

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Chroma Key is Everywhere



Here's two free resources to help you out

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Creating Motion Templates

Want to create your own Motion templates for use in Final Cut Pro? In this video lesson you’ll learn how to combine After Effects and Motion into a template project that can then be updated from within Final Cut Pro.



You can also visit the website www.peachpit.com/videomac in order to download sample files.
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How to Film the Impossible

I found a great series on YouTube... an old show called Horizon from the BBC. This episode is entitled "How to Film the Impossible" and features an in-depth look at Industrial Light and Magic.

Here is part one



The other parts are after the jump

Read More...
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Continuum Cartoon Look

I recently wrote a review for a new filter called Continuum Cartoon Look for Layers Magazine. Here it is.

Everywhere you turn, you’ll spot the “look”: video footage transformed to look like a cartoon. In a traditional workflow, the process involves rotoscoping. An artist literally traces animation frame by frame over the original source. The technique was invented by Max Fleischer around 1915, and has been used by animators on classic films such as Snow White and the Seven Dwarves and Cinderella, as well as modern movies such as Titan A.E. and Waking Life.

The process is very tedious, however, so many video pros and motion graphics artists have been on a quest for an easier solution. These days you’ll find several products on the market to transform your video footage to look like it’s a cartoon. Early options such as Studio Artist ($379;
www.synthetik.com) and market leaders like ToonIt ($399; www.redgiantsoftware.com) have all seen heavy use.

While they’re not new to the plug-in market, Boris FX has released their own take on cartoon filters. The Boris Continuum Unit: Cartoon Look breaks out four filters from the larger plug-in package Continuum Complete. The set is only $199 (significantly less than competitors) and runs in several host applications including Adobe After Effects and Premiere Pro, as well as Apple Final Cut Pro and Motion. The four filters for stylizing your footage include:


Read More...
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Using Premiere Pro to Organize Video for After Effects

There are lots of reasons to use Premiere Pro (even if you’re a Final Cut Pro editor). One of the most compelling is to organize After Effects projects.

  1. Create a new Premiere Pro project and match its settings to your primary footage format.
    2 Import a folder of QuickTime movies into a Premiere Pro project. You can even import a Final Cut Pro XML file to bring a sequence in without needed to do anymore media management.
  2. Edit the clips as needed into sequences.
  3. After your clips are edited, just select them and press Command+C to copy them to your clipboard.
    5 Switch to an open After Effects project and press Command+V to paste the clips using Dynamic Link. The clips (with handles) will move from Premiere Pro to After Effects.

For more tips like this, check out the book
Video Made on a Mac.



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Creating Lower-Third Graphics with Data Sets in Photoshop

Starting with Photoshop CS2, Adobe introduced a new feature called data sets. This allows you to create a set of data that applies variable text, variable visibility settings, or pixel replacement for art layers. This is a great feature for use with templates, especially those for lower-third titles.

By harnessing the power of data sets, you can dramatically speed up the production of repetitive graphics. In fact, by feeding in a text file, hundreds of lower-third graphics can be generated in a few clicks. The advantage of this method is that a producer or production assistant can gather all of the needed names and titles into a single text file (easily created with any word processor). This file can then be loaded to generate as many graphics as needed. While the process is a little tricky at first, it’s pretty easy to get the hang of.

Read the complete article over at Layer Magazine for free...

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DPI vs. Resolution

One misperception we hear time and time again is about resolution. For the record, video graphics are not 72 dpi. First off, dpi stands for dots per inch (as in printing). Photoshop measures graphics using pixels per inch (ppi).



The resolution of this photo has been reassigned from 300 ppi to 72 ppi. The Document Size (in inches) has changed for printed output. The pixel dimensions and file size remain unchanged at 1920 x 1080 pixels (for a 1080 HD video project).

When dealing with video graphics, resolution doesn't matter. The same HD video file can play back on a laptop, a television, or on a digital projector, and the total number of pixels won't change. To see this clearly, stand really close to a big-screen HD TV; the picture looks soft. Now find a smaller display with an HD signal; the picture looks clearer. This is because HD is HD; the bigger the screen the larger each pixel is displayed, but again resolution doesn't change.



