tag:blogger.com,1999:blog-41658963025070160982024-02-07T18:36:11.345-08:00PhotoshopNowYour Online Resource For Multimedia and VFX Software Training.user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.comBlogger58125tag:blogger.com,1999:blog-4165896302507016098.post-12900358953363356082008-03-10T10:48:00.000-07:002008-03-10T10:51:11.086-07:0051 Combustion Tricks and tutorials<table style="width: 577px; height: 1142px;" align="center" border="0" cellpadding="0" cellspacing="2"><tbody><tr><td class="tiprow" width="55%"><span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=312"> Depth of Field with Maya IFF files</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Pelle Johnsen</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2006-03-05</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=298"> Free Quicktime Tutorials from Autodesk</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2005-07-08</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=293"> Support up to 3GB of RAM under Windows</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2005-04-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=255"> Clip Speed Changes in Combustion</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-08-30</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=250"> LUTs Expained: Background and three free tutorials</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-06-03</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=235"> Grading using a LUT</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Peter Webb</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-05-21</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=224"> combustion : More Particle Sources & Browser</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">jack pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-04-07</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=232"> Combustion: Simulate 5D Clean</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">DazMan</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-31</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=210"> Combustion: Using Compound Alpha Arithmetic</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">luc julien</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-26</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=213"> Combustion: Global Variables</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Williamson</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-26</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=218"> combustion: Video Output to a Monitor</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-25</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=223"> combustion: Getting a Good Key from DV</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Williamson</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-17</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=230"> Combustion: swirly clouds</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jason Dreggs</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-16</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=209"> Combustion: Simulate 3D position on operators</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Williamson</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-09</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=215"> combustion: Scaling Expressions</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Williamson</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-04</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=207"> Combustion Audio Playback</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-01</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=205"> Getting the most out of combustion</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mike Seymour</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-02-19</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=206"> Combustion tracking and AE users in Combustion</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mike Seymour</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-02-19</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=202"> Tracking/alignment using Negative</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mike Seymour</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-02-17</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=201"> Combustion Resource Page: Free Tuts, Tips, Help UPDATED for 2004</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-01-29</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=198"> How to Reset Combustion to Normal</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-01-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=194"> Combustion Expressions</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">JR Arnarson</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-10-28</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=188"> Painting mattes in Combustion like Flame</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Marios Theodosi</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-09-07</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=186"> More Particles for Combustion</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-08-08</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=185"> How to Use Native PhotoShop Plug-Ins in Combustion</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-08-08</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=183"> Getting Print Quality out of Combustion</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-08-07</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=180"> Combustion (Win) and DV/1394 Files</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-07-04</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=179"> Working with Maya Files in Combustion</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-07-04</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=177"> combustion: Network Render / BackBurner</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-06-30</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=172"> How to work with Images from MAYA in Combustion . .</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-06-06</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=171"> Hot Tips on Pulling a Good Chroma Key. . . . .</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-05-26</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=167"> Combustion: Steps to Four Corner Pinning / Four Corner Tracking</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-05-07</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=168"> Combustion: Steps for creating lights & shadows.</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-05-07</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=165"> C v2.1 & Floating Menus Tip/Trick</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-04-11</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=158"> Field Order Reference List for all Video</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-02-06</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=144"> Combustion: How to make realistic rain</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2003-01-09</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=130"> Combustion: Hardware Guide</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-09-02</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=126"> Using Combustion v2 Particles.</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-08-29</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=115"> Combustion: Tutorial Summaries</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-07-09</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=114"> Combustion: Using RLA or PRF files</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-06-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=113"> Combustion: All about Blur Types</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-06-05</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=111"> Combustion - Using .rla/.prf files: A Reference Guide</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-05-30</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=104"> Combustion: How to Optimize your RAM Player</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-05-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=105"> Combustion: Plug-ins hints</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-05-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=107"> Combustion: All about those darn CODECS</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfieffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-05-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=108"> Combustion: Quick setting of Layers in 3D Space.