After Effects Add-Ons

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Being one of the longest industry standard post production applications in the world, you would think After Effects would have every function to make your life as an artist easier. With the ability to create vector shapes, rotoscope, track in 2D/3D, and more, it is a pretty comprehensive application. However, on its own it can only do so much. That is why there is a community of developers who have created add-ons for After Effects to make the user experience more bearable than before. These add-ons can make animating multiple layers more efficient, the creation of a folder structure at the project, and other features. I’m going to highlight three of these add-ons.

Mister Horse Previewer

 

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This After Effects plugin is something that should have been in the program from the get go. With this plugin, you can view imported footage, images, and music in a separate panel and see the first frame of compositions. I can’t count how many times I wish I could quickly preview an asset without having to go through much hassle. Ever since I purchased this plugin, I feel more at ease when importing assets into After Effects knowing I can see them on their own without having to open the layer panel view them. You can purchase this plugin for $21 at Videohive.

True Comp Duplicator

 

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This is a script I’ve been using for the last two years and it has been an invaluable asset to my workflow. If you are a heavy After Effects user, you will know how much of a pain it can be to create duplicates of a composition which contain multiple precompositions. It’s not as simple as duplicating it from the project panel, unfortunately. What this script does is create a complete duplicate of a comp hierarchy, including sub-comps.  If a comp is used multiple times, the comp only gets duplicated once and all remaining references point to the first duplicate.  If the comps are arranged in a special folder hierarchy in the project panel, that folder hierarchy is preserved or duplicated (depending on user preference) for the duplicated comps.

Based on the tutorial provided by Lloyd Alvarez, this script is very in-depth and can is definitely a timesaver. The best part is that you can pay your own price to get this plugin.

Text Box Script

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This free script from Motion Boutique creates a rectangular box around a text layer. A modern look for infographics and other motion graphics involves text being inside of a box. This script helps speed up the process of creating shape layers around the length of your text. I’ve used this script on a few projects myself and it has been a blessing to use. All I have to do is create my separate text layers, plug in my parameters for the script, and voila! I have a text box graphic. Grab this script now and see where it fits in your workflow.

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Nodes 2 from Yanobox

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Avengers. Ender’s Game. Iron Man 3. Rise of the Planet of the Apes. These are just a few films that have had the opportunity to utilize the plugin known as Nodes. With the release of Nodes 2, Yanobox has upped the ante with what this plugin can do. This motion graphic tool can import 3D models, interact with the After Effects camera, link text and images to individual nodes, and so much more. The best part is it supports the most popular editing and compositing programs on the market including: After Effects, Motion, Final Cut Pro X, and Premiere Pro. If you don’t believe how awesome and intricate this plugin is, take a look at this demo below:

I’ve had a chance to try out Nodes 2 myself and I was extremely impressed with how quickly I was able to pick it up. Here are a few quick examples of what I was able to create on my own, which to my surprise, rendered very quickly on my iMac. On top of that, I like that I can create certain animations with ease compared to plugins like Trapcode Form or Particular.

Overall, Nodes 2 is an incredible plugin that needs to be experienced firsthand to admire its depth. With this plugin, I am able to create breathtaking and stylized motion graphics that would require multiple plugins and tinkering to achieve the look Nodes can create effortlessly. I’ve always been a fan of the Yanobox plugins, and this Nodes sequel more than lives up to its predecessor. I like how the controls are easy to experiment with, as well as the presets. The presets provide a great starting point and can be manipulated at will. The fine folks of Noise Industries have provided very detailed tutorials for your favorite software application, which you can check out here:

If you are looking for a plugin that imports stunning 3D models, build networks of node structures, and allows you to create an limitless amount of text and image connections, then look no further than Yanobox Nodes 2. At the price of $299, it’s a no brainer purchase that will save you hours of work and allow you to explore more creative depths than you can imagine.

Sound Effects

Best Drones for Filmmaking

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In this new era of filmmaking, getting complex shots has become much easier thanks to technological advances made by vendors across the world. It’s more affordable to get a rising shot thanks to jibs and cranes that are accessible to even the most low budget filmmakers. Getting stabilized shots are easier now thanks to amount of rigs available. Aerial shots have now become cheaper due to the influx of drones available on the market. I want to highlight some drones you may want to consider adding to your filmmaking kit so that you can increase your production value.

