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Apple Final Cut Pro: Using White v Super-white in Final Cut Pro

Chapter: Editing

Topic: Settings

This whole “White” versus “Super-white” issue surfaced when we started combining computer graphics with video.

http://www.larryjordan.biz/articles/lj_white.html

TAGS: “YUV, IRE, RGB, “

Sony Vegas: Creating a Film-Like Appearance in Vegas 4.0

Chapter: Visual and Creative Effects

Topic: Film Look

Making video look more like film has been a goal of videographers since desktop video was a concept. Video simply cannot look exactly like film, due in part to the perfection of video and the conversion process, the compression process, and the interpretation of imagery. Many companies offer “cure-all” plugins to make video more film-like, but in the opinion of all but the most amateur, these plugs merely make video look like video treated to look like film. Some of the more expensive tools, such as Magic Bullet from Red Giant, can do an excellent job with video shot like film, but Vegas can approximate most of that same look without the plugin tools.

http://www.digitalpostproduction.com/articles/viewarticle.jsp?id=22424

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Sony Vegas: Creating a Star Wars-Like Hologram in Sony's Vegas 4.0

Chapter: Visual and Creative Effects

Topic: Simulation

Remember the beamed holographs seen in Star Wars episodes? At the time the movie came out, this was an exceptionally cool thing, never seen nor conceived before. Star Trek had a simple transporter beam effect that used masks to create the look of being transported, but the holograph was a method of communication and projection never before seen. Playing around in Vegas on a VASST tour, I was working with a piece of footage and realized how simple this would be in Vegas.

http://www.digitalpostproduction.com/articles/viewarticle.jsp?id=22413

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Avid Liquid Edition: Using the Basic 2D Editor

Chapter: Editing

Topic: Scale and Position

Leverage the simple to create something more complex. Liquid Edition expert Dennis Radeke shows you how to build an effect in one of Pinnacle Liquid Edition?s editors, and then apply the same techniques to all of the editors contained with Liquid Edition. For a picture-in-picture effect, whether it’s 2D or 3D, Liquid gives you plenty of options. In this tutorial, learn how to take advantage of Liquid’s power and flexibility by using its basic 2D editor.

http://www.broadcastnewsroom.com/articles/viewarticle.jsp?id=23839

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Adobe After Effects: In the Cards – Sub-pixel placement in After Effects

Chapter: Compositing Tools and Techniques

Topic: Controls and Interfaces

You are probably familiar with the X,Y, Z pixel coordinate placement of layers in After Effects. But what if you need to nudge something less than a full pixel? You can certainly do it, but why is it helpful? In this beginner Adobe After Effects exercise, we’ll examine how nudging along the Z space can create a two sided object.

http://www.creativemac.com/2004/02_feb/tutorials/inthecards.htm

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Autodesk Combustion: Getting the most out of combustion

Chapter: Compositing Tools and Techniques

Topic: Compositing Tips or Shortcuts

A set of tips to improve combustion performance.

http://www.fxguide.com/fxtips-205.html

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Autodesk Combustion: Combustion tracking and AE users in Combustion

Chapter: Compositing Tools and Techniques

Topic: Motion Tracking and Stabilizing

A couple of quick tips for tracking and for AE users in Combustion

http://www.fxguide.com/fxtips-206.html

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The HDV Breakthrough

Chapter: High Definition

Topic: Editing HD

The fly in the ointment has always been the challenge of editing HDV, since it records its high-definition images in a compressed MPEG-2 transport stream (MP@H-14 if you are keeping score) that gains its data efficiency by using an elusive six-frame Group of Pictures or “”GOP”” containing I, B and P frames. But now there are several options for addressing the HD MPEG-2 editing challenge directly that brings vital competition to the burgeoning maturation of the HDV post-production market.

http://www.tvtechnology.com/features/Focus-on-editing/f_focus_on_editing-02.18.04.shtml

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Equalizing Rather Than Compressing Bass Lines

Chapter: Audio

Topic: Equalization Settings

The bass is the most inconsistent instrument that we commonly record. If the bass player hits his strings at an even force, the instrument will put out some notes loud and others soft. Because of this characteristic, many engineers reach for a compressor automatically. Where the compressor will even out the bass line, it also takes away from the “attack” of the instrument and makes the instrument’s sound less distinct.

http://www.getimo.de/linkpage2/html/tuts.php?/linkpage2/html/tuts_common_recording_tip23.php

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Autodesk Combustion: Tracking/alignment using Negative

Chapter: Compositing Tools and Techniques

Topic: Compositing or Layering

A great and simple way to see if two images are aligned…..

http://www.fxguide.com/fxtips-202.html

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