If You Suspend Pro Tools Mix Groups To Tweak Level
Mix groups are an essential part of managing multiple tracks when mixing in Pro Tools, and the bigger your session gets, the more you find you need them.
The loss of the Artist controllers is a missed opp
In 2010 Avid acquired Euphonix along with its portfolio of products, including the EUCON protocol - a hardware/software interface for integrating deep control functionality into various hardware peripherals. Euphonix at the time had a unique blend of high-end professional solutions, as well as prosumer products like the Artist series. The Artist line of controllers were all priced around $1500 USD and were a variety of control surfaces aimed at desktop users who might not otherwise require the functionality of a full blown console. These products included the Artist Control and the Artist Color.
Spiderman Far From Home VFX Discussion
Julian Foddy began his visual effects career in 2006 at DNEG. He works on films like GREEN ZONE, PAUL, FURIOUS 6 and HERCULES. He joined the ILM teams in 2015 and took care of the effects of films such as TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS, TRANSFORMERS: THE LAST KNIGHT, READY PLAYER ONE and SOLO: A STAR WARS STORY.
Animate Text without Keyframes or Plugins in FCPX
Join longtime editor, VFX artist, plug-in developer, Creative COW leader Bret Williams of BretFX to learn how the FCPX Custom text tool allows you to animate text in Final Cut Pro X without using keyframes or plugins. With the often overlooked custom text tool you can easily create great text animation with just a couple of clicks. Change opacity, position, rotation, scale, duration, spread, blur and easing all without creating a single keyframe!
Han Yang on finding new 3D workflows for The Lande
When 3D artist Han Yang posted work in progress stills and then a trailer for his personal project, The Lander, he received much acclaim for the look of this Predator-inspired short. But, in addition, he captivated viewers by explaining his mix of V-Ray and Unreal Engine in lighting and rendering the film.
Spiderman Far from home VFX interview
Last year, Kevin Souls and Raphael A. Pimentel explained the work of Luma Pictures on ANT-MAN AND THE WASP. They then worked on THE NUTCRACKER AND THE FOUR REALMS, MARY POPPINS RETURNS, CAPTAIN MARVEL and ONCE UPON AT TIME IN HOLLYWOOD. Raphael A. Pimentel also worked on PEPPERMINT and AQUAMAN.
AE & Mocha Pro - Reverse Stabilization Workflow
Use Mocha Pro's planar tracking to reverse stabilize your shots for clean-ups and more. Mocha Pro 2019 now includes the CC Power Pin export format, making a simple workflow to achieve a "stabilized pre-comp" workflow for compositing tasks.
Re-visit the CG of 1994's Lion King
In the 1990s, traditional 2D animation was in a major state of transition. Digital technologies were allowing animation studios, including Walt Disney Feature Animation, to do things in very different ways. Partly, that came about via Disney's adoption of the Computer Animation and Production System (CAPS) that had been developed in conjunction with Pixar to aid in digital ink and paint, compositing, and production and library management. By the time The Lion King was released in 1994, CAPS had already been utilized on a number of films, including Rescuers Down Under, Beauty and the Beast and Aladdin.
VFX veteran Jody Madden becomes new Foundry CEO
Foundry's chief product and customer officer Jody Madden (pictured above) has been appointed the new CEO of the leading visual effects and design software developer.
The 30 Degree Rule
We all know the 180-degree rule. It's a technique filmmakers use to make sure that the talent is always looking in the right direction on-screen by never letting your camera cross the centerline of the action.
Spiderman Far from Home VFX Supervisor
In 2017, Alexis Wajsbrot explained the work of Framestore on THOR: RAGNAROK. He then worked on MARY POPPINS RETURNS. He is back in the MCU with SPIDER-MAN: FAR FROM HOME.