</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeffier</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-05-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=109"> Combustion: Quick settings for new Lights/shadows</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jack Pfeiffer</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-05-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=94"> Combustion: Working with Proxies</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Marc Morissette</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-04-01</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=92"> Combustion: Creating Soft Edged Shadows</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Byron</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-10-08</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=93"> Combustion: Using Null Objects</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Byron</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-10-08</span></td></tr></tbody></table><br /><a href="http://www.onlywire.com/submit?u=URL&t=TITLE&tags=TAG1%20TAG2" title="Add this Article to Onlywire" target="_blank"><img src="http://www.onlywire.com/i/onlywire.ico" align="absmiddle" border="0" /> Add to Onlywire</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-86916026712547106802008-03-10T10:45:00.000-07:002008-03-10T10:47:45.868-07:004 NUKE Tricks to save time on your workflow<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.thinkinganimation.com/Images/siggraph2006/NukeDD.jpg"><img style="cursor: pointer; width: 400px;" src="http://www.thinkinganimation.com/Images/siggraph2006/NukeDD.jpg" alt="" border="0" /></a><br /><table style="width: 616px; height: 100px;" align="center" border="0" cellpadding="0" cellspacing="2"><tbody><tr><td class="tiprow" width="55%"><span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=253"> Nuke: Project managment</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Florian</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-07-15</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=252"> Nuke: Launch Framecycler without loading frames</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Sean Looper</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-06-16</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=199"> Nuke: Script Drag n' Drop</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Wonko</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-01-28</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=200"> Nuke: 'Sliding' Numeric Input Fields</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Wonko</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-01-28</span></td></tr></tbody></table><br /><a href="http://www.onlywire.com/submit?u=URL&t=TITLE&tags=TAG1%20TAG2" title="Add this Article to Onlywire" target="_blank"><img src="http://www.onlywire.com/i/onlywire.ico" align="absmiddle" border="0" /> Add to Onlywire</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-8952351920952575802008-03-10T10:41:00.000-07:002008-03-10T10:43:45.585-07:0012 DIGITAL FUSION tips and tutorials<table style="width: 624px; height: 296px;" align="center" border="0" cellpadding="0" cellspacing="2"><tbody><tr><td class="tiprow" width="55%"><span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=334"> Day Sky: Latitude and Longitude Coordinates</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Matt Leonard</span></td><td class="tiprow" width="15%">2007-02-19</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=181"> Simulating liquid reflections with Digital Fusion 4.02</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Maynard</span></td><td class="tiprow" width="15%">2003-07-27</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=178"> DF: cloud/vapor displacement</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Maynard</span></td><td class="tiprow" width="15%">2003-07-02</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=175"> Fluid simulation with displacements and grid warp</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Maynard</span></td><td class="tiprow" width="15%">2003-06-10</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=173"> microthermal turbulence in fusion 4</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Chris Maynard</span></td><td class="tiprow" width="15%">2003-06-05</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=153"> Digital Fusion: Color Matching</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jason Kolodziejczak</span></td><td class="tiprow" width="15%">2003-01-29</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=141"> Digital Fusion: Using the new Grid Warp tool</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jason Kolodziejczak</span></td><td class="tiprow" width="15%">2002-11-25</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=132"> Digital Fusion: Type On Text</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jason Kolodziejczak</span></td><td class="tiprow" width="15%">2002-09-14</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=131"> Digital Fusion: Color Suppression</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jason Kolodziejczak</span></td><td class="tiprow" width="15%">2002-09-14</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=129"> Digital Fusion: Creating Fireworks</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jason Kolodziejczak</span></td><td class="tiprow" width="15%">2002-08-31</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=128"> Digital Fusion: Pulling an Ultrakey</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jason Kolodziejczak</span></td><td class="tiprow" width="15%">2002-08-31</td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=116"> Digital Fusion: Tracking Tips</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;"> Mike Seymour and Jason Kolodziejczak</span></td></tr></tbody></table><br /><a href="http://www.onlywire.com/submit?u=URL&t=TITLE&tags=TAG1%20TAG2" title="Add this Article to Onlywire" target="_blank"><img src="http://www.onlywire.com/i/onlywire.ico" align="absmiddle" border="0" /> Add to Onlywire</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-20423741940573293382008-03-10T10:27:00.000-07:002008-03-10T10:39:19.660-07:0014 tutorials and tips for Discreet SHAKE artists!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://images.apple.com/shake/images/box_shake_reflection.jpg"><img style="cursor: pointer; width: 326px; height: 487px;" src="http://images.apple.com/shake/images/box_shake_reflection.jpg" alt="" border="0" /></a><br /><table style="width: 606px; height: 354px;" align="center" border="0" cellpadding="0" cellspacing="2"><tbody><tr><td class="tiprow" width="55%"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=300"> Free Video tutorials for Smoke and Fire 7</a></td><td class="tiprow" width="30%">Alan Souza</td><td class="tiprow" width="15%">2005-07-27</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=299"> Creating Borders on Text in the DVE</a></td><td class="tiprow" width="30%">Brian Mulligan</td><td class="tiprow" width="15%">2005-07-09</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=295"> Using Excel as an Animation Tool for smoke/fire</a></td><td class="tiprow" width="30%">CE Raum</td><td class="tiprow" width="15%">2005-05-16</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=288"> Creating a selects reel for Tape-to-Tape after the conform</a></td><td class="tiprow" width="30%">tim farrell</td><td class="tiprow" width="15%">2005-03-20</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=282"> 3/2 pulldown in 720P projects</a></td><td class="tiprow" width="30%">tim farrell</td><td class="tiprow" width="15%">2005-02-01</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=268"> How to Make a Line Wipe Transition</a></td><td class="tiprow" width="30%">Mark Longchamps</td><td class="tiprow" width="15%">2004-11-04</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=259"> The dAMer</a></td><td class="tiprow" width="30%">CE Raum</td><td class="tiprow" width="15%">2004-09-08</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=226"> Smoke Shortcuts</a></td><td class="tiprow" width="30%">Brian Fox</td><td class="tiprow" width="15%">2004-03-11</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=222"> fire: Easy End Credits With Single Frame Image Files</a></td><td class="tiprow" width="30%">Jesse Morrow</td><td class="tiprow" width="15%">2004-03-05</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=190"> 3 Basic Uses of Layer Re-Entry in Fire/Smoke</a></td><td class="tiprow" width="30%">Tim Farrell</td><td class="tiprow" width="15%">2003-10-17</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=189"> Fire/Smoke - Combining Mattes in DVE</a></td><td class="tiprow" width="30%">Tim Farrell</td><td class="tiprow" width="15%">2003-09-30</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=147"> Fire Tiling Helper</a></td><td class="tiprow" width="30%">Jef Huey</td><td class="tiprow" width="15%">2003-01-28</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=124"> Using 3D geom to import and zoom</a></td><td class="tiprow" width="30%">karen m boyle</td><td class="tiprow" width="15%">2002-08-02</td></tr><tr><td class="tiprow" width="55%"> <a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=112"> fire - Control Multiple Surfaces/Axes</a></td><td class="tiprow" width="30%">Scott Ellman</td></tr></tbody></table><br /><a href="http://www.onlywire.com/submit?u=URL&t=TITLE&tags=TAG1%20TAG2" title="Add this Article to Onlywire" target="_blank"><img src="http://www.onlywire.com/i/onlywire.ico" align="absmiddle" border="0" /> Add to Onlywire</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-81342319731303311512008-03-10T10:13:00.000-07:002008-03-10T10:23:16.736-07:00108 FLINT FLAME and INFERNO Tips !