Saturday, December 25, 2010

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Logan Wiggins
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2 Video Made on a Mc Richard Harrington - RHED Pixel twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington youtube.com/ rhedpixeltv

Richard Harrington RHED Pixel (www.rhedpixel.

3 Richard Harrington RHED Pixel ( Adobe Certified Expert & Trainer Apple Certified Trainer Avid Master Editor Project Management Professional Teach courses on digital media production and web content

4 Author of Several Books

5 Podcasts Video Made on a Mac Understanding Adobe Photoshop Photoshop for Video Photoshop CS4 Sneak Peek Final Cut Help Aperture 2 Quick Tip Producing Video Podcasts MacBreak Work

6 About You Video Pro Multimedia/Web Design Photographer Graphic Designer Educator

7 Agenda

8 Agenda Preproduction Production Postproduction Delivery

9 Preproduction

10 Essential Preproduction Creative Development Sessions Creating a Two-Column Script Storyboard Techniques Creating Animatics

11 ichat and GarageBand

12 Apple Pages

13 Storyboards & Animatics

14 Essential Preproduction Budgeting Paperwork Pre-Production Paperwork Using Online Project Management Tools

15 Scope

16 Scope

17 Shot List

18 Schedule

19 Production

20 Tapeless Workflow Tapeless Formats and Tools Tapeless Workflow The Role Of The Data Technician Ingesting Tapeless Sources Archiving Tapeless Media

24 Transfer Media

25 Green Screen Solutions Shooting Chroma Key Alpha Channels Keying in Final Cut Pro Keying in After Effects Exporting with Transparency

26 Shooting Chroma Key

27 Acquisition Format The footage of many consumer-grade cameras is heavily compressed in order to save on storage costs A bigger image does not mean better chroma keying Avoid shooting formats like DV or HDV Avoid SD cards or DVD as footage heavily compressed

28 Progressive vs. Interlaced Video footage is traditionally interlaced Allows smoother image quality on CRT-based devices First implemented in the 1930 s as cathode ray tubes became brighter (and subsequently flickered more) Cameras are readily available to shoot progressive A progressive format is highly desirable

30 Turn off All the Autos on Camera No auto exposure No auto-white balance No auto-focus If left on, the footage will constantly be changing as your subject moves

31 Lighting Essentials Minimize variation in colors for the backdrop Evenly light the background to avoid hot spots Use well-lit subjects that don t cast shadows on the backdrop

32 Lighting Essentials Place the foreground far enough away from the backdrop Light with softboxes or fluorescent lights Match the foreground to background

33 Shooting Essentials Keep your subject and your camera as far away from the screen as possible Avoid fast movement Use shallow depth of field Use a Garbage Matte

36 Alpha Channels

37 The Role of Transparency Transparency plays a key role in the success of both animation and interactivity By embedding transparency into graphic elements, you can composite different elements together This allows for flexibility as it allows elements created at different times to be composited together

38 The History of Alpha Channels Evolved in the late 1970 s at the New York Institute of Technology Continued to be refined at both Lucasfilm and Pixar

39 The History of Alpha Channels By correctly employing alpha channels embedded into footage layers, transparency data can travel seamlessly between Adobe Photoshop, After Effects, and Flash

40 Creating Alpha Channels One common technique for video footage is to use chroma key technology. By shooting elements against a blue or green screen, the background can be easily removed. The technology is hardly new, making its first

41 Keying in Final Cut Pro

42 Keying in Final Cut Pro You are performing a placeholder key Focus is on the story All edits and geometric transformations will transfer to the compositing application

43 Keying in After Effects

44 Using Keylight The technology used in Keylight uses a core algorithm written by the Computer Film Company Has been used on numerous feature films including Harry Potter, Mission Impossible, and Sweeney Todd Keylight has won the Academy Award for Technical Excellence and is a one-stop-shop for keying, despill and color correction

45 Using Keylight When applied, you choose a color to key out The effect then does two things: First it erases all of the pixels that match the color Second it removes that color spill from other pixels It will remove the backdrop and greatly reduce any green reflections on the foreground

46 Exporting with Transparency

47 Export to Video Be sure to include an alpha channel For best results, choose a Straight Alpha Channel Render to a codec that support embedded alpha channels like Animation or ProRes 4:4:4:4

48 Multicamera Productions Mapping the Production Calibrating Cameras Syncing Cameras Audio Acquisition Strategies The Editing Process

49 The Process Plan for the shoot Address Timecode Issues Address Color Management Synchronize Create Multi-clips Edit Deliver Log & Digitize

54 Photoshop User TV

57 The Multi-Camera Process

60 Postproduction

61 Edit Suite Workflow Essentials of Room Setup Monitor Selection & Calibration Video I/O That Works With Apple and Adobe Products Storage

65 Organizing Projects & Media Why Media Management The Apple Workflow The Adobe Workflow A Hybrid Workflow Drive Maintenance

70 Questions & Answers

71 Resources

72 Author of Several Books

73 Video Made on a Mac Focusses on Integration of Adobe and Apple Software For Video Pros and new users Emphasize on saving time Includes 5.5 hours video

74 After Effects for Flash Flash for After Effects Released at NAB Explores CS4 features Emphasis on interaction between Flash and AE

75 Podcasts Video Made on a Mac Understanding Adobe Photoshop Photoshop for Video Photoshop CS4 Sneak Peek Final Cut Help Aperture 2 Quick Tip Producing Video Podcasts MacBreak Work

76 Portable Training For ipod touch/iphone Videos, Quizzes & Files 99 Special during Photoshop World tinyurl.com/upapp

78 Richard Harrington RHED Pixel ( Technical Questions via Creative Cow All Resources link from Available for consultation Feel free to grab a business card

79 Richard Harrington twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington youtube.com/ rhedpixeltv

Contract# GS-07F-0053V 541 1 Advertising Services

80 Contract# GS-07F-0053V Advertising Services 541 4B Video/Film Production Integrated Marketing Services Contract# GS-07F-0054V 541 4ECommercial Photography 541 4B Commercial Art and Graphic Design

81 Essentials to Keying in After Effects Richard Harrington - RHED Pixel twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington youtube.com/ rhedpixeltv

Saturday, December 25, 2010

Saturday, December 25, 2010 Rotoscoping and Keying with Adobe After Effects Richard Harrington - RHED Pixel www.rhedpixel.com www.richardharringtonblog.com twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/