DJI Phantom 3 Advanced/Professional $1,3000

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This aerial drone is a new release from DJI and can capture great high quality footage from great distances. What makes this drone so popular is the following:

  • 3 Axis Gimbal camera which shoots HD (for the Advanced model) or 4K (for the Professional model)
  • Captures photographs at 12 megapixels
  • Live HD camera view via smartphone or tablet attached to the remote controller through the DJI app
  • Vision positioning through visual and ultrasonic sensors
  • Intelligent Battery with battery level indicator
  • Worry-free AutoPilot

As an owner of the DJI Phantom 3 Pro, I can attest to the incredible media captured with this camera. Within three days of learning to fly this drone, I was capturing great aerial shots that I would have had to pay a helicopter pilot to capture. With a $1,300 price tag, it is a steal for what you get from this drone. I would personally recommend this model for any prosumer or high end shooter who needs to capture aerial shots of client locations.

 

DJI Inspire 1 $3,399

 

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The DJI Inspire 1 is the more advanced and expensive model of the Phantom models offered. This drone is designed with strong carbon fiber arms and gives the user a full 360 unrestricted view when in flight. The Inspire features:

  • 3 axis gimbal 4K camera which shoots up to 30 fps, or 1080p up to 60 fps and takes photos at 12 MP
  • Optional dual remote control function
  • Powerful propulsion system
  • HD wireless video transmission
  • Vision Position system
  • Intelligent Power Management system

If I had the expenses, I would have considered investing in this. I would definitely say that this model is meant for high end, big budget filmmakers that have the funds to afford it.

3DR Solo Quadcopter $999.95

 

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The 3DR Solo is an all-in-one personal drone with a great ease of use and powerful new features. Within these powerful features are the following:

  • Computer assisted cinematography through the Solo app
  • Attach a GoPro to gimbal harness and stream HD video from your GoPro to your iOS or Android mobile device, at ranges of up to half a mile.
  • Easy to use aerial photography controller
  • Powerful smart battery which displays remaining time
  • Up to 20 minutes of flight time with GoPro attached

I haven’t had the opportunity to try this drone, but based on the preview video above and the feature list, it has a lot to offer. With the ability to mount a GoPro, you know what type of quality you are getting. With a price tag of $1,000, you are getting an advanced video production tool that will give see a greater return.

Overall, these three drone models are great if you want to add aerial videography to your business and skill set. I’ve only began my journey into aerial photography, but already I feel that it has added much value to my current projects. I look forward to seeing what I can do next.

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Luca Visual FX Backgrounds & Overlays

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The team at Luca Visual FX has brought another product to the market which will benefit professionals across Mac and PC platforms. It is the incredible and extraordinary Backgrounds & Overlays. This product is an extremely versatile collection of 100 HD clips which are an indispensable addition to any editor’s library.

It is compatible with the following software:

  • Final Cut Pro 7/X
  • Adobe Premiere Pro
  • Adobe After Effects
  • Apple Motion
  • Avid Media Composer
  • DaVinci Resolve
  • HitFilm
  • Sony Vegas

I had a chance to test drive this new product.

What are Backgrounds & Overlays?

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It is a vast collection of 100 Full HD dynamic motion graphic clips designed to be used as backgrounds and/or overlays for a variety of projects. You can use them in promos, VJing, music videos, sports, news, corporate, and much more. On the dedicated web page at the Luca Visual FX site, you can preview the entire collection and see what each background has to offer.

What are some of the best ways to customize these clips?

Editors can use blend modes from their host programs, change the speed rate, scale, crop, position, or add any third party filter or built in effects to customize these clips. Also, stacking several instances of Backgrounds & Overlays allows the creation of complex and beautiful effects by simply using blend modes. Use effects such as blurring and distorting to maximize your customization. In this clip, I created some examples to showcase how far you can push these clips.

To see how these clips can be manipulated and integrated into your projects, take a look at this tutorial where I show you how to use them with footage and text:

Is it possible to get the Backgrounds & Overlays in a different format?

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All files are delivered as .mov files, so as long as the user has Quicktime installed everything should work correctly. If you need further assistance, you can contact customer support here.

Can you list some scenarios where these clips work best in?

