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Maxon Cinema 4D: PUMPKIN PARTS: Creating a pumpkin with Cinema 4D: PART 1

Chapter: 3D Modelling and Animation

Topic: Modelling

If you need to create a 3D pumpkin for seasonal graphics (whether for Halloween or Thanksgiving), you may wish to use a 3D application to give you more control over your digital pumpkin.  In this series, I’ll have some simple steps showing how to model and texture this object.

http://maxon.digitalmedianet.com/articles/viewarticle.jsp?id=35034

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Happy Leopard (Mac OS X 10.5) Day

Just a kindly reminder that, while Apple’s new Macintosh OS – 10.5
Leopard – has many great features it should NOT be installed on video
production systems.

As of today the new operating system has not been certified by
anyone!  Not even Apple have said that Final Cut Studio 2 is
supported on Leopard. Likewise no Avid or Microsoft product has been
certified for OS X 10.5.

Do not upgrade a production machine until the applications you use
are officially certified by their manufacturer.

Adobe did put out a press release saying that toshop CS3, Flash CS3
Professional, Contribute CS3, Dreamweaver CS3, Fireworks CS3, Flash
Player 9, GoLive 9, Illustrator CS3, InCopy CS3, InDesign CS3, Bridge
CS3, Version Cue CS3, Device Central CS3 and Acrobat Connect (Start
Meeting) are all compatible with Leopard.

Unfortunately Acrobat 8 Professional and the company’s professional
video applications, including Adobe Premiere Pro CS3, After Effects CS3
Professional, Encore CS3 and Soundbooth CS3 will all need updates to
run under OS X 10.5 Leopard. These updates are expected in December
2007 (Acrobat related products in January 2008).

Even after the applications are certified for OS X 10.5, the wiser
among us will wait for the early adopters to discover where the hidden
bugs are!

Blackmagic Design adds support for Adobe Premiere Pro CS3 and Mac OS X Leopard

Blackmagic Design Inc. has updated the drivers for Multibridge
6.6, DeckLink 6.6 and Intensity 1.8 to add support for the new Mac OS X
10.5 “Leopard”. This
software release
also includes support for Adobe’s Mac version of
their highly popular Premiere Pro CS3 version 3.1.

Note: While Blackmagic Design have updated their drivers for OS X
10.5 Apple have not yet certified Final Cut Studio 2 for OS X 10.5, nor
have Adobe certified their Production Studio applications for OS X 10.5.

Blackmagic Design users can now quickly find and preview their video
media files, using Cover Flow and Quick Look, now featured within the
new Mac OS X 10.5 Leopard.

With added support for Premiere Pro CS3 v3.1 for Mac OS X,
Blackmagic Design customers can also:

  • Use project presets for capture and playback using Apple’s
    uncompressed codecs in high definition and standard definition, and
    Apple’s DV compressed codec in standard definition. Also included are
    project presets for standard and widescreen support in standard
    definition using both Apple’s uncompressed and DV codecs.
  • This new release features project presets for capture and
    playback using Blackmagic’s 10-bit RGB codec for 2K film and high
    definition 4:4:4 video providing Mac users full film editing
    capabilities with Premiere Pro CS3 v3.1. Featured on all Multibridge
    PCIe and DeckLink HD cards.
  • Other features for Premiere Pro CS3 v3.1 users include Insert and
    Assemble edit-to-tape for decks which support these features, and
    RS-422 device control. Featured on all Multibridge PCIe and DeckLink
    cards.

These software updates are for Blackmagic Design’s Multibridge,
DeckLink and Intensity families of products. These new software updates
are available now free of charge for all registered Multibridge,
DeckLink and Intensity customers from the Blackmagic Design web site.

BuZZ Show and Podcast for October 25

This week’s episode of Creative Planet’s Digital Production BuZZ – the world’s only talk radio for Digital Production, Post Production and Distribution – is full of great information and entertainment, as usual.

We start off tonight’s show with Will Henshall, professional photographer and former music producer about his theory that the default of the future will be shooting video, with digital stills being relegated to portraiture and product shots.

After our popular “Pick our Brains” segment we’ll be on the line with Stacey Parks and our regular “Insider’s Guide to Distribution”.

After the break we’ll be hearing from Tom Ohanian, one of the co-founders of Avid but now Vice President of Product Management at Signiant, about automating digital distribution and encoding during production.

At the end of the show we’ll be featuring a topic of the week in our “BuZZ in Depth” segment.

Creative Planet’s Digital Production BuZZ is live 6-7 pm Pacific Time. Join the Show Live, listen to, or download an episode from the archives or subscribe to the podcast through iTunes or off the website.

