I’ve been a Photoshop user for years and am currently using their latest version, CS4. I also use their motion graphics program, After Effects. They make a great combination.
Recently, Dan Goldman (who works in Adobe’s “Skunkworks” division) shared a video of some of Adobe’s newest technologies.
If this is a sign of things to come in video editing and visual effects, we’ve got some powerful tools coming our way.
As a visual effects artist, I’ve had the tools to do the tracking shown in the first half of the video (using different tools). But the second half of the video is what really “grabs” my attention. You’ll see what I mean.
Just a quick update today. I’ve been swamped with video production work. Most of it is animation, motion graphics, and visual effects work.
In fact, I’ve now got a second film under my belt on IMDB. And the cool part is that for the this most recent film, ‘77, I’m listed right next to Richard Yuricich, a visual effects consultant who worked on 2001 and Mission Impossible, and I’m listed just a little under John Knoll. His works include visual effects supervisor for The Abyss, Star Wars, The Hunt for Red October, Pirates of the Caribbean, and much more.
It was an honor to work on the same film as these giants.
Add this some more personal things going on like a the new tile floor we installed at our house, new dog, and a few other surprises, things are pretty darn cool. More soon!
We’ve just updated the website with two new promotional videos. Both are exciting in that we’re breaking new ground in motion graphics.
Without boring you with the details, we’ve invested in some new behind-the-scenes technology at Reels in Motion to bring you the best in motion graphic design.
Also, if you happen to be in Kutztown in two weeks for the conference, please say hi! I’ll be there with our new updates and some other surprises.
See you then! Click on the images below to play them!
Here’s a concept. Imagine you are a coach. Now, imagine a video in front of you and you want to analyze the motion and technique of the player.
Now instead of just fast forwarding and/or scrubbing through the video, imagine if you could drag the hand forward and backward in time. Or the bat. Or anything moving in the video.
That’s exactly what what DimP does. It analyzes the video for motion and converts that motion to a vector based path associated with the timeline.
This is one of those things better watched than described:
Recently, I was working on a matchmoving project shot near my own house. Matchmoving is when something is shot with a moving camera and then that footage is tracked in 3D space.
The result is data that can be brought into a 3D program, like modo. This allows the ability to integrate computer graphics, like an Abrams, for example, with live footage.
I animated and rendered the Abrams in modo and composited the shot in Shake. The footage was from my DVX-100B, shot in 24 frames per second in widescreen mode.
Some of you may have hear of the computer software called Massive. It was designed to create a ‘massive’ number of virtual actors that interact with each other.
For example, Massive was used to create and control the armies in the Lord of the Rings. Certain “personalites” and reactions are fed into the ‘brain’ and the computer uses artificial intelligence to control and animate these computerized ‘actors.’
They have taken an amazing step and integrated this technology with robotic technology with Hanson Robotics! The robot communicates over wi-fi to a computer running the Massive software.
This might be a bit of a stretch, but only because the only other contender for the “One Camera to Rule them All” is made by the same company: Red.
Today at NAB, Red announced another revolutionary camera. This camera (when officially released) will record up to 120 frames per second (double most other cameras), at 3K resolution (most only go to 1080p), with a 2/3″ sensor (most handhelds have a 1/3″ sensor), records using Compact Flash or HDMI or HD-SDI (most camcorders still use that thing called tape) and most of all, the price.
You see, for features like this, a camera would be $10,000 for most of these features and higher for other features (like the 3K resolution, 120 frames per second and recording to CF). This camera comes in UNDER $3,000.
This is really an exciting time to be in video production. The tools are now at a point where they are accessible to everyone and produce images that, just a few years ago, were once only obtainable by the largest big-budget films.
I’m going to report a bit more about this camera as we find out more about what it will be capable of. Their last camera, Red One, made quite a splash. No doubt this will be quite the hit as well.
Trent Reznor (Nine Inch Nails founder if for some reason you don’t know) has clearly got some forward thinking marketing and complete understanding of the future of the ‘new’ distribution model of the internet.
This past week, he released several versions of his latest album, Ghosts, a four volume set. The first nine songs (the entire first volume) was available as a high quality, DRM-free download - completely free! As in, free. The next option was, for $5, one could purchase the entire album as a digital download. Again, high quality (320kbps) file as an mp3 or AAC. And no copy protection on those files.
Finally, you can purchase, for $10, the actual CD. However… when you purchase the actual CD (which ships in April), you are given a link that allows you to immediately download the same high quality mp3 or AAC files as with the $5 purchase, and the CD will be shipped to you.
I think this is great forward thinking and he’s going to reap the benefits. After all, he’s doing all of this on his website. Not going through a record label.
This is just more mainstream evidence that content creators are beginning to distribute their work on their own. Whether it is a band like Nine Inch Nails or an independent film by any number of artists across the globe, we are seeing this trend rapidly grow.
And while the total number of sales are not as high as going through a record label (I believe Reznor sold 600,000 to 750,000 albums, well below the million album mark), they had several other benefits. They made more money (since they kept it all and didn’t give anything to the labels) and they were able to keep complete artistic control of their content both during production and then during the sales and beyond.
2008 will see many more mainstream bands breaking from the labels and releasing their music on their own. We will also see many more independent films released for either direct download or DVDs available for purchase on the film’s website.
What is even more exciting about this trend is small effects houses like ours have seen an explosion in new films being created and the level of quality has risen dramatically with the affordable HD cameras on the market. I love being able to work on these independent films in true HD, shot by a crew of independents with a vision.
It is an exciting time and we are in the very beginning of this revolution. Get ready for all the rules to be broken by the people, for the people!
Reels in Motion Visual Effects Compositing and Matchmoving