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As mentioned above, they can be used for a variety of video projects. Here is a list of effects that I’ve done which you can try out yourself:

  • Video inside of text or shapes effect
  • Text backgrounds
  • Feathered shape overlays
  • Heads up displays
  • Frames and borders
  • Picture and picture background
  • Lower thirds
  • 2D & 3D animation inserts
  • And many more effects

Overall, I believe that Backgrounds & Overlays will be a product that users will turn to when they need to amp up their productions. With the dynamic range of motion graphics, and the fully customizable options that are available, the sky is the limit with creative opportunities. I strongly recommend that you download some of the demo watermarked clips and see what you’ve been missing. They are now available for download on the web page.

The launch price of Backgrounds & Overlays is $49.  Don’t miss out on this versatile product line.

For readers of this article, LVFX is offering a 10% off coupon when you make a purchase using this coupon code: BO2015S

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What is HitFilm?

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With all the editing and compositing programs available for filmmakers on Mac and PC, it can be hard to decide which program suits your workflow. The general understanding of post production is that editing should be handled in one program, where visual effects and motion graphics are handled in another. Programs that utilize this workflow are Premiere Pro/After Effects and Final Cut Pro X/Motion. With Avid Media Composer, professionals cut in the program but usually go to programs like After Effects, Fusion, Nuke, or Motion for graphics work. However, there are programs that have the best of both worlds all in one package. Autodesk Smoke has both editing and node based compositing capabilities. Another program is HitFilm Pro. I want to discuss HitFilm Pro, and why you should consider using it if you want an affordable all-in-one post production software.

What is HitFilm Pro?

HitFilm Pro is an all-in-one editing and compositing program. Designed to handle projects on the small scale to big budget, HitFilm can withstand it all. Bundled with over 180 effects, and the ability to switch between editing and effects smoothly, this program can do some amazing things whether it is in 2D or 3D. Need to motion track titles to a moving object? HitFilm can do it. Need to make your talent look like they are flying through the clouds? HitFilm can do that. This piece of software is pretty comprehensive and is only limited by what you want to create.

What is the general workflow when using it?

First time users can take different approaches to post production when they use this software. Gone are the days of switching between apps to do essential parts of the post production pipeline. Now, you have the choice between doing compositing or editing. In the second video above, Axel Wilkinson shows us a general overview of the HitFilm interface and how users can get up to speed crafting their videos in no time. Switching between the editing tab to the composite tab is something we could only dream of in the past. That reality is here with HitFilm Pro.

What effects can I create in it?

Like I said before, what you create in HitFilm Pro is limited to your imagination. Below is a list of effects and compositing capabilities it possesses:

  • Chroma Keying
  • Live 3D Model Rendering
  • 3D Particle Engine
  • Mocha 4.0 for planar tracking
  • Fire, lightning, and weapon based effects
  • 3D camera projection
  • Color correction/grading

Essentially, it possesses the capabilities of the popular NLEs and compositing programs on the market. Many web-based filmmakers have used created effects with this program, which include Corridor Digital, Film Riot and Freddie W. The effects I’ve seen created by users of this program would blow away even the most capable pros.

Why should I buy it?

There are many programs you could be using to complete your post production work. Many of which are trusted to get the job done by seasoned professionals. However, just because one workflow is trusted and most used does not mean it’s the only one that matters. Using HitFilm Pro will give you the ability to have the best of two disciplines in one program. No need to farm your visual effects out to a separate application. You can do it all in the application by tabbing over. With HitFilm Pro, you finally get the program that let’s you be all things post production without much hassle. When you have the options that this robust program offers, it’s a no brainer.

Overall, the team at HitFilm have created a comprehensive and robust application that can tackle even the most daunting of projects while making it affordable to every filmmaker. Download HitFilm Express 3 for free or purchase the pro version for $299.

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Film Impact Transitions Pack 3

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The creators at Film Impact have released a new pack of ten dynamic transitions for Premiere Pro just in time for the 2015 release. These transitions bring with it 3D movement, glows, glitches, flares, mattes, and much more. I’ve been using Film Impact transitions since their inception, and have all three packs in my collection. These transitions add that extra piece of pizzazz without being over the top. I had a chance to play around with these new transitions and see their capabilities. The four transitions below are some of my favorites.