Figure 9.2 The enlarged area shows the individual pixels that make up the butterfly image.

Setting Photoshop to Measure in Pixels
Out of the box, Photoshop is set up for a print workflow (biased isn't it?). This is easy to fix with a simple preference change. You can set rulers and other tools to measure using pixels by default (which will make designing for the video screen easy).
  1. Launch Adobe Photoshop.
  2. Press Command+K to call up your Photoshop preferences.
  3. Click the Units & Rulers preference tab.
  4. Click the Rulers menu and set it to pixels.
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Great Profile of Stop Animator

A fascinating documentary on Ray Harryhausen who is a prolific stop motion animator. Some of his work you may have seen includes The 7th Voyage of Sinbad, Jason and the Argonauts, and Clash of the Titans.



Read More to see parts 2–6

Read More...
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Sneak Peek at new Adobe Tech

I have seen this first person.. and it is AWESOME. Tons of real-time performance in Premiere Pro and 64-bit Operating Systems. It can also be tied to a really fast graphics card for better performance. The app runs INSANELY great and will hopefully propagate through other Adobe apps like Photoshop and After Effects.



for more information on hardware, check out these blogs:    http://blogs.adobe.com/VideoRoad/2009/11/three_words_youll_be_hearing_a.html    http://blogs.adobe.com/VideoRoad/2009/11/more_on_the_mercury_engine.html    http://blogs.adobe.com/genesisproject/2009/11/technology_sneek_peek_adobe_me.html#more

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Resize Video with After Effects

Do you ever need to size video for web or multimedia? Instead of wasting time processing those clips with your video compression software – use After Effects. You can get cleaner scaling and much faster processing times using AE.

To make things easier... I have made a template project to save you several steps. You can download it here.

Download it
here (it's my Birthday gift to you)

These templates are designed to convert an HD source to a variety of output formats.
  1. Select either the 1080 or 720 source folder.
    2 Locate the correct target format and open the template.
    3 Import a QuickTime movie of your HD source.
    4 Highlight the layer called Replace Me.
    5 Hold down the Option/Alt key and drag your replacement footage onto the solid layer to swap.
    6 Change the comps duration to match your footage layer’s length by choosing Sequence > Settings.
    7 Add to the Render Queue and render to taste.

Feel free to share this post and the link – tinyurl.com/aeresizer

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Capturing Video for After Effects



You can capture video for an After Effects project using Premiere Pro. Learn how to quickly switch applications to pull in new footage from tape. To download sample files, visit
www.peachpit.com/videomac.

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Timecode Burn In with Compressor

Want to compress your footage to another format and add timecode burn in at the same time? With Compressor you can! Be sure to check out this step-by-step video as we add timecode burn in via Compressor. You can also visit the website www.peachpit.com/videomac in order to download sample files.



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Motion Control with After Effects - PixelPerfect Favorite

Learn about Motion Control with Photoshop and After Effects. Plus check out Bert Monroy's cool show.
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ProRes for PC

Apple's ProRes Codec is a great tool for professional video editors. Apple has released a version that let's PC users and editors read the files created on a Mac. This is great for video and mograf folks. It's a free download. I made a new tiny URL for my Windows friends.. http://tinyurl.com/prorespc
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Creating Transparent Video with Adobe After Effects CS4

Transparency plays a key role in the success of animation and interactivity. By embedding transparency into graphic elements, you can composite together different elements created at different times, allowing for true flexibility.

The alpha channel is the technology behind transparency in computer graphics. It first evolved in the late 1970s at the New York Institute of Technology and then continued to be refined at Lucasfilm and at Pixar. When you employ alpha channels embedded into footage layers, transparency data can travel seamlessly between After Effects and Flash.

You can create alpha channels in several ways. One common technique you can use for video footage is chroma key technology. By shooting elements against a blue or green screen, you can easily remove the background. This technology is hardly new, making its first appearance at RKO Radio Pictures in the 1930s. The popularity of chroma key technology has grown immensely, bringing the technology and tools within reach of most content creators.

