By Nick Brazzi | Monday, August 18, 2014
Last week I went to the SIGGRAPH conference in Vancouver with Rob Garrott, the Content Manager for all of the lynda.com training in Video Production and Visual Effects.
SIGGRAPH is one of the oldest running conferences in the computer graphics industry. Each year graphics pros from all over the world gather to exchange ideas and demonstrate new techniques and products.
While I was exploring the SIGGRAPH show floor, Rob was busy interviewing some of the visual artists at the conference—folks who specialize in visual effects, motion graphics, storyboarding, and 3D print design.
By Robbie Carman | Saturday, August 16, 2014
Panasonic embraced the DSLR video movement with the Panasonic GH3. Now, with the new Panasonic GH4, they’ve pushed the envelope by introducing Ultra-HD and 4K resolutions, while retaining the familiarity of the GH3.
By Nick Brazzi | Wednesday, August 13, 2014
I’m on the show floor this week at SIGGRAPH, and I’m seeing some really exciting technology.
SIGGRAPH is the annual computer graphics and animation conference, taking place this year in Vancouver, British Columbia. It’s really a playground for animators, digital artists, interactive experience designers, motion graphics designers, and video producers—and I want to share with you what I’m seeing here.
By Richard Harrington | Saturday, August 09, 2014
The camera sees a person differently than the human eye does.
Everyone’s skin has a natural glow, but in front of the camera, skin can look oily and shiny.
This week on Video Gear Weekly, professional makeup artist and television stylist Kim Foley joins me to explore different options and techniques to knock out shine, even things out, and make your stars look their best on camera.
By Craig Whitaker | Friday, August 08, 2014
When I meet motion graphics artists, I’m surprised to find that many don’t realize how Nuke can improve their workflow.
As a big advocate of “the right tool for the job,” I’ll be the first to admit that every job doesn’t belong in Nuke. But there are many advantages to working in Nuke for motion graphics artists—including the very same tools and techniques previously reserved for feature-film work.
By Robbie Carman | Saturday, August 02, 2014
The GoPro began solely as an action camera. But now GoPros have mounts and cases that let you film in a multitude of scenarios—which makes them appealing for use on television and film sets.
This week on Video Gear Weekly, Rich and I explore different ways to adapt the GoPro camera case for professional shooting situations.
By Eduardo Angel | Saturday, August 02, 2014
Unlike still photography, filmmaking is a medium defined by motion. Motion is the action within the frame—but it’s also the motion of the frame itself. Even a series of well-lit and well-composed shots can be perceived as a slideshow rather than a story in motion if the shots remain “stagnant.”
Nowadays we’re so used to seeing camera movement in Hollywood films that we expect to see movement in all the videos we watch—even if we don’t know much about filmmaking.
Here are the primary tools for accomplishing camera movement—and when to use which:
By Seán Duggan | Tuesday, July 29, 2014
Photoshop has been able to handle video for several versions now, but the video features got a big upgrade with the CS6 release—in the form of a Timeline panel. This was significant because the timeline interface has long been a fixture in other dedicated video editing programs.
The nice thing about working with video in Photoshop is that you can rely on all the skills and techniques you already know about working with layers, adjustment layers, and layer masks. The ability to use layer masks with video layers allows you to create some really interesting custom transitions and composites for your video projects.
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