Impact Solarize

Impact Solarize is a transition which takes the incoming and outgoing clip, blends them with a tinted invert and glow effect, then dissolves between them. In the Effect Controls, you can control a variety of parameters such as the glow, width, RGB values, contrast, and dissolve length. I’ve used this transition on recent video projects and it really flowed with the presentation and feel I was trying to establish. Overall, I like that I can change the colors and impact of the glow to get a unique look of my own, or I can use the default setting as is.

Impact Wave

Impact Wave is a transition that makes a wave like motion between your incoming and outgoing clip. I like to think of this transition as a combination of a zoom blur and a cross dissolve. With this transition, you can control the angle, motion blur, amplitude, colorization, and length. I haven’t seen anything like this from other vendors offering third party transitions. It’s very smooth and straight to the point. I highly recommend using it.

Impact 3D Roll

Impact 3D Roll is a transition that rolls your incoming and outgoing clip into a cylinder like motion. You can choose to roll it from a 45 degree angle, horizontally, or vertically. With motion blur properties available, users can choose whether or not they have it enabled, and how much of it they want. Users can also choose between the number of rolls, which ranges from one to three. The amplitude parameter controls the appearance of the roll, which means that a positive value yields the inside of a cylinder look while a negative value will give it a bulgy look. What I like about this transition is how versatile it can be, as well as it’s possible configurations. I’ve used this a lot on entertainment pieces and it definitely enhances the production value.

Impact Flare

Impact Flare is a lens flare transition that moves across the screen while dissolving from the outgoing clip to the incoming. Users have the ability to control a variety of parameters including the color, start/end points, shape, fog, and halo. While I’m a fan of this transition for its dynamic movement and ease of use, it would be even better to have some visual options of the parameters, like fog and halo. Overall, I’ve tried other flare transitions before, and this one renders more quickly and is great for a quick flare transition without a lot of fuss. This transition will be frequently used on some upcoming projects.

Film Impact Transition Pack 3 is a must have if you are a Premiere Pro user. In the time since these transitions have been available, I’ve seen great projects cut with this new pack, and you will have more creative options than before. Pick up this pack for $89, or all three packs for $179.

Sound Effects

Luca Visual FX Hi-Tech Overlays

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The team at Luca Visual FX have been working hard to bring a new product to the market that will benefit post production professionals across Mac and PC computers. It is Hi-Tech Overlays. This product line expands the alpha transitions and overlays that LVFX created in the past. This update brings a new model for users to access the elements they need at a moment’s notice. I’ve had a chance to preview the new library and had a chat with the guys of LVFX. Here are a few questions users may have.

What are Hi-Tech Overlays?

It is an alternative solution to our Hi-Tech plugins for FCPX that provides users of software such as Premiere Pro, Avid Media Composer, After Effects, Motion, and Final Cut Pro a way to build Hi-Tech mographs for promos, sci-fi, music videos, news and sport, corporate productions, and more.

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I see that you implemented a new system for the users to access the product. Tell us about it.

Yes, all mographs and images are provided in full resolution and the user will download from our web site only what they need any time they wish, right from the moment of purchase. We started working on this new way of delivering a product in December 2013 and hope to provide the easiest and most convenient way for our users to access a vast library of interchangeable mographs and images.

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Will the library be based on a subscription that you pay monthly, or is there a lifetime license?

No monthly subscriptions to pay, but only a single lifetime license that people can easily purchase on our web site. The user will receive unique and safe login details shortly after completing the payment, and will be able to download both Hi-Tech default looks of effects like holograms, displays, sci-fi mographs, fractals, etc., and individual elements to customize and combine as desired. The library also includes High-Tech Elements Vol.1.

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I have issues with Quicktime on my PC. Is it possible to get the Overlays in a different format?

All files are delivered as .mov, so as long as the user has Quicktime correctly installed everything should work correctly.

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Will there be tutorials on how to achieve the results you showed in the demo?

Yes, we have already edited four of them and more will come. They show how to customize not only the elements, but also how to combine them creatively in order to create unique looks. The first four are available on VIMEO.

If I own the FCPX templates of this product, is there a way to get access to this library to get additional elements?