KEEP READING AT PEACHPIT.com

Get the Book

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The New Drobo is Awesome... Come Learn More

We've been playing with the new Drobo Elite at our offices at absolutely love it. It's a great 8 bay unit (for desktop or rack-mount). It's fast enough for HD video editing, it can expand as you grow, and it works fantastically well.

Join me for an educational seminar on Thursday, December 10, 2009 where we review how it (and the rest of the Drobo line) can benefit video editors, motion graphics artists, and videographers.

The event starts at 8:30 AM Pacific / 11:30 AM Eastern. Its a 30 minute seminar and you can ask any questions you want.

We've been putting it into play with our tapeless workflow and have been very pleased.

Sign up for your spot here –
http://bit.ly/7vhDJr




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Professional Keying with Motion



Looking for another way to key? Be sure to check out this video for a detailed demonstration of keying with Apple Motion. You can also visit the website www.peachpit.com/videomac in order to download sample files.

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Working with Type in After Effects


Looking for a quick overview on how to control text animation in After Effects? This video will get you up and running quickly. You can also visit the website
www.peachpit.com/videomac in order to download sample files.
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Three Free After Effects CS4 Tutorials

Here are a few free After Effects tutorials from Layers Magazine.



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MGFest 09 Comes to DC


The Motion Graphics 09 Fest is coming to DC. It runs November 18-22

Here's the full schedule
http://mgfest.com/09/WashingtonDC/

Here are the educational workshops
http://mgfest.com/09/WashingtonDC/workshops.php

Here are the social functions and screenings
http://mgfest.com/09/WashingtonDC/artevents.php

This is a great chance to network with pros from both DC and abroad. Hope you all check it out...

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Blu is Back with Another Great Video

This is just awesome... I love what these guys do with real art and timelapse.

a collaborative animation by Blu and David Ellis
http://www.blublu.org
http://www.davidellis.org



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New Versions of Adobe Software to be 64-Bit

Adobe has announced that the next version of the software will run on 64-bit Operating Systems only. It's not all the apps in their suite, but the apps that will most benefit.

"It’s common knowledge among post-production pros that 64-bit operating systems are the best choice for top-of-the-line performance, especially when producing HD or higher-resolution content. After 3 versions of simultaneous 64 bit and 32 bit support for After Effects and Premiere Pro, we wanted to let you know today that CS4 will be the last version of Adobe’s leading video applications to support 32 bit operating systems."

Simon Hayhurst – The Senior Director of Product Management for Dynamic Media

Check out the news here.
 
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Great After Effects Training and Resources


Looking for some After Effects training? One of my favorite resources is The Anvel run by Dean Velez. Besides a bunch of cool freebies and templates, Dean has a great subscription package of After Effects tutorials. Dean is a very experiences designer with a few Emmys under his belt.

He generously shares this knowledge with others. Dean's discs are great for ideas and I float them amongst the RHED Pixel staff so they can try out some new techniques.

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A Great Animation Made in Real Life



This is a great animation from the group – Blu. It is an animation painted on public walls. The short film was made in Buenos Aires and in Baden.
Comments

Keying with After Effects

Looking for another way to key? Be sure to check out this video for a detailed demonstration of keying with Keylight in After Effects. You’ll also learn a few advanced tricks to finalize the shot.



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New Book is Off to the Printer

This is a book that I’ve wanted to write for a LONG time.

Video Made on a Mac: Production and Postproduction Using Apple Final Cut Studio and Adobe Creative Suite

Richard Harrington I have just returned my final comments for the new book Video Made on a Mac. We are now compressing the 5.5 hours of HD video lessons that come with this book. This book is SO awesome... (I am not objective, but its the best book I've ever written). If you work with Final Cut Studio and/or Adobe Creative Suite... You need this book. We have filled it to the brim with time saving workflow and practical advice.

Here’s the official blurb – You can order it here on Amazon (it’ll ship in a few weeks).

On a Mac, the sky's the limit for creating professional video. With all the tools available though, it can be a daunting task to decide which ones offer the best solutions for combined efficiency and high-level results. How can you effectively communicate your vision to clients and crew? How should you calibrate your camera for multi-camera and green screen shoots? Is it better to do your keying in After Effects, Motion, or Final Cut? How should you set up your edit suite for efficiency and accuracy? How do you manage large amounts of media and a multitude of formats for multiple software applications?