Adobe After Effects: After Effects and Animating Text

Chapter: Titling

Topic: Titling Animation

After Effects has some great text presets already installed for your convenience and they make some great animations with just a click of the mouse. This is a fast and quick way to make some great animations. But, do not forget to overlook the animation button under your text layer. This is a great way to make custom animations to your text to achieve the exact results you are looking for.

http://www.geniusdv.com/weblog/archives/after_effects_and_animating_text.php

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Avid Xpress Pro: Using Time Shift audio plug for Avid Xpress

Chapter: Editing

Topic: Audio Editing

In case you missed it, Avid now includes a time-shift audio plugin that is included with the Avid software. You must have at least 5.7.X in order to use this new feature. In some ways, it is the same as the old time compression expansion filter, but I find it much easier to use since it doesn’t deal with ratios.

http://www.geniusdv.com/weblog/archives/using_time_shift_audio_plug_for_avid_xpress.php

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Avid Media Composer: Using Time Shift audio plug for Avid Xpress

Chapter: Editing

Topic: Audio Editing

In case you missed it, Avid now includes a time-shift audio plugin that is included with the Avid software. You must have at least 5.7.X in order to use this new feature. In some ways, it is the same as the old time compression expansion filter, but I find it much easier to use since it doesn’t deal with ratios.

http://www.geniusdv.com/weblog/archives/using_time_shift_audio_plug_for_avid_xpress.php

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Adrienne Electronics introduces the AEC-uBOX-2

The new AEC-uBOX-2
from Adrienne Electronics Corporation was introduced at NAB last April
and is now shipping. It is a great production tool that lets the video
producer integrate live LTC Time Code into his HD or SD work flow. It
allows capture of live LTC Time Code in conjunction with the capture of
SDI uncompressed video, strait into Final Cut Pro/Studio or Adobe
Premier from the camera. It’s like adding an ‘LTC IN’ plug to your KONA
or DeckLink card. This one feature alone will save time and money while
bringing convenience back into your production day.

The new AEC-uBOX-2 replaces the older AEC-BOX2 model which have been
around for many years, but in a small pocket size unit. The same
input/output functions are supported, and the price is lower, selling
for US$395.00.

The new AEC-uBOX-2 supports both RS-422 and RS 232 communications in
each unit. The cable connection determines which is used.

The biggest advantage in multi-camera operations is the AEC-uBOX-2
provides the recording of the matched time code from all camera
captures, up to 10 simultaneous live SDI feeds, each with the same time
code tags. No additional time to ingest from tape during post, no
expensive VTR, and no tape. The AEC-uBOX-2 unit is currently being used
by motion picture and television production companies to save time.

In short, the AEC-uBOX-2 acts as a virtual VTR, providing the live
time code instead of the “off-tape” time code that a VTR usually
provides. This unit works similarly with PC based systems like Adobe
Premiere with an Avid Media Composer / Xpress / Mojo or AJA XENA Card.

Adrienne Electronics have some case studies
working with Final Cut Pro available.

16×9 Inc. Introduces new LUX-LED DV Camera Lights

16×9 Inc. has introduced the Lux-LED-DV
camera light by Bebob Engineering, the first on-board light-emitting
diode system to feature variable focus range.

The unique arrangement of the system’s five high-output LEDs allows
for stepless variable focus at an angle of 40° to 60°. Output is fully
dimmable with daylight color temperature at full saturations and an
innovative incorporated cooling system keeps the light cool to the
touch.

The manufacturer claims that through its use of high-efficiency
light-emitting diode technology, the Lux-LED-DV is capable of
generating greater brightness at a lower power consumption compared to
standard tungsten light systems. Bebob’s design incorporates
power-efficient DC regulation that allows the light to operate at
multi-voltage inputs (from 6.5V to 28V), making it compatible with a
much wider range of cameras. The system comes equipped with an inline
power supply adapter that enables the Lux-LED-DV to run directly off of
standard Canon BP, Panasonic CGA, or SONY NPF L camera
battery-eliminating the need for an external power source.

16×9 Inc. is also introducing the Lux-LED
for broadcast cameras. Incorporating the same sophisticated arrangement
of LEDs and variable focus as the Lux-LED-DV, this new system also
shares many features of the original Lux camera light. Its
“three-in-one” design allows it to be used on board a camera, handheld
or stand-mounted, without the need for extra accessories or brackets.
Bebob’s double-articulation system lets the light shift position 3″ (8
cm) up and down, or forward and backwards, to avoid unwanted shadows.
The Lux-LED’s ergonomic dimmer knob is integrated into the base handle
for ease of use and protection.

The new Lux-LED-DV and Lux-LED camera lights are available
exclusively through 16×9 Inc.

Sony Debuts Sony ECM-680S for HD Field Production

Sony has released a a lightweight switchable shotgun microphone that
provides both stereo and monaural operation in a single device.
Introduced at the recent AES in New York, Sony’s ECM-680S
MS
(mid-size) electret condenser microphone incorporates newly
developed
capsules that provide high sensitivity, low inherent noise, and a
flat-and-wide frequency response.

Sony claims that the new microphone can capture digital multichannel
sound and switch
from capturing voice and distant sound in highly directional monaural
operation to a spatial stereo mode for natural environmental sound
quality.

The mic is nearly 10 inches long and weighing 4.9 ounces and can be
mounted on
a boom or directly on the camera. Its large-diaphragm capsules with
bi-directional characteristics provide sensitivity of -28 dB in stereo
and 32 dB in mono. Noise is less than 20 dB SPL in both stereo and mono.

Modes can be switched from the microphone itself or from compatible
Sony professional camcorders. In the stereo mode, the MS stereo
microphone signal is internally decoded to left and right (stereo)
outputs. The mic also includes an LED that illuminates when stereo mode
is selected.

The ECM-680S MS is now available for US$960.