Hi-Tech Overlays is essentially a cross-platform alternative to Hi-Tech for FCPX that will work with more hosts. FCPX users would find in the library what they have already in the form of FCPX templates. There are, however, several advantages in using individual layers. We also intend to expand the library and add more and more elements for our users. Should FCPX users wish to access the library in order to handle individual layers, we recommend to email support@lucavisualfx.com with their request.

What manipulation options would allow you to get the best results with Hi-Tech Overlays (i.e color change, distortion, time remapping, etc.)?

There are tons of ways to modify the overlays. The only limit is one’s creativity. For example, with filters, the user can indeed change the color and distort (some examples can be seen on the demo) but also add glow, blur, and many other stylizations. Another way to create unique compositions is to combine individual elements taken from different categories (i.e. Holograms and sci-fi overlays or Screens and Fractals, you name it), use blend modes to create nice superimpositions and layers. Another great advantage that not even the FCPX template can offer in such extent is the use of any transition you can think of in order to create your own Build-In and Build-Out at the beginning and end of your composition. An example is shown at the very beginning of the demo where all elements come together in different ways. Possibilities are endless!

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Do these elements come with embedded alpha transparency? If they don’t, what would be the best practice for getting transparency?

Yes, absolutely, the alpha channel comes with every single element of Hi-Tech Overlays.

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Overall, I believe Hi-Tech Overlays will definitely be a product with infinite possibilities for the user. The amount of ways you can mix and match the elements will definitely draw the user to think outside the box when they apply mograph to their projects. I strongly recommend that you try experimenting with different colors and manipulation effects to see how far you can push each element. In the process, you may create a unique look that wasn’t thought of before.

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Exporting/Compression Applications

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Exporting your edit out of your NLE is one of the many important processes of post production. In the tape-based days of exporting, it could be a very tedious and time consuming process that required a lot of quality assurance. With the digital era of video and web based content taking charge, exporting your videos isn’t as hard as it use to be. As a video producer, it is my job to know what specifications are necessary to deliver to my broadcast and web vendors to ensure that my commercials get aired properly. That is why I need to know all the available media compression applications on the market. I’m going to highlight three applications that I’ve used for the last five years to get the job done.

Adobe Media Encoder

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My go to compression/exporting application for the last four years has been Adobe Media Encoder. In times of fast turnarounds and very specific video types, Media Encoder has been clutch more times than I can count. Since I’ve been using the Creative Suite/Creative Cloud, Media Encoder has been apart of the bundle. Long before Premiere Pro had the ability to export media from the application itself, you had to queue in Media Encoder to get the final render you needed. The latest iteration of Media Encoder is a stable and reliable application that is able to meet vendor specifications much easier than anything I’ve used previously. Whether I need Quicktime files or mp4 files, it gets the job done. Below are a few abilities of Media Encoder:

  • Match Source presets
  • Exporting Closed Caption data
  • Import and export of Avid DNxHD assets
  • Support for new formats such as Sony 4K AVC-Intra (XAVC), Panasonic AVCI-200, DNxHD in an MXF container, XDCAMHD in a QuickTime (.mov) container, and more

Apple Compressor

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The next compression/exporting application I used quite often is Apple’s Compressor. Compressor has been apart of the Final Cut suite for the last decade, and the latest installment is much stronger and efficient than before. I’ll be honest about my use of Compressor. I used it mostly when I needed to make DVDs or seldom used file types. It got the job done until I shifted to an Adobe workflow. It could be that the computer I had previously wasn’t strong enough to harness its true power. Overall, I found Compressor to be a backup in case Media Encoder failed to deliver what I needed. I have found that the latest version of Compressor works great when I edit with Final Cut Pro X. It creates great master files and web ready H.264 files very efficiently and clean. It even creates video files for iTunes app display. In my opinion, it is one of the best compression/exporting applications on the market and shouldn’t be overlooked. Below are a few features of Apple Compressor:

  • Intuitive interface
  • Streamlined workflow
  • Share Final Cut Pro settings
  • Encoding available for Apple devices
  • Broad format support and more