In Video Made on a Mac, you'll learn the answers and much more. Chock-full of practical advice and step-by-step instructions, each chapter provides insight on the critical components of production and postproduction that can make all the difference when you're up against a tight budget and schedule. The accompanying DVD supplies you with project files and high-definition footage so you can follow along with the examples, as well as 50 training videos. Whether you're an advanced Mac user or just beginning to incorporate Adobe Creative Suite into your Final Cut Studio workflow, you'll learn to apply best-practice techniques to all your video projects.


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A Great Example of Stop Motion Animation



Olympus has released a re-imagined
Pen Camera. The original was released 50 years ago, and cost about a a third less than conventional cameras. The camera was known for trying new technologies and innovative ideas throughout its history.The new camera allows for several lenses as well as HD video.

To celebrate the new launch, the company commissioned a very cool stop motion commercial.
- Shot 60.000 pictures
- Developed 9.600 prints
- Shot over 1.800 pictures again.

Oh… and no post production!
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Use After Effects to Transcode your HD material to 50 Formats


I wanted to share a little work in progress file.  I find After Effects tremendously useful for resizing video.  In fact I use it often to pre-process footage before applying additional codecs.

What I’ve put together here is a Resizer project.  It allows you to quickly convert an HD file (720 or 1080) to 50 different output formats.  The file is quite simple to use, and covers output sizes ranging from SD, to Presentation Software, to Web, to iPhone.

This is a work in progress… but I’d love to get your feedback.  To learn how to use it (and get the file) keep reading....

First off… download the resizer template from here (
Resizer_Template.zip). It is an After Effects CS4 project. There are two files, both are identical.  The .aep is a project file, the .aet is a template file that will create a copy automatically when you open it.

Read More...
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The Future in Motion, A History of Tomorrow's Interfaces

Check this out... a colleague of mine speaking on a cool topic.



Watch Future in Motion, A History of Tomorrow's Interfaces, Mason Dixon, MGFest  |  View More Free Videos Online at Veoh.com
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New Book for After Effects and Flash Users

I have literally just sent the last changes to the last chapter in. The brand new book After Effects for Flash | Flash for After Effects is going to print. I am quite proud of the book and it explores some amazing things. The book is designed for Flash and After Effects users, and is meant to teach them how to use both programs together (along with Creative Suite 4). The book explores some pretty revolutionary things, but also has great primers to get new users up to speed fast (you can’t put a race car on your cover if the book doesn’t cover serious ground).

The official blurb
Adobe Creative Suite 4 brings together two powerful animation tools, each of which has its own specialized features and workflow. Learning to integrate Adobe After Effects and Adobe Flash Professional gives you more options for your animations and effects and the power to integrate video and motion graphics into a richer user experience. In this book, authors Richard Harrington and Marcus Geduld lead both types of users, those who are more familiar with either Flash or with After Effects, on using the programs together for maximum efficiency and creativity.

After walking you through the core features of both programs, the authors then explore advanced uses for each application. Each chapter focuses on a particular function of the program, teaching you how to create content for Flash with After Effects, enhance your projects using 3D environments, create professional-looking video with Adobe Media Encoder, and add interactivity, accessibility, and searchability to your video. You’ll also get hands-on experience using the project files on the accompanying DVD.

Within these easy-to-follow, step-by-step lessons, you’ll learn to:
  • Seamlessly exchange projects and assets between After Effects and Flash
  • Shoot green screen material correctly, work with Keylight, and utilize embedded alpha channels
  • Create dynamic text, vector-based animations, and “animated” video using the tools in Adobe Creative Suite 4
  • Work with 3D cameras and lights and create 3D environments
  • Convert Flash to broadcast and DVD standards with After Effects
  • Use Adobe Media Encoder for professional results
  • Create interactive controls and use cue points in your video
  • Optimize video for accessibility and use Adobe® Soundbooth® for video transcription
  • Use ActionScript in your projects for more innovative animations


Get your copy now.... it really has some fun projects and cool things in it.