<table align="center" border="0" cellpadding="0" cellspacing="2" width="682"><tbody><tr><td class="tiprow" width="55%"><span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=338"> Logic ops hotkey</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Joao Mineiro</span></td><td class="tiprow" width="15%"><span style="font-size:85%;"><br /></span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=332"> Blur-based D.O.F. cheat for Action</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Joel Pilger</span></td><td class="tiprow" width="15%"><span style="font-size:85%;"><br /></span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=325"> 3D Beams with Projectors</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mike Galbavy</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2006-05-22</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=323"> lookat Expression Mnemonic</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">jake parker</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2006-05-02</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=321"> Export Image Hotkeys to Make Multiple Exports Easier</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jake Parker</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2006-03-24</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=311"> Fine Tune X-Y Image Scaling</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jake Parker</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2006-02-20</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=310"> 3D 'Trapcode' Strokes in Action</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">John Montgomery</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2006-01-29</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=308"> Radial blur in Action</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Lewis Saunders</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2005-10-31</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=306"> Outputting 10bit in batch</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jeff Heusser</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2005-10-02</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=292"> Extended Bicubic grid sizer</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jeff Heusser</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2005-09-20</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=305"> Cool new icons or 'skins' for Flame/Flint</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Rob Wright</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2005-09-17</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=297"> Creating Dotted and Dashed Lines</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">David Casey</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2005-06-28</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=272"> 3D tracking in action: Part 2 - Automatic 3D tracks</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mike Seymour</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-12-20</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=271"> 3D tracking in action: Part 1 - Manual 3D Tracks</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jake Parker</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-12-10</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=309"> Additive surface in action</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Sinan Vural</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-11-05</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=254"> Volumetric Light Setup</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jeff Heusser</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-07-28</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=258"> Directional blur by using simple expression</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Ton</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-06-22</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=251"> 12 bit goodness in an 8 bit world</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Xavier Bourque</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-06-15</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=241"> Unsharp Mask in FFI</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mike Seymour</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-06-08</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=237"> Polar Coordinates Tutorial - Part 2</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mike Seymour</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-05-24</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=234"> Roto strategies in FFI</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mike Seymour</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-05-20</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=233"> Finding the Camera's Position Tutorial</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Peter Webb</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-05-08</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=245"> Blend modes for sky replacement</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Sinan Vural</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-04-19</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=219"> flame: Turn off Filtering to Keep Action Images Sharp</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Simon Scott</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-28</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=225"> flame: multi-res archiving</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">John Montgomery</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-28</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=221"> inferno: Clean up/Fix Less Frames</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">simon scott</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-26</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=231"> Flame: Camera Zoom Stabilization</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Alan Fairlie</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-22</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=229"> laser sight beam</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Bill Shearman</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-16</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=228"> Fake Ground Shadows for 3D Objects</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mike Roy</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-12</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=217"> flame: Take Control of BiLinear Offsets</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Simon Scott</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2004-03-06</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=216"> flame: Who's using my framestore?</a></span></td><td class="tiprow" 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Expressions</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Henry Birdseye</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-03-26</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=71"> Stupid FFI Tricks</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mke Seymour</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-03-26</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=72"> Selective color correction using the Color Warper</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jeff Heusser</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2002-03-26</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a 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style="font-size:85%;">Mike Seymour, Daniel Pettigrew</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-06-19</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=6"> Grid Making</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">flame-news, Nicholas Gervay</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-05-25</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=47"> Building a Monitor Wall</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Scott Ellman</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-05-18</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=49"> Page Turn in Action Using a Deform Node</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Alex Ortoll, Martin Helie</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-05-18</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=37"> Keyboard Shortcut to Drag a Frame Out of a Clip</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Simon Scott</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-04-04</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=11"> Heat Distortion using Particles</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Bob Thagard</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-03</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=13"> Additive Mix in Action with Transparency and Masks</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jeff Heusser</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-03</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=17"> Day for Night</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jim Redden</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-03</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=19"> Simulate Z Motion</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Wally Rodriguez</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-03</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=10"> Photoshop Screen Using Batch</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Alex Ortoll</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-02</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=9"> Edge Flashing</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Mark Holmes, Jon Baxter</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-02</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=4"> Optical Mix</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Steve Scott</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-02</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=2"> Ultimatte tips</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jeff Heusser</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-02</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=5"> Combining Two Mattes via Source Nodes</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">flame-news posting</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-02</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=3"> Tracking Two Moving Images</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Steve Scott</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-03-02</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=36"> Darken and Lighten Brush in Paint</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Beak</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-02-18</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=35"> Blood Stains</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Scott Ellman</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-02-18</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=8"> Motion Blur on Still Objects</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Jeff