MPEG Streamclip

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MPEG Streamclip is a free application available for Mac and Windows which can open a variety of file types, as well as transcode to a variety of formats. In my opinion, this application was at its peak when most NLEs couldn’t take raw formats like H.264 from DSLRs. With most NLEs now supporting raw format editing in real time, this application has become more of a last resort compression application when you have no other choice. When I edited with Final Cut Pro 7 and Premiere Pro CS5, using this application to transcode footage was a common part of my workflow. These days, I help new  filmmakers learn to use it when they don’t have access to the aforementioned applications above. Overall, MPEG Streamclip is still a versatile application and I believe you should have it in your arsenal just in case. Below are a few features of MPEG Streamclip:

  • Lets you play and edit QuickTime, DV, AVI, MPEG-4, MPEG-1, MPEG-2 or VOB files. Transport streams with MPEG, PCM, or AC3 audio (MPEG-2 playback component required), DivX (with DivX 6) and WMV (with Flip4Mac WMV Player).
  • Saves edited movies as MOV files, and (when possible) as AVI or MP4 files.
  • Handles files and streams larger than 4 GB, split in any number of segments, or with multiple audio tracks, and can also optionally handle timecode breaks. It is compatible with MPEG-1 and MPEG-2 video, MPEG layer 1/2 (MP1/MP2) audio, AC3/A52 audio, and PCM audio.
  • Supports batch processing: just drag some files in the batch list, choose a conversion and a folder, click the Go button, and MPEG Streamclip will automatically convert all your files.

As you can see, these three applications are very capable of creating deliverables necessary to get your project out. While there are other applications like Sorenson Squeeze, Red Giant Offload, and camera based conversion programs, these programs have shown that they can perform at the top level. Feel free to try them out and find out what works best for you.

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Understanding the Roles in Visual Effects – Part 1

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Visual Effects, VFX for short, is a big ocean and covers numerous jobs. I am here to help make sense out of the plethora of names and titles out there so you can make a more informed decision as to what avenue you would want to explore as a visual effects artist. At the very least, maybe I can explain some of those weird credits you see scrolling at the end of the movies that make you say, “Data Wrangler?! Is a cowboy hog tying numbers on a movie set?!”

*Take Note* Each role header is a link that leads to a related creative reel or article going more in depth on the material. Enjoy!

Previs Artist

Previs is short for previsualization – this artist will work collaboratively with a team to develop the director’s image for specific physical or digital shots. These are taken from the script and recreated digitally as a quick rough animation. It is no mystery that movies cost money – and tons of it! By spending a small percentage of your budget on developing previs shots of key moments in the film in order to figure out the logistics, you can potentially save yourself thousands – if not millions – come time for the shoot and you know exactly how every moving part goes together (camera, lighting, scenery, explosions, etc).

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Data Wrangler

Also known as a Data Loader. This person works with the camera crew, post production editors, and VFX team to ensure all camera information is accurately recorded and stored on multiple hard drives (never erase anything without at least two copies backed up first! Redundancy is key). This not only includes the raw data itself, but also settings, frame rates, etc, that would be essential for editors and VFX artists to match with their own work.

Research and Development

There are people on the VFX team that are dedicated solely to R&D. For example, a VFX artist needs to create a medieval village. These people will research everything about a shot and will provide necessary sample shots, textures, settings for basis, and anything else necessary for the artist to create an accurate depiction of what was requested of them.

Matchmoving

Also known as Camera Tracking. This is the process of producing a 3D digital camera that matches the exact movement of what a physical camera has shot. It is essential for the VFX artist’s work to fit in a particular shot when the camera is rotating, panning, and moving around. A digital element needs to match each of these movements in order to not float off into space.

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Compositor

A compositor takes all the digital effects, environments, video, and images and combines them into a final rendered image.

There are two types of compositing: node based and layered based. Node based creates a “node tree” where each branch links a new media file or effect. The most popular node based software currently is NUKE by The Foundry. Layer based compositing manages media files and effects through a stacking system – bottom layers are at the base and everything layered is built on top. The most popular layered based compositing software is Adobe’s After Effects.

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Roto/Paint Artists

Rotoscoping is the process of creating a matte for an element that can later become composited into another background. For example, an actor might be shot on green screen, would need to be cleanly keyed out, and then sent to the compositor to be composited into a background shot. Sometimes, an actor may be wearing wires or some form of harness for a particular shot, and the artist would then need to go frame by frame and paint out those wires to seamlessly match the background. This role is generally looked at as an entry level position for aspiring compositors.