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Alpha Channels : Creative COW : Photoshop Tutorials

In the Photoshop tutorial from Creative COW, learn how to make an alpha channel based upon the luminance in an image. Alpha channels allow you to store transparency in a graphic. This is part of a series of Photoshop tutorials from www.creativecow.net.

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Motion Graphics Meets John Lennon



I was over at YouTube posting a new tutorial.... came across a great clip that mixes multiple animation styles… this is VERY cool.  It’s nice to hear the man so off-the-cuff… yet wise.
“In 1969, a 14-year-old Beatle fanatic named Jerry Levitan, armed with a reel-to-reel tape deck, snuck into John Lennon’s hotel room in Toronto and convinced John to do an interview about peace. 38 years later, Jerry has produced a film about it. Using the original interview recording as the soundtrack, director Josh Raskin has woven a visual narrative which tenderly romances Lennon’s every word in a cascading flood of multipronged animation. Raskin marries the terrifyingly genius pen work of James Braithwaite with masterful digital illustration by Alex Kurina, resulting in a spell-binding vessel for Lennon’s boundless wit, and timeless message.”
Learn more about it
here (and yes… I missed this one somehow).

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Great Tutorial on Vanishing Point Exchange

Steve Holmes has a great tutorial over at Layers Magazine on using the Vanishing Point features in Adobe Photoshop and After Effects. The tutorial is totally free and Steve does a great job.

“Without a doubt, the best new feature in After Effects CS3 is the Vanishing Point Exchange with Adobe Photoshop CS3 Extended. Creating very believable 3D movements from quite simple 2D digital photographs has to be seen to be believed, and the best thing is it’s a pretty easy process. However, there are a few caveats to keep an eye out for, so let’s take a trip into the world of two-dee three-dee!”

Check the whole thing out
here.


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More on the Puppet Tool – Hands on Files and Bonus Video

I promised these hands-on practice files about the Puppet Tool a while back. To make it up to you (my loyal viewers) I've included an extra sample.

To get the hands on files click here.

To get a bonus video tutorial -
click here.

(Thanks to the fine folks at the
New York Post Conference for letting me post this).



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’Toon Your Video in Adobe CS3 Production Premium

Want to create a cartoon effect for your video? Be sure to check out this step-by-step tutorial I wrote for Layers Magazine.

“Sure, clients want it…that “cartoon look.” But let’s face it; good animation is hard to come by. Unless you have a gaggle of animators locked in your closet, you’ll need to get creative. Sure, you could break out the pencil and paper (or maybe even try shadow puppets), but we’re here to offer you a different solution. By harnessing the power of Adobe CS3 Production Premium, you can convert video frames into vector art into film-resolution movie files. Curious? It’s all possible with the power of the Production Premium.
Read on.”


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Photoshop for Video Chapter 14 Posted

The downloadable bonus chapter on Photoshop CS3 Extended is available to those who’ve purchased “Photoshop for Video.” You will need the password found in the back cover. This code is unique for each book, so be sure to register your code.

If you have your code ready, please visit
http://booksite.focalpress.com/Harrington/ and start to download. You'll find a full-length chapter plus all of the source media needed for the exercises. It’s a big download, so be sure to have a fast Internet connection handy.

For problems or suggestions concerning the site, please contact:
Technical Support.

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Motion Graphics Resource Site


Interested in Motion Graphics? The check out the evolving MographWiki which has a nice collection of user contributed content and articles. Its a great place to browse for ideas and talent. There's a lot of useful things up here including:
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Free Reading

I've gotten a few letters lately asking about new books... there are three updates and a new one in development (more later).

But I did write a new book and thoroughly revise another.

For your reading enjoyment and personal education.


Photoshop for Video 3rd Edition (previously titled Photoshop for Nonlinear Editors)
• Major updates with tons of new content and more than 75 new pages of material
• Over 2.5 hours of training videos
• Expanded coverage of DVD and Motion Graphics
• In-depth look at HD graphics and workflow
• Full coverage of Photoshop CS3

Download the free chapter here.
You can order the book
here.


Here's a free chapter from my new book How to Wow with PowerPoint. This is the intro to the book and focusses on best practices for designing graphics for the screen (so even if you aren't a PowerPoint fan, you'll find some wholesome goodness on here). I hope you all enjoy it, If you'd like to order the book click here.

Unrated






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Motion TIps (A Little Old – But Still Useful)


I present a slightly old (but still relevant) article on Apple Motion. Here are Ten things you should know about Apple Motion (thanks to DV.com).

For example:

DIRTY ALPHA
Not happy with the alpha channel you get when you cut a Motion project into a Final Cut Pro timeline? Well, your alpha may be off. Final Cut Pro sometimes misinterprets the alpha channel data, expecting you to have a straight alpha channel, when in fact you may have a premultiplied alpha.

1. Select the Imported Motion project file in your Browser.

2. Choose Modify > Alpha Type Black.
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New Book on Final Cut Studio that I want to Read

I know both of the authors on this book and I am looking forward to reading it (as soon as I finish my own updates that is). But if you have no looming deadlines... I strongly suggest checking out this cool title.

Apple Pro Training Series: Motion Graphics and Effects in Final Cut Studio
“This practical book focuses on just the parts of Final Cut Studio that editors and designers need to create motion graphics in their daily work. Using footage from the BBC archives along with Motion, Final Cut Pro, and Live Type (all included in Final Cut Studio), you’ll build broadcast-quality titles, motion menus, show bumpers, and news opens. As with the other titles in the Apple Pro Training Series, each chapter in this Apple-authorized guide represents a complete lesson--with projects to complete and a review section to reinforce the lessons. Author and video editor/producers Mark Spencer and Jem Schofield begin by introducing the basics of creating an animated title sequence with Final Cut Pro. From there, you’ll learn everything from text animation, compositing, and keyframing to 3D set creation and camera animation. Step-by-step exercises and a DVD with project and media files will have you creating stunning motion graphics in no time.”

You can order it here
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After Effects 7.0.1 is Released

While its 'just' a minor update, its still nice when our power tools get tweaked. Adobe just released a minor bug update to After Effects. Here are some details from the release notes about the most significant fixes in the 7.0.1 release (Mac or Win):

• An issue has been fixed where After Effects' application window could not be revealed after being hidden.

• After Effects can now read IFF image files rendered out of mental ray for Maya.

• Shift-clicking to draw vertices with the Pen tool now constrains to 45 degree angles.

• Copy and paste of semitransparent text from Illustrator into After Effects has been fixed.

• Choosing Composition > Preview > Audio Preview (Work Area) will now play the whole work area.

• Users can now import Blackmagic Design 8-bit YUV AVI compressed files.

• An issue that caused incorrect pixel aspect ratio and dimensions when importing DVCProHD files captured in FCP5 has been fixed.
(I begged for this one)

• Audio waveform no longer disappears when the window is resized.

A big thanks to After Effects Product Manager
Steve Kilisky for letting me know.



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New Freebies for Video Pros

I've posted some new items online to help spice up your projects and make your digital life a little easier.

Background Textures from Digital Anarchy
NTSC Test Image (For use with Photoshop's Video Actions)
Power Window/Vignette to enhance Film Look
Over The Shoulder Data Sets Template

I hope you enjoy. If you spot any problems, please let me know.


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New Film/Video Group in NYC


While at NAB New York, I had the chance to catch up with some industry pros. I just found at that the New York Final Cut Pro User Group has evolved into a broader focus. The group is now called The Motion Pictures Collective.

"The Moving Pictures Collective fosters our professional filmmaking community to enhance their abilities and broaden their overall knowledge and skills to reach their career goals. With post-production as our core competency, we will share techniques, tools, and best practices in all competencies including editing, directing, writing, producing, and shooting. We will also promote member collaboration by sharing our work in a supportive environment and create opportunities for our members to flourish.”

If you live near New York City, be sure to check out one of their
great events.



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New Rotoscoping Solution Previewed - Motor from Imagineer Systems


At NAB New York, I had a chance to take a look at a new rotoscoping product that is truly unique and fast! Imageneer Systems showed off motor, which looks to speed up the tedious process of rotoscoping by 3 times. The tools is designed for both video and film work. It is a standalone product, but it can export matted clips or mask data to other programs. The product works using 2.5D planar tracking technology where the user defines basic objects or planes (like body parts). The system then supports variable edge width and the ability to refine edges with far fewer keyframes. The product is currently in beta testing (but release looks to be soon).


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Video Preview out of Photoshop CS2

This one came up today when a client asked me about previewing Photoshop graphics on a TV monitor. There's a great product called EchoFire, which lets you preview out of Photoshop using virtually any video hardware. But if DV is good enough for you, then Photoshop CS2 has you covered.

1. Hook up a FireWire device that uses the DV protocol like a deck or Analog/Digital converter (I like ones from Canopus).
2. Make sure the hardwire is powered up and connected to a monitor, then launch Photoshop.
3. Work with your current document and design as needed.
4. Choose File > Export Video Preview...
5. Specify your Output Mode and Aspect Ratio and click OK.

Preview away



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New DVD – Motion Control: Turning Photos into Moving Footage

It’s finally shipping, my new DVD. If you need to use photos in your videos or film, you'll enjoy this new disc. I go very in-depth on how to create standard and 3D camera moves with photos.

Motion Control: Using Photoshop and After Effects To Tranform Still Images into Moving Footage
No longer locked to a stationary position on screen, your photos now possess distinct storytelling abilities.  Join Richard Harrington, Photoshop and motion graphics guru, as he reveals the top techniques used by pros to bring still images to life.  This DVD will benefit all users interested in improved storytelling abilities. You’ll learn essential techniques both in 2D and 3D space.
  • Adobe Photoshop essentials
  • Traditional two-dimensional motion control
  • Using 3D cameras
  • Working in 3D space
  • Using 3D lighting to enhance your images
  • Performing advanced camera operations
Bonus Features
  • Original and processed images
  • Adobe Photoshop and After Effects project assets
Estimated ship date is September 20th 2006. You can order it here.


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Tutorial: Create Once, Distribute Anywhere

A brand new tutorial on building graphics for multiple video formats just went online. You'll find it on DV Magazines website in both online and print formats. Learn how to work in HD, but also create for multimedia, DVD, and Podcast distribution. This is useful in you need to generate multiple animations on a budget or deadline.

The tutorial uses Adobe After Effects, and is not version specific. If you'd like some extra resources, visit the
Magazine section as well.

UPDATE: For PC users looking for a 10-bit codec... you can either download the Blackmagic codecs or check out SheerVideo.

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Long Delayed, But On It's Way!

Are you an intermediate to advanced After Effects user? If so, the coolest book ever is about to ship. I recently edited a book called After Effects @ Work. It features top designers like Trish & Chris Meyer, Mark Coleran, Ken Locsmandi, Rachel Max and Dave Phillips. Join eleven well -known AE designers and teachers as they teach you real-world secrets. You'll get an inside glimpse at 11 projects and see what an expert can do using just the tools that come on the After Effects CD-Rom and a budget of $10,000 or less. This book is a hybrid of case studies, tutorials, and inspiration. It's like eleven internships in a box. I'm really proud of this one and excited that it is to ship the week of July 16. To order, go visit Amazon for the lowest price.


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Spot the Fake

How good are your eyes? Sure in the good old days you could spot the fake dinosaurs and Spiderman was a stunt man in a suit for every shot, These days we are inundated with photorealistic CGI on TV and in cinema. Just how good are your senses? Head over to Autodesk (makers of 3D Studio Max and Maya) to take this quiz. I got 8 out of 10 on my first try... take a look and stretch your brain for two minutes. Thanks to Scott Simmons for the story.


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3D Made Easier

While at the National Association of Broadcaster's show, I picked up a copy of Zaxwerks' ProAnimator. This product is both a program and a plug-in. It is useful for creating animated text or logos. You can import Adobe Illustrator files, 3D models, or type original text in using any system font. It's fast and easy and give impressive results.
For more info.
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