Archives

All posts for the month October, 2011

1- The basics of Editing We discuss what is entailed in being a
commercial post-production editor. A breakdown of the various aspects of
the job are detailed, and we talk about some of the problems an editor
encounters being in the chair. The second part of the class presents
basic film editing theories, and provides filmic examples of the main
styles of editing: continuity and emphatic.

2- We discuss how to go about creating your first cut. Tips are given on
how to synthesize footage into manageable selects, and how to structure
your cut depending on the type of project. Liz discusses a past
editorial project, and traces its evolution from receiving the footage
to the approval of its rough cut stage.

3- Class 3 centers on deconstructing continuity and emphatic editing in
practice. Examples are shown from various commercials, and the
motivation behind the editorial process is described. Theories described
in Class 1 are demonstrated: cutting on action, jump cuts, temporal
discontinuity, the 180 rule, and various others. Project 1, an exercise
is cutting dialogue, is handed out.

4- Cutting dialogue scenes An example scene is created from dailies,
with technique emphasis on continuity and pacing. Tips are given for
keeping complicated sequences in sync, as well as how to change out a
take in the middle of a scene while retaining the flow of the narrative.
A dialogue edit that focuses on compositing is dissected at the end of
the lesson.

5- The role of audio in the editorial cut. Sound design is created
for a spot, detailing music editing, sound effects placement, and
dialogue finessing. Mix levels are discussed, as well as utilizing time
compression. Dialogue replacement is examined in a scene from an
independent feature.

6- So now you’re an editor
The class will focus on critiques of Project #1. We will also visit with
Jerem Sloan, an editor in his first year of cutting, to talk about his
experiences transitioning to the first chair. Project #2 will be
assigned (deadline: end of week #9).

7- The professor details her cut on assignment 1, explaining her thought
process and workflow. Tips and tricks for adding finesse to your edit
are also discussed, including flash frames, blurs and an iris effect.

8- Condensing a story We investigate condensing a story line and
taking the air out of an edit. A :30 lift is cutdown from a :60
commercial, while paying attention to pacing and sync. In addition,
emphatic editing techniques are discussed, such as jump cuts, color
correction, speed changes, effect work, and repeat action.

9- The process of finishing a project is dissected. Interviews with a
colorist, sound designer/mixer, and smoke artist are conducted. The
particular challenges of the ELCA spots are discussed, as well as
general information about the workflow in each room.

10- Wrap-Up Critiques are given on Assignment 2, focusing on pacing,
music choices, voiceover timing, and shot selection. Tips for getting
into the post-production industry are given at the end of the class.

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[center]Poster[/center]
Beginner | 3h 18m | 1.31 GB | Project Files 41 MB | Required Software: Maya 2011 and up

In this collection of lessons we will learn how to animate a swinging character.

In this course, we will create an animation of a character swinging to a platform. Step by step, we will create this performance while covering various techniques that will help you improve your animation skill set. Techniques like: how to block in your extremes so that finalizing the animation becomes a faster process, improving arcs in the movement of your characters, animating between IK and FK modes, and overall we will learn how to animate with proficient workflows! By the end of this course, you will have the knowledge you need to create polished animations at a faster pace.

Home:
http://www.digitaltutors.com/11/training.php?pid=522

Download:
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[center]Poster[/center]
Intermediate | 3h 46m | 1.12 GB | Project Files 10 MB | Required Software: CINEMA 4D 11.5

In this course we will explore the use of CINEMA 4D to build interior sets.

From traditional polygon modeling tools to powerful spline based techniques, CINEMA 4D offers a number of options for building models. Building an interior set will provide us with an opportunity to put many of those tools into practice building organic and inorganic shapes in a variety of ways. We’ll explore methods for building hard surfaces like the room architecture, cabinetry, and furniture. We’ll use splines creatively to help us build things like shelves, lamps, and artwork and explore the use of Cloner Objects to quickly generate multiple copies of geometry. We’ll shape some of our organic objects using tools like the Magnet and Brush, and we’ll talk about keeping our scene clean by creating a useful hierarchy. We’ll touch on a wide range of modeling tools that will not only allow you to create this particular interior set, but to build your own sets and models more quickly and efficiently.

Home:
http://www.digitaltutors.com/11/training.php?pid=260

Download:
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[center]Poster[/center]
Intermediate | 1h 47m | 605 MB | Project Files 110 MB | Required Software: MatchMover 2011 and NUKE 6.1

In this series of lessons we’ll learn how to use MatchMover to track an object as if it was our scene, then finish the shot with Maya and NUKE.

Using MatchMover we can find the movements of a real life object and move a 3d object to match. We’ll begin this project by manually tracking our sequence in MatchMover and exporting it for use in Maya. We’ll then take our solved camera into our Maya scene and move our object into place. We’ll then learn how to capture our 3d environment reflections and create some helpful matte layers. Once we’ve rendered our Maya sequence, wecll learn how to combine all of our images in NUKE. We’ll learn about processing our background footage to capture traveling mattes, as well as many different ways to combine our various mattes to create effects. We’ll finish by adding a silhouette and color correcting our images.

Home:
http://www.digitaltutors.com/11/training.php?pid=454

Download:
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[center]Poster[/center]
Intermediate | 0h 47m | 618 MB | Project Files 396 MB | Required Software: Autodesk MotionBuilder 2012

In this series of lessons, we’ll learn how to work with MotionBuilder as a previsualization tool.

We’ll begin the course by first animating a stand-in object, which will give us an idea of where our character will be placed through our shots. We’ll then work with cameras, adding camera animation, and learn how use MotionBuilder’s Camera Switcher for camera cuts. Finally, we’ll learn how to retarget animation, how to add particles, and lights until we have completed pre-visualizing our story! By the end of this course, you will learn how to use MotionBuilder to pre-visualize your ideas, to work more efficiently and creatively, so that more of your time and effort can be spend on polishing and finalizing your scenes!

Home:
http://www.digitaltutors.com/11/training.php?pid=540

Download:
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[center]Poster[/center]
Beginner | 3h 11m | 1.00 GB | Project Files 18 MB | Required Software: RealFlow 2012

In this series of lessons, we will be taking an introductory look at RealFlow 2012 and many of the key features of this robust fluid simulation software.

It is important to develop good workflow habits early in your RealFlow education, so we will start by learning the importance of properly setting up your RealFlow projects as well as how to efficiently move around within the RealFlow interface. From there, we will learn how to start working with RealFlow fluid particles ? learning about the important attributes that affect particle behavior, as well as how we can use daemons to add dynamic forces such as wind, gravity, and air resistance to our simulations. Another critical concept to understand within RealFlow is the importance of scale. We will teach you how to properly compensate for real-world scale within RealFlow, ensuring that your liquids and other dynamics behave correctly. We will also take time to explore some of the powerful new features found in RealFlow 2012, including dynamic object fracturing, using the Retiming function to quickly add time-warping and slow-motion effects to our RealFlow simulations, as well as many other important tools and critical concepts that you will need to be aware of whenever starting out in RealFlow.

Home:
http://www.digitaltutors.com/11/training.php?pid=541

Download:
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