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Technical Director

He is regarded as the department ‘expert.’ They are equal parts artist and programmer. In a film studio, this is commonly for camera, animation, and lighting. “But I thought the Director of Photography was the expert cameraman?” You are correct, however, this is about Visual Effects roles and so the Camera TD in VFX is for all digital cameras implemented in virtual and digital environments. This also applies for the Lighting TD who is the expert at digitally creating realistic and accurate lighting in any given scene. This can be an entirely digital scene or digital lighting can be composited – by a compositor – created by a lighting TD – into a physical scene.

Additionally, some TD’s can program new software implemented in pipeline flow specific to that studio (pipeline is the term referred to the flow in which a post production VFX shot is created), developing character rigs, or any number of detailed oriented technical tasks in the VFX world.

These are just a few roles in the sea of visual effects. If there is a specific VFX role you would like to see me explore next, leave a comment below!

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Top 5 Favorite Features of Premiere Pro CC 7.1

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With the latest update of Premiere Pro CC and the rest of the Creative Cloud suite, users were given a slew of features to help them use the program more effectively than before. In total, there were over 150 features added to the video-centric applications. There were features within the Premiere Pro CC update that helped users with multi-cam operation, freeze frames, markers, and transitions. In this article, I will summarize my five favorite features of the program. Below is a video by post-production professional Josh Weiss of ReTooled.net going over some of the new features of the 7.1 update.

More freeze frame options

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For the longest time, creating a freeze frame in Premiere was quite the hassle. Previous versions only allowed you to export frames from the Source or Program monitor, or with a blade edit proceeded by an enabling of the Frame Hold option. With the first iteration of Premiere CC, they added the option to export a frame and import it into the project browser. While this was a step in the right direction, it still took too many steps to create a simple freeze frame. With the 7.1 update, users now have the option to insert Frame Hold segments, as well as an Add Frame Hold. As summarized in the video above, these options either insert a freeze frame in the timeline, or freeze a part of your clip at the point where your playhead is parked. The best part about these options is that they can be extended for lengths longer than the original clip. With multiple options added to create freeze frames from multiple levels of the interface, the process is more streamlined.

Drag and drop 3rd party transitions

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This feature request has been popular among users for the last few years, and I’m glad to see it becoming a reality. One of the drawbacks of using Premiere Pro was that 3rd party transitions acted like filters, instead of transitions that you could drop between an edit point. This functionality is similar for users of After Effects and Motion. The laborious process of getting them to work discouraged many editors from using them. With the 7.1 update, 3rd party transitions from Noise Industries, Genarts Sapphire, and others now function the way they were intended. What’s even better, is that you can manipulate parameters in the Effect Controls panel, add keyframes, and save presets of your settings for later use. The only downside is the preset will not maintain the duration you set. In time, I see other third party developers getting on board for creating drag and drop transitions for Premiere.

Multi-cam options

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As shown in the video above, the multi-cam has been given more features as well. Users now have the ability to edit the cameras that are shown in the multi-camera monitor. The previous process would require you to disable the multi-cam nested sequence and rearrange your clips from the timeline level. With this new function, you won’t lose time deciphering which camera is which and you can keep cutting.

Copy and paste multiple transitions

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With the updated look of how transitions look in Premiere, one feature that still needed to be added was the ability to copy and paste a transition to multiple edit points. FCP switchers requested the ability quite frequently, and now it’s a reality. As illustrated in the video above, you would first copy your transition. Then, you would Command (Mac)/Control (PC) across a group of edit points and hit Command/Control +V to paste them on the selected edit points. This technique is definitely a timesaver for when you need to add the same transition across various edit points on different tracks.

Ripple markers

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Using markers in my edits was the cornerstone of remembering where to place media later, or to remember a particular frame. What sucked was that if I trimmed my footage, the marker would remain where it was and I would either have to delete it or reposition it manually. With the update, users now have the option to have the markers move when they make a ripple trim of clips in their timeline. You have the option to turn it on in the Marker drop down menu. Those are my top five favorite new features for Premiere CC 7.1. In my opinion, I believe within 2-3 updates, Premiere will be able to do everything Final Cut Pro 7 can do, if not better. Despite the feelings folks may have about the Creative Cloud, these updates have been very helpful in making Premiere my go to NLE. I’m the NLE Ninja with Audio Micro asking you to stay creative.

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