Heusser</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">2000-01-01</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=12"> Outline Text Using Action</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Kuban Altan, Jake Parker</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-12-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=30"> Color Correct a Clip in a Soft Edit</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Simon Scott</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-12-20</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=42"> Output Clip to Record TC</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Udi Edni</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-12-20</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=43"> Digital Wrinkle Cream</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Pascal Bertram</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-12-16</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=51"> Separating RGB in Action</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Henry Birdseye</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-11-29</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=28"> Alternate Chroma Key Method</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Scott Ellman</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-11-17</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=40"> Using Matte Source Nodes to Help Clean and Edge in a Comp</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Peter Koczera</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-10-21</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=53"> Simple Vapor Particle System</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Peter Webb</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-10-21</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=32"> Scanline look via interlace</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Alan Latteri</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-10-12</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=29"> Avid Time Strobe</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Fred Ruckel and Mark Intravartolo</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-10-09</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=26"> Compositing tips</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Eric Schaechter</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-09-27</span></td></tr><tr><td class="tiprow" width="55%"> <span style="font-size:85%;"><a href="http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=25"> BetacamSP Dropout Fix</a></span></td><td class="tiprow" width="30%"><span style="font-size:85%;">Kuban Altan</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-09-24</span></td></tr><tr><td class="tiprow" width="55%"><br /><br /></td><td class="tiprow" width="30%"><span style="font-size:85%;">Stephane Harnois</span></td><td class="tiprow" width="15%"><span style="font-size:85%;">1999-09-21</span></td></tr></tbody></table><br /><br /><a href="http://www.onlywire.com/submit?u=URL&t=TITLE&tags=TAG1%20TAG2" title="Add this Article to Onlywire" target="_blank"><img src="http://www.onlywire.com/i/onlywire.ico" align="absmiddle" border="0" /> Add to Onlywire</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-67709963383638729902008-03-10T10:08:00.000-07:002008-03-10T10:12:49.030-07:007 tips for on-set Tracking<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://anti-matter-3d.com/On_Set/On_Set_small.jpg"><img style="cursor: pointer; width: 410px; height: 117px;" src="http://anti-matter-3d.com/On_Set/On_Set_small.jpg" alt="" border="0" /></a><br /><br />Several tracking tips to keep in mind the next time you supervise on set.<br /><b>Tip Number 1 - Try Using Yellow Markers on Green</b><br /><br />On green screen - use yellow markers and separate the components separately for tracking and keying. On the left, you can see what the full color rgb image looks like. Note that if you use the green channel only (middle image), the markers are easily keyed and you avoid time consuming marker removal. The red channel provides a great high contrast image for tracking.<br /><br /><br /><b>Tip Number 2 - Use Newspaper as Pattern for 3D Tracks</b><br /><br />Newspaper makes an excellent tracking pattern for 3D trackers. If you have a large green screen set, lay down newspaper away from the keying area and the non repeating - highly detailed patterns of the news paper will track really well.<br /><br /><br /><b>Tip Number 3 - Marker Placement for 3D Tracks</b><br /><br />If you are filming a greenscreen, it is important to not just have markers on the same flat greenscreen background, markers need to be at different distances from the camera for a good 3D solution.<br /><br /><div class="imgright" style=""> <img src="http://www.fxguide.com/modules/fxtips/files/trackingtips/dots_thumb.jpg" alt="small" border="0" height="226" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/fxtips/files/trackingtips/dots.jpg','image','326','245')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div><br /><b>Tip Number 4 - Round Adhesive Labels</b><br /><br />Good premade tracking marks are as close as your nearest Office Depot or other office supply store. Avery makes a variety of colored dot stickers in a variety of sizes. <a href="http://www.avery.com/us/Main?action=product.HierarchyList&node=10210951&catalogcode=WEB01">Their web site</a> shows a large variety of sizes and colors and don't take up much room in your travel bag.<br /><br /><br /><b>Tip Number 5 - Keep the Greenscreen in Focus When it Makes Sense</b><br /><br />For compositors, this is a pretty obvious tip. Sure, there are times when this isn't a steadfast rule and the lens choice requires a soft-focus background. But we mention it here because you might be surprised how many times this isn't simply basic procedure on set. It never hurts to mention it on a technical call, especially if you're not going to be on set for the supervision. The first time you get back some footage with all the tracking marks way out of focus and you don't need it that way, you'll remember to mention this<br /><br /><b>Tip Number 6 - Special Case - TV and monitor screens</b><br /><br />One area that people tend to "over mark" is when shooting TV and monitor screens. Often the best comp can be done by shooting with the unit just turned off instead of covering the tube with blue or green screen. This let's you get realistic reflections that you can kiss back in to make the comp better. You can usually pull tracks off of the corners easily or off some detail in the case. If tracking marks are put on the face of the screen, and you are trying to keep the reflections, removing the marks can be tedious.<br /><br />Obviously you will have to use some judgement on each shot. If someone with frizzy hair is going to linger in front of the monitor you may prefer to cover the face with blue or green material and add tracking marks. This will result in you not getting any real reflections, but general reflections can be faked easily.<br /><br />One thing you DON'T want to do is let them feed a color generator to the monitor - "look it's blue" ... this is a frequent production thought and one that rarely works well, if at all.<br /><br />Also check carefully thru the viewfinder for what is actually being reflected to make sure it is what you want and is not the camera, some lights and a crew member. Reflections can be hard to see on video assist.<br /><a href="http://www.onlywire.com/submit?u=URL&t=TITLE&tags=TAG1%20TAG2" title="Add this Article to Onlywire" target="_blank"><img src="http://www.onlywire.com/i/onlywire.ico" align="absmiddle" border="0" /> Add to Onlywire</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-12021693571942322542008-03-10T09:40:00.000-07:002008-03-10T09:57:37.405-07:00Intro to matching real lighting with CGI<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.go2g2.com/img/shake.jpg"><img style="cursor: pointer; width: 410px; height: 239px;" src="http://www.go2g2.com/img/shake.jpg" alt="" border="0" /></a><br /><br />Matching lighting which is part of a photographed background is a staple art of Technical Directors and FX artists. It is an art more than a science. Below Andrew Whitehurst (see: Charile & the Choc. Factory fxg podcast) presents some basic thinking and principles to tackle such an assignment. This technique uses no raytracing, no Global Illumination and no HDRI. This is because in real-world production it can be prohibitively time consuming to render using these more advanced techniques. The majority of FX shots you see in film are produced using nothing more sophisticated than depth-map shadows and reflection and environment maps.<br /><br />The majority of FX shots you see in film are produced using nothing more sophisticated than depth-map shadows and reflection and environment maps.<br /><br />OK, so how do we tackle this problem? Well the first thing to do is have a good look at your background plate. For this shot I had been asked to add an CG aircraft taking off to a photographed backplate. I had been given no reference images and no tracking data. I duplicated the shot's camera move by hand in Maya and I animated the aircraft to the CG camera move. Once this was done It was time to look at the plate and extract the information I would need to light the CG elements in the shot.<br /><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/fxtips/files/matchlight/fx_blacklevel_thumb.jpg" alt="small" border="0" height="170" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/fxtips/files/matchlight/fx_blacklevel.jpg','image','361','204')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div><br />Scene Black<br />Film and video seldom represent true black in their images. In this plate the circled area is scene black i.e. it is in total shadow. However, looking at the pixel values shows that the average shadowed pixel is roughly R=30, G=29, B=32. Therefore I should not let any element of my CG lighting become darker than that, as it will stand out when it is composited. To achieve this I add an ambient light to the scene.<br /><div style="clear: both;"><img src="http://www.fxguide.com/images/spacer600.gif" /></div><br /><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/fxtips/files/matchlight/fx_ambient_thumb.jpg" alt="small" border="0" height="170" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/fxtips/files/matchlight/fx_ambient.jpg','image','361','204')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a><br /></div> </div> The Ambient Pass<br />Here is a render showing the ambient light's contribution to the scene. This is as dark as the CG elements will get. This was achieved with one ambient light tinted to match the slightly blueish cast of the shadows in the background plate.<img src="http://www.fxguide.com/images/spacer600.gif" /><br /><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/fxtips/files/matchlight/fx_lightdir_thumb.jpg" alt="small" border="0" height="170" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/fxtips/files/matchlight/fx_lightdir.jpg','image','361','204')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a><br /></div> </div> Key Light Direction<br />As I had been given no reference for this scene it was necessary to estimate the light direction from objects present in the photographed plate. This water fountain's shadows gave a good indication of the angle and intensity of the key light and I was able to set my CG light to match this angle.<img src="http://www.fxguide.com/images/spacer600.gif" /><br /><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/fxtips/files/matchlight/fx_lightcol_thumb.jpg" alt="small" border="0" height="170" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/fxtips/files/matchlight/fx_lightcol.jpg','image','361','204')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a><br /></div> </div> Key Light Colour<br />This area of wall which is actually only just off-white indicates that the key light should be an orange/pinkish colour. It is always a good idea to find an object in direct light in your backplate which is close to white as this will give you your cue as to what colouration should be given to the keylight.<br /><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/fxtips/files/matchlight/fx_key_thumb.jpg" alt="small" border="0" height="170" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/fxtips/files/matchlight/fx_key.jpg','image','361','204')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div><br />The Keylight Pass<br />Here is the render of the key light's contribution to the scene. Its intensity, direction and colour are all derived from looking at the background plate. Now all that's left to do is add the fill light to the scene.<br /><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/fxtips/files/matchlight/fx_fill_thumb.jpg" alt="small" border="0" height="170" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/fxtips/files/matchlight/fx_fill.jpg','image','361','204')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div><br />The Fill Light Pass<br />Adding the fill lights is a bit of a black art. There is no rule of thumb on this other than that they are generally a similar colour to the ground or walls in a scene (they represent bounced light after all) and that generally they are placed in the opposite direction to the key light. Using the backplate as reference, keep adding fill light till the ratio between light and shade looks similar to the photographic backdrop.<br /><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/fxtips/files/matchlight/fx_beauty_thumb.jpg" alt="small" border="0" height="170" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/fxtips/files/matchlight/fx_beauty.jpg','image','361','204')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div>The Complete Render<br />Once all ambient, key and fill light passes are combined they look like this. All that now remains is to composite these elements with the background plate and to add any effects passes, like particles for example, to complete the shot.<br /><br /><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/fxtips/files/matchlight/ship_still_thumb.jpg" alt="small" border="0" height="240" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/fxtips/files/matchlight/ship_still.jpg','image','361','289')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div><br />The Finished Shot<br />By adding some noise to the CG elements, blurring their edges and tweaking the values of the colour balance and contrast etc. the final composite can be produced. Rendering all the passes as separate elements gives your more control over your final image in comp. By this I mean you can increase or decrease the amount of key or fill by tweaking the individual layers rather than having to render the whole sequence again from scratch. This sequence also has a particle pass rendered from the exhausts which was also used as a matte to add some heat haze to the background plate.<img src="http://www.fxguide.com/images/spacer600.gif" /><br /><br />This is not an exhaustive guide to matching real lighting by any stretch of the imagination but I hope it gives you some methods and strategies for tackling this complex problem. This was a pretty simple example, there are no contact shadows nor reflective surfaces with elements in the background plate for example which would complicate matters, but none the less it's a real-world example of how I tackled one pretty simple shot for a film.<br /><a href="http://www.onlywire.com/submit?u=URL&t=TITLE&tags=TAG1%20TAG2" title="Add this Article to Onlywire" target="_blank"><img src="http://www.onlywire.com/i/onlywire.ico" align="absmiddle" border="0" /> Add to Onlywire</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-51427214561476327682008-03-10T09:26:00.000-07:002008-03-10T09:30:07.882-07:00Making 10,000 BC with the Motion Picture Company<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i163.photobucket.com/albums/t306/NEWUSER_01_2007/10000bc.jpg"><img style="cursor: pointer; width: 420px; height: 172px;" src="http://i163.photobucket.com/albums/t306/NEWUSER_01_2007/10000bc.jpg" alt="" border="0" /></a><br /><br />10,000 BC by director Roland Emmerich takes audiences to a time when mighty mammoths shook the earth. In this in-depth article we examine just one part of this blockbuster film and drill down on complex task of producing photorealistic mammoths that, while not the heros of the film, certainly gave the film power, gravitas and some ripping good thrills.<br /><br /><div class="imgright" style=""> <img src="http://www.fxguide.com/modules/NewsUpload/files/08Mar/10000/dleh_thumb.jpg" alt="small" border="0" height="201" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/NewsUpload/files/08Mar/10000/dleh.jpg','image','1201','804')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> <div class="imgcaption" style="width: 298px;"> Steven Strait as DLeh</div></div><br /><br />In a remote mountain tribe, the young hunter D'Leh , (unknown actor Steven Strait) is in love. But when a band of warlords raid his village and kidnap his beloved Evolet, D'Leh leads a small group of hunters to pursue the warlords to the end of the world to save her. From the start of the film to the final climax, the film required herds of Mammoths seen both in breathtaking wide shots and close to camera. Free and enslaved, being captured and harnessed and all dramatically photoreal.<br /><br />The story opens in a remote valley where the Yagahl tribe subsists by taking down one giant mammoth from among the massive herds that thunder across the land on their yearly migration. "The Yagahl are known as the mammoth hunters because they rely on these animals for their survival," comments director Roland Emmerich (<i>Independence Day</i>, <i>The Day After Tomorrow</i>) in the film's production notes.<br /><br />"The mammoths represent what the buffalo was for the Native Americans. On the one hand the tribe hunts it, but they also honor it; they feel blessed by it. It's a very natural hunter/animal relationship." The Yagahl live on the edge of survival, just barely living on what they can find and cull from the herd. "Now they're coming to the end of the Ice Age, so the climate is changing. They realize the mammoths don't come as regularly anymore."<br /><br /><div style="clear: both;"><img src="http://www.fxguide.com/images/spacer600.gif" /></div><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/NewsUpload/files/08Mar/10000/director_thumb.jpg" alt="small" border="0" height="201" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/NewsUpload/files/08Mar/10000/director.jpg','image','1201','804')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> <div class="imgcaption" style="width: 298px;"> Director Roland Emmerich with camera operator Pete Taylor on set</div></div><br />Emmerich enlisted visual effects supervisor Karen Goulekas, with whom he has collaborated on past films including <i>Godzilla</i> and <i>The Day After Tomorrow</i>, to oversee the film's massive effects undertaking. "Karen is one of the most ingenious and visually inventive people I have ever worked with," the director states. "To her, nothing is impossible. I know I can count on her to bring even my most ambitious concepts to the screen—often more spectacularly than even I first envisioned them."<br /><br />The most extensive work would involve the creation of the film's menagerie of mighty, ancient creatures – mammoths, the saber-tooth tigers and terror birds. Emmerich wanted life-like movement for these creatures and so looked to their modern-day relatives. During production, Goulekas and her team joined the actors and on-set crew armed with measuring sticks, flags and other objects painted blue, to eventually be replaced by moving digital creatures.<br /><br />Nicolas Aithadi, visual effects supervisor for The Moving Picture Company, has numerous feature credits on his resume. They include <i>Elizabeth: The Golden Age</i> (digital effects supervisor: MPC), <i>X-Men: The Last Stand</i> (visual effects supervisor: MPC) <i>Harry Potter and the Goblet of Fire</i> (supervisor: MPC), <i>Charlie and the Chocolate Factory</i> (cg supervisor: MPC) since joining MPC in 2002. Aithadi began his career working as a draftsman for Cryo Interactive in Paris, where he learned to combine his technical drawing skills with basic 3D computer modeling.<br /><br /><i>10,000 BC</i> required mighty mammoths, mighty wooly mammoths, with digital fur - meters in length. Not only did theses hairy beasts need to charge in herds but the film required these beasts to be trapped by nets made of digital fur spun rope, all on fields populated with digital grass. Aithadi, visual effects supervisor of The Moving Picture Company (MPC), described some of the vfx frames as having "more (digital) hair than I had ever seen in my life... it was a nightmare of hair....there were hair (simulations) everywhere," he jokes.<br /><br />MPC contributed over 150 shots to the film, but shot count does not really equal workload as "every single shot was an extremely complex shot" states Aithadi. MPC did two principle sequences: 'Mammoth Hunt' and 'Giza'. To create the herds of mammoths the team carried out extensive R&D, developing 'Furtility', a fur creation and grooming tool, and enhancing their Alice crowd simulation software.<br /><br /><h4> Basic Hair </h4><br />MPC first got involved in the project in 2005. The first thing they did was work on a test based on a design done by<br />Patrick Tatopoulos, the famous creature designer (<i>I am Legend</i>, <i>I,Robot</i>, <i>Godzilla</i>, <i>Underworld</i>). These test resulted in MPC being awarded the project and Aithadi moved over to join the project in June 2006. To achieve the vastly complex hair, MPC used its own Hair program 'Fertility'. The fur system was the first thing done on the project. Around December 2006 the tool became stable enough to use.<br /><br />Prior to that the team had been focused on refining the actual look of the Mammoth. "Roland Emmerich is someone who has a very clear idea what the mammoth would look like, without ever having to have seen a mammoth," says Aithadi. The team spent a lot of time refining the wool or fur look in the early tests. There was a wide variety of different types of fur needed at different points over the beast. "We played with thickness of the hair -- fluffy, not fluffy, straight hair," Aithadi relates. "We spent a lot of time grooming the mammoth in just about every way possible...we working on refining this over 6 months."<br /><br />With the mammoths seen both far from the camera as well as in extreme close up, the fur or hair had to look completely natural at different distances. It also needed to emulate the properties of the matted, tangled and dirty hair of the everyday outdoor mammoth, so the texture library numbered more than 660 different examples. With CG fur growing up to 2 metres (6 feet) in length, render time was long with a plethora of vertices to calculate per frame.<br /><br />Along the way, the team developed a set of small tools since just about everything they needed to do could not be done with commercially available software. As the hair is over 2 meters long, this translates to a set of 35,000 vertices or points to compute every frame. It was not viable to use normal software appliactions to achieve realistic simulations.<br /><br />The close-up and distance shots actually required different parameters to make the fur work visually. This, in and of itself, presented no problem as the Fertility hair software was by then very flexible. The problem came when the camera moved within a take from a wide shot to a close-up. The final result looks seamless but the actual hair thickness is dynamically changing during the shot. MPC had to work carefully to animate the parameters to change the hair, while making it appear as though the fur was not changing during the camera move closer. Having their own system was the only path forward for MPC. If something such as this or complex digital grooming came up, then their own R&D facility could solve the problem directly.<br /><br />This was particularly the case with the net scene. In one section of the film the digital mammoth had to be caught in a net made of knotted mammoth hair. There was a partial net on set that needed to be matched to, but the digital net spanned approximately 20 by 10 metres and was made with "hundred and hundreds of links", explains Aithadi.<br />Two shots show full screen hereo mammoths. For the sequence showing D'Leh almost trampled by a herd of rampaging mammoths, the team needed to integrate the main actor into the centre of the her. To achieve this the team created digital doubles of the actor which was composited into the centre of the crowd. Much of the grass was removed and furtility fueled cg versions were re-rotoscoped in, with grass seed pods adding extra realism.<br /><br /><h4> Caught in the Net</h4><br /><div class="imgright" style=""> <img src="http://www.fxguide.com/modules/NewsUpload/files/08Mar/10000/mud_side_big_thumb.jpg" alt="small" border="0" height="162" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/NewsUpload/files/08Mar/10000/mud_side_big.jpg','image','1201','648')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div> <b>Step 1:</b><br /><br />By this stage the mammoth is already built and groomed with multiple styles of digital fur, all generated by Fertility in-house. The animation team had complex run cycles to solve as elephants always have three feet on the ground, and yet the director wanted the Herd to gallop.<br /><br />For the net, the team started with basic geometry and began painting textures on the ropes.<br /><br /><div style="clear: both;"><img src="http://www.fxguide.com/images/spacer600.gif" /></div><br /><div class="imgright" style=""> <img src="http://www.fxguide.com/modules/NewsUpload/files/08Mar/10000/hill_thumb.jpg" alt="small" border="0" height="162" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/NewsUpload/files/08Mar/10000/hill.jpg','image','1201','648')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div><b>Step 2: </b><br /><br />MPC added displacement and realized that nothing short of a full hair simulation would work. The Fertility team worked on producing render solutions as the net would end up being more hair by area than actual mammoth. This was compounded by the fact that the hair needed to be treated around the core of the 'rope'. Again, the Fertility team came up with a way of twisting the hair along the path of the ropes, rather than just hanging.<br /><div style="clear: both;"><img src="http://www.fxguide.com/images/spacer600.gif" /></div><br /><br /><br /><div class="imgright" style=""> <img src="http://www.fxguide.com/modules/NewsUpload/files/08Mar/10000/hairvariation2_thumb.jpg" alt="small" border="0" height="244" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/NewsUpload/files/08Mar/10000/hairvariation2.jpg','image','866','704')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div><b>Step 3: </b><br /><br />At this point, the net as an isolated object was looking accurate and valid for the scene, but the next problem was how to make the hairy rope simulation interact with the hairy mammoth simulation. Hair collision was not the full solution, as the net needed to break and stretch and cause the correct interaction with the mammoth hair. The team approached this by animating the mammoth hairless to look like it was hitting the net and being restrained by it. This naked mammoth then feed a Syflex cloth simulation. Syflex was used to drape the net over the naked mammoth.<br /><div style="clear: both;"><img src="http://www.fxguide.com/images/spacer600.gif" /></div><br /><br /><div class="imgright" style=""> <img src="http://www.fxguide.com/modules/NewsUpload/files/08Mar/10000/fur-harness_thumb.jpg" alt="small" border="0" height="198" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/NewsUpload/files/08Mar/10000/fur-harness.jpg','image','1148','757')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div> <b>Step 4:</b><br /><br />The MPC team then added the hair. At first the team tried using normal collision dynamics, but this proved computationally unacceptable. So the team once again tried to think laterally and come up with a mix of occlusion vectors and normal vectors. Occlusion maps normally show where ambient light is not strongly present, but ignores any actual lighting of the scene. Since this tends to happen in creases and where objects rub together, the occlusion map provided a black and white matte of areas of fur interaction, but independent of scene lighting.<br /><br />This black and white map, combined with motion vectors of the direction and location of the net movement, provided just the insight needed to know where to compress the fur on the mammoth and where to allow it to spring up in between rope sections. If the rope was pressing at any point the occlusion map would be dark and the rope motion vectors would indicate how the fur should be depressed on the mammoth. If there was no rope sections near a patch of fur, the ambient occlusion would be white and the fur could look un-flattened. "The darkerthe occlusion the closer the net was... and the direction vectors also told us how affect the net," says Aithadi. "It worked very well and we had no occlusion, the net moved up and down and the fur responded correctly." The same occlusion map feed hair system was used at the end of the film when the mammoths were harnessed.<br /><br /><div style="clear: both;"><img src="http://www.fxguide.com/images/spacer600.gif" /></div><br /><b>Step 5:</b><br /><br />For scenes where the mammoths also had chains and harnesses, the team did rigid body dynamics to animate those particular pieces.<br /><br /><div style="clear: both;"><img src="http://www.fxguide.com/images/spacer600.gif" /></div><br /><br /><div class="imgright" style=""> <img src="http://www.fxguide.com/modules/NewsUpload/files/08Mar/10000/hair_mud_thumb.jpg" alt="small" border="0" height="177" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/NewsUpload/files/08Mar/10000/hair_mud.jpg','image','1201','708')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div><b>Step 6:</b><br /><br />Depending on the environment and the state of the beasts, the team then needed to either apply sheen to the hair or dust and matte it down.<br />The mammoths in early scenes need to have dried mud and foreign objects caught in their matted hair. MPC R&D provided the solution in allowing the animators to attach geometry to the hair and it would move with the hair. Thus, the mud is actually just rigid body simululation.<br /><br /><div style="clear: both;"><img src="http://www.fxguide.com/images/spacer600.gif" /></div><br /><br /><div class="imgright" style=""> <img src="http://www.fxguide.com/modules/NewsUpload/files/08Mar/10000/grass_thumb.jpg" alt="small" border="0" height="162" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/NewsUpload/files/08Mar/10000/grass.jpg','image','1201','646')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div><b>Step 7: </b><br /><br />The mammoths then needed to be placed into the environments. In the beginning of the film, the team realized that to have the feet and legs of the Mammoths walk in the high grass of the open fields, each blade of grass would be need to be rotoed. Digital grass was added, again using Fertility. To match the on set photography exactly, the digital grass needed husk or seed pod tops, not unlike wheat. Ironically, as the grass was using the hair system, the same solution was applied as was used for the mud. Geometry was again attached to the grass, but this time resembling wheat. It moved and reacted just as the original grasses had during principal photography, but now trampled by the herd of mammoths.<br /><br /><br /><h4>Gaza and a Crowd like Alice</h4><br />For the Gaza sequence, a similar problem needed to be solved. "An amazing miniature had been built in the desert in Namibia" explains Aithadi. Emmerich sought to film the plates using helicopter to get the same effect as some of the earlier shots in the film. He enlisted his effects team to create giant models of the pyramids which he could shoot using a Spydercam, a remote control-operated camera attached to wires.<br /><br />The team erected the miniature replicas of the pyramids, the palace, the slave quarters and the Nile River close to the practical pyramids. Built on a scale of 1:24 in Munich and then transported to Namibia in fifteen sea containers, the set covered approximately 100 square meters. The Spydercam allowed the director to move freely through the miniature set, providing spectacular 360 degree aerial shots that harmonized with the film's earlier aerial sequences.<br /><br /><div class="imgleft" style=""> <img src="http://www.fxguide.com/modules/NewsUpload/files/08Mar/10000/gaza_thumb.jpg" alt="small" border="0" height="205" width="300" /> <div class="imgzoom" style=""><a href="javascript:winopen('modules/NewsUpload/files/08Mar/10000/gaza.jpg','image','1201','818')"> <img src="http://www.fxguide.com/images/imgzoom.gif" border="0" /></a></div> </div>Gary Brozenich (<i>Rome</i>, <i>The Da Vinci Code</i>, <i>Kingdom of Heaven</i>), MPC's on-set supervisor, photographed the model in every way and in every light. "When we get these plates we realized we need to get people behind all sorts of things - including behind pieces of scaffold that were then less than one pixel in size. So to roto every aspect was just not going to be feasible," says Aithadi.<br /><br />There were a large number of shots in which up to 40,000 digital extras to be added. So MPC came up with the plan to model the entire set in 3D. Based on the accurate photography they had from set they spent a month modeling the whole environment, and then re-projected the photography of the miniature back over the 3D geometry. This was done meticulously to match the plate photography just as it had in the grass scenes earlier in the film. When the environment was finished the slaves were added no roto was required.<br /><br />MPC used their proprietary in-house crowd software 'Alice' to generate the digital extras. The program was developed specifically for <i>Troy</i> and at that time the company also made an investment in motion capture hardware. MPC also used this software for two other feature film projects the company was working on at the time: Oliver Stone's <i>Alexander</i> and Ridley Scott's <i>Kingdom of Heaven</i>. For both films, MPC completed standard motion cycles and infantry capture. The team also spent two weeks with Artem Digital capturing horses, producing data that was used for both <i>Alexander</i> and <i>Kingdom of Heaven</i>.<br /><br />For the mammoths of <i>10,000 BC</i>, the Alice software needed to be extended. "We had to upgrade it to handle the herd of mammoths running along at the beginning of the film, as we had 110 mammoths: all running -- all with fur" explains Aithadi. "So we had to update Alice to work with giggle - which is our geometry scripting tools - which is the way we define geometry for renderman". Alice also had to be updated to include 'Alice Cloth' which allowed the crowd to have correctly simulated rags, cloth, and pieces of cloth. The render farm requirements were huge; without complex data handling the shots could not have been possible.<br /><br /><br /><h4> Workflow</h4><br />The team used Maya for animation and modeling. Lighting and shading used MPC's 'Tickle' software, which is also the bridge to Renderman. Maya lights are not used anymore - 'Tickle Lights' are used. Everything is then generated from 'Giggle script', which is MPC geometry description script which feeds Renderman. About 20 to 25 passes go to Shake for 2D compositing. This includes many of the standard passes such as specular, diffuse, etc. There are also some special normals passes which are used to manipulate a pseudo-3D environment MPC has inside Shake. Even though Shake is 2D, the special 3D normal passes allow last minute adjustments in 2D that actually almost appear 3D. The mammoths required extra passes such as transmission, sheen and others depending on the shot.<br /><br />For the live action film, many of the shots with the mammoths actually are now almost entirely 3D. It is testament to MPC's craft that they intercut with full live action shots perfectly.<br /><br />Nicolas Aithadi's next project is as VFX supervisor for MPC on <i>Harry Potter and the Half Blood Prince</i>.<br /><a href="http://www.onlywire.com/submit?u=URL&t=TITLE&tags=TAG1%20TAG2" title="Add this Article to Onlywire" target="_blank"><img src="http://www.onlywire.com/i/onlywire.ico" align="absmiddle" border="0" /> Add to Onlywire</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-56665399628167346412008-03-10T09:11:00.000-07:002008-03-10T09:14:19.796-07:0033 GREAT body enhancement photoshop tutorials<p><a href="http://biorust.com/tutorials/detail/163/en/" onclick="javascript:urchinTracker('/outbound/biorust.com/tutorials/detail/163/en/?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/13.jpg" class="img_thumb" /></a></p><h3>Eyes <a href="http://biorust.com/tutorials/detail/163/en/" onclick="javascript:urchinTracker('/outbound/biorust.com/tutorials/detail/163/en/?ref=http_//digg.com/page5');">enhancing Iris Color</a></h3> <p>It is said that the eyes are windows into the soul. In that case some of us must have really boring souls, but help is at hand if you want to your eyes to really stand out in photographs and creative photo manipulations. This tutorial details a simple yet powerful technique for altering eye color using basic Photoshop tools and a decent image of an eye.<br /></p><p><a href="http://www.tutorials-photoshop.com/photo-retouch/eye-shadow/index.php" onclick="javascript:urchinTracker('/outbound/www.tutorials-photoshop.com/photo-retouch/eye-shadow/index.php?ref=http_//digg.com/page5');">Eye Shadow / Eyeliner</a></p> <p>Adding make-up to a person’s photograph is a great way to get an idea of how they would look with that make-up in real life. This is a great tool for make-up artists, as well as photoshop artists in general. In this tutorial, we’ll take a step-by-step look into the process of adding eye shadow and eyeliner to a person’s photograph using Photoshop. Then we’ll learn to adjust the coloring of the make-up to get different looks.</p> <p><a href="http://www.tutorials-photoshop.com/photo-retouch/eye-shadow/index.php" onclick="javascript:urchinTracker('/outbound/www.tutorials-photoshop.com/photo-retouch/eye-shadow/index.php?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/51.jpg" class="img_thumb" /></a><br /><br /></p><p><a href="http://www.dphotonews.com/tutorials/thicker_eyelashes.php" onclick="javascript:urchinTracker('/outbound/www.dphotonews.com/tutorials/thicker_eyelashes.php?ref=http_//digg.com/page5');">Make eyelashes thicker</a></p> <p><a href="http://www.dphotonews.com/tutorials/thicker_eyelashes.php" onclick="javascript:urchinTracker('/outbound/www.dphotonews.com/tutorials/thicker_eyelashes.php?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/71.jpg" class="img_thumb" /></a></p> <p><br /></p><p><a href="http://www.photoshopessentials.com/photo-editing/glamour-eyes/" onclick="javascript:urchinTracker('/outbound/www.photoshopessentials.com/photo-editing/glamour-eyes/?ref=http_//digg.com/page5');">Shadowy, Sultry Eyes</a></p> <p>When it comes to grabbing our attention, nothing seems to have the power to captivate us more than a person’s eyes, and in this Photoshop tutorial, we’re going to learn a fashion retouching technique to see how easy it is to give someone’s eyes a shadowy, sultry look to them. We’re also going to be bringing out their colors, adding some highlights, and generally making them look sharper. Keep in mind that this is an “icing on the cake” type of effect, to be done only after an image has already been corrected for tone and color.</p> <p><a href="http://www.photoshopessentials.com/photo-editing/glamour-eyes/" onclick="javascript:urchinTracker('/outbound/www.photoshopessentials.com/photo-editing/glamour-eyes/?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/81.jpg" class="img_thumb" /></a><br /><br /><a href="http://www.dphotojournal.com/photoshop-tutorial-apply-eye-make-up/" onclick="javascript:urchinTracker('/outbound/www.dphotojournal.com/photoshop-tutorial-apply-eye-make-up/?ref=http_//digg.com/page5');">Apply Eye Make-up</a></p> <p>This photoshop tutorial will show you how you can add eyeshadow, eyeliner and mascara to any model easily with Photoshop CS.</p> <p><a href="http://www.dphotojournal.com/photoshop-tutorial-apply-eye-make-up/" onclick="javascript:urchinTracker('/outbound/www.dphotojournal.com/photoshop-tutorial-apply-eye-make-up/?ref=http_//digg.com/page5');"><br /></a></p> <p><a href="http://www.dophotoshop.com/add-an-eyebrow-piercing-to-a-photo" onclick="javascript:urchinTracker('/outbound/www.dophotoshop.com/add-an-eyebrow-piercing-to-a-photo?ref=http_//digg.com/page5');">Add an Eyebrow Piercing to a Photo</a></p> <p>In this tutorial, we are going to add some eyebrow jewelry to this lovely lady.</p> <p><a href="http://www.dophotoshop.com/add-an-eyebrow-piercing-to-a-photo" onclick="javascript:urchinTracker('/outbound/www.dophotoshop.com/add-an-eyebrow-piercing-to-a-photo?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/102.jpg" class="img_thumb" alt="10" border="0" height="173" width="244" /></a></p> <p><a href="http://www.lunacore.com/photoshop/tutorials/tut030.htm" onclick="javascript:urchinTracker('/outbound/www.lunacore.com/photoshop/tutorials/tut030.htm?ref=http_//digg.com/page5');">Using The Red Eye Tool Non-Destructively</a></p> <p>This photoshop tutorial will show you how to use Photoshop CS2’s Red Eye tool Red Eye tool in a non-destructive way. The technique that I will explain is unique because as far as I know it hasn’t been discussed in any book/magazine or on any web site.</p> <p><a href="http://www.lunacore.com/photoshop/tutorials/tut030.htm" onclick="javascript:urchinTracker('/outbound/www.lunacore.com/photoshop/tutorials/tut030.htm?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/111.jpg" class="img_thumb" /></a></p> <p><br /></p><p><a href="http://www.heathrowe.com/tuts/eyecolor.asp" onclick="javascript:urchinTracker('/outbound/www.heathrowe.com/tuts/eyecolor.asp?ref=http_//digg.com/page5');">Replace Eye Color</a></p> <p>Recolor eyes with ease using the Color Replacement Tool in Photoshop CS/CS2.</p> <p><a href="http://www.heathrowe.com/tuts/eyecolor.asp" onclick="javascript:urchinTracker('/outbound/www.heathrowe.com/tuts/eyecolor.asp?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/121.jpg" class="img_thumb" /></a></p> <h3>Hair</h3> <p><a href="http://www.cgshelf.com/changing_hair_color.php" onclick="javascript:urchinTracker('/outbound/www.cgshelf.com/changing_hair_color.php?ref=http_//digg.com/page5');">Changing Hair Color</a></p> <p>This is the final output.As you can see, there are two different colors on the hair-Green and Red.</p> <p><a href="http://www.cgshelf.com/changing_hair_color.php" onclick="javascript:urchinTracker('/outbound/www.cgshelf.com/changing_hair_color.php?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/14.jpg" class="img_thumb" alt="1" border="0" /></a></p> <p><br /></p><p><a href="http://luxa.org/tutorial_phoenix_hair_effect.php" onclick="javascript:urchinTracker('/outbound/luxa.org/tutorial_phoenix_hair_effect.php?ref=http_//digg.com/page5');">Phoenix hair effect</a></p> <p>With some simple brushing techniques, and a bit of color tweaking, you can spice up your photos with this flaming hair tutorial.</p> <p><a href="http://luxa.org/tutorial_phoenix_hair_effect.php" onclick="javascript:urchinTracker('/outbound/luxa.org/tutorial_phoenix_hair_effect.php?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/4.jpg" class="img_thumb" alt="4" border="0" /></a></p> <p><br /></p><p><a href="http://www.photoshopbuddy.net/shinehair.html" onclick="javascript:urchinTracker('/outbound/www.photoshopbuddy.net/shinehair.html?ref=http_//digg.com/page5');">Shining hair</a></p> <p>Creating shining hair like shown in shampoo ads.</p> <p><a href="http://www.photoshopbuddy.net/shinehair.html" onclick="javascript:urchinTracker('/outbound/www.photoshopbuddy.net/shinehair.html?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/6.jpg" class="img_thumb" alt="6" border="0" /></a></p> <p><br /></p><p><a href="http://kromefx.com/index.php?page=vt&id=67" onclick="javascript:urchinTracker('/outbound/kromefx.com/index.php?page=vt_amp_id=67?ref=http_//digg.com/page5');">Removing Hair Roots</a></p> <p>Here is a fairly straight-forward method for removing hair roots that takes mere seconds to accomplish.</p> <p><a href="http://kromefx.com/index.php?page=vt&id=67" onclick="javascript:urchinTracker('/outbound/kromefx.com/index.php?page=vt_amp_id=67?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/82.jpg" class="img_thumb" alt="8" border="0" /></a></p> <p><br /></p><p><a href="http://www.photoshoptalent.com/photoshop-tutorials/color-hair-locks.php">Color hair locks</a></p> <p>Are you getting bored by your hair colour or do you want a dramatic makeover in your photographs in just few minutes.</p> <p><a href="http://www.photoshoptalent.com/photoshop-tutorials/color-hair-locks.php"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/92.jpg" class="img_thumb" alt="9" border="0" /></a></p> <p><br /><br /></p><h3>Teeth</h3> <p><br /></p><p><a href="http://www.photoshopessentials.com/photo-editing/whiten-teeth/" onclick="javascript:urchinTracker('/outbound/www.photoshopessentials.com/photo-editing/whiten-teeth/?ref=http_//digg.com/page5');">Whiten and Brighten Teeth</a></p> <p>In this Adobe Photoshop tutorial, we’re going to see how to make teeth whiter and brighter in Photoshop using a Hue/Saturation adjustment layer, a brush and a layer mask.</p> <p><a href="http://www.photoshopessentials.com/photo-editing/whiten-teeth/" onclick="javascript:urchinTracker('/outbound/www.photoshopessentials.com/photo-editing/whiten-teeth/?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/15.jpg" class="img_thumb" alt="1" border="0" /></a></p> <p><br /></p><p><a href="http://www.cgarena.com/freestuff/tutorials/photoshop/dentist/dentist.html" onclick="javascript:urchinTracker('/outbound/www.cgarena.com/freestuff/tutorials/photoshop/dentist/dentist.html?ref=http_//digg.com/page5');">You are a Good Dentist</a></p> <p>You remember when your parents or girlfriend see your photo and said to you “your teeth are very yellowish”. Because in real life we are animated, and minor imperfections or yellowish teeth’s less noticeable. When you freeze a moment in time and give the eye a chance to concentrate on these minor imperfections then everybody knows the truth. Now its time to say, go to the doctor and check your eyes because my teeth’s are perfect.</p> <p><a href="http://www.cgarena.com/freestuff/tutorials/photoshop/dentist/dentist.html" border="0" onclick="javascript:urchinTracker('/outbound/www.cgarena.com/freestuff/tutorials/photoshop/dentist/dentist.html?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/2.jpg" class="img_thumb" alt="2" border="0" /></a></p> <p><br /></p><p><a href="http://www.killanet.net/forum/Whitening-Teeth-the-Professional-Way-t6696.html" onclick="javascript:urchinTracker('/outbound/www.killanet.net/forum/Whitening-Teeth-the-Professional-Way-t6696.html?ref=http_//digg.com/page5');">Whitening Teeth the Professional Way</a></p> <p>Everyone (Well, just about) gets their picture taken and they see the final picture and they are shocked by how yellow their teeth are. Of course, thanks to the genius’ who created Photoshop, we can easily make those teeth white. Now a lot of people make the mistake of wanting to make the teeth white and that’s what they do. They take a white color and start coloring those teeth. What you really want to do is actually remove the color from the teeth. Removing the color gets rid of that yellow color and makes them look white and clean.</p> <p><a href="http://www.killanet.net/forum/Whitening-Teeth-the-Professional-Way-t6696.html" border="0" onclick="javascript:urchinTracker('/outbound/www.killanet.net/forum/Whitening-Teeth-the-Professional-Way-t6696.html?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/3.jpg" class="img_thumb" alt="3" border="0" /></a></p> <p><br /></p><p><a href="http://www.photoshopsupport.com/tutorials/or/white-teeth-eyes.html" onclick="javascript:urchinTracker('/outbound/www.photoshopsupport.com/tutorials/or/white-teeth-eyes.html?ref=http_//digg.com/page5');">Whitening Teeth and Eyes</a></p> <p>Whenever the need arises to make a natural element white or whiter, it’s tempting to set the foreground color to white and reach for the airbrush. This works if applied with care, but it’s easier to achieve a more realistic effect using other Photoshop tools. Here, a small amount of whitening applied to the model’s teeth and eyes will lift the whole image.</p> <p><a href="http://www.photoshopsupport.com/tutorials/or/white-teeth-eyes.html" border="0" onclick="javascript:urchinTracker('/outbound/www.photoshopsupport.com/tutorials/or/white-teeth-eyes.html?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/41.jpg" class="img_thumb" alt="4" border="0" /></a></p> <p><br /><br /></p><h3>Skin</h3> <p><br /></p><p><a href="http://www.mrmalique.com/index.php/tutorial-how-to-get-perfect-skin/" onclick="javascript:urchinTracker('/outbound/www.mrmalique.com/index.php/tutorial-how-to-get-perfect-skin/?ref=http_//digg.com/page5');">How to get perfect skin</a></p> <p>Have you ever wished you could have perfect skin? Have you ever wished you could get rid of all the acne and pimples and blemishes and scars on your face? Now you can!</p> <p><a href="http://www.mