Chapter: Video and Computer Technology
Topic: Production Codecs
To understand concatenation and how it occurs, first you must understand part of how DV codecs work. Although this article focuses on the DV codec, all codecs work similarly
http://www.greatdv.com/video/concatenation1.htm
TAGS: compression, Q-table, DCD, quantization, detail
Chapter: Distribution
Topic: Encoding for Web or ROM
This time we will quickly explore the Timeline Markers a little further and see how they can be used to launch Web pages for your streaming media.
http://www.creativemac.com/2001/04_apr/tutorials/premieremarkers/premieremarkers-page1.htm
TAGS:
Chapter: Compositing Tools and Techniques
Topic: Keyframing
In this clip from Total AE, instructor Brian Maffitt introduces the concept of roving keyframes. With roving keyframes, your layer will travel precisely along the path you’ve set, but the keyframes are given “free range” to space themselves out in time. This results in an even velocity as the layer travels along its path. So follow the rolling, roving cannonball to Brian’s Blacksmithery, and learn how to use this powerful feature.
http://www.creativepro.com/img/movie/totalae406.mov
TAGS:
Chapter: Workflow
Topic: Inter-application Workflow
This article was written because of the huge amounts of time and energy it took me to move my complex edits from the Media Composer to Adobe After Effects. The process I developed in late 1998 early 1999 to successfully make the transition is described below, and it works like a charm, but it still is very time consuming. This commercial example was part of the genesis of an idea to remove the tedium of transferring an edit between the two applications. That solution, which (thankfully) makes this entire article obsolete, is called Automatic Composition Import, and you can learn more about it at http://www.automaticduck.com.
http://www.wesplate.com/helpful/avid_to_ae/index.html
TAGS:
Chapter: Workflow
Topic: Inter-application Workflow
This article was written because of the huge amounts of time and energy it took me to move my complex edits from the Media Composer to Adobe After Effects. The process I developed in late 1998 early 1999 to successfully make the transition is described below, and it works like a charm, but it still is very time consuming. This commercial example was part of the genesis of an idea to remove the tedium of transferring an edit between the two applications. That solution, which (thankfully) makes this entire article obsolete, is called Automatic Composition Import, and you can learn more about it at http://www.automaticduck.com.
http://www.wesplate.com/helpful/avid_to_ae/index.html
TAGS:
Chapter: Workflow
Topic: Inter-application Workflow
This article was written because of the huge amounts of time and energy it took me to move my complex edits from the Media Composer to Adobe After Effects. The process I developed in late 1998 early 1999 to successfully make the transition is described below, and it works like a charm, but it still is very time consuming. This commercial example was part of the genesis of an idea to remove the tedium of transferring an edit between the two applications. That solution, which (thankfully) makes this entire article obsolete, is called Automatic Composition Import, and you can learn more about it at http://www.automaticduck.com.
http://www.wesplate.com/helpful/avid_to_ae/index.html
TAGS:
Chapter: Workflow
Topic: Inter-application Workflow
This article was written because of the huge amounts of time and energy it took me to move my complex edits from the Media Composer to Adobe After Effects. The process I developed in late 1998 early 1999 to successfully make the transition is described below, and it works like a charm, but it still is very time consuming. This commercial example was part of the genesis of an idea to remove the tedium of transferring an edit between the two applications. That solution, which (thankfully) makes this entire article obsolete, is called Automatic Composition Import, and you can learn more about it at http://www.automaticduck.com.
http://www.wesplate.com/helpful/avid_to_ae/index.html
TAGS:
Chapter: Image Acquisition
Topic: Lighting
Where in the world do you find a real-life situation where three-point lighting actually exists? Outdoors during the day there’s only one source of light, the sun. Indoor rooms are most often lit by multiple sources that create soft generalized lighting, such as florescents, or by fixtures that light specific areas, such as spot lights on tracks. When I light something or someone, I am trying to imitate light as I might envision it would fall naturally in the same setting. I am also trying to add a bit of light to a person or thing in order to enhance a two-dimensional video format. This is done through modeling of the light on the subject. I don’t believe that lighting should completely change things but merely enhance things; simpler is better.
http://www.macmoviemaker.com/index.php?id=3
TAGS:
Chapter: Image Acquisition
Topic: Lighting
Chromakeying for television is one of the simplest effects one can do to enhance a production.These are some techniques for creating a green screen and lighting the talent.
http://www.macmoviemaker.com/index.php?id=5
TAGS:
Chapter: Music
Topic: Controls and Interfaces
We look at the creative potential of Logic’s Touch Tracks feature and the corrective potential of the audio fade-in, as well as showing you what ‘solo safe’ is and why you need it.
http://www.soundonsound.com/sos/apr01/articles/logicnotes.htm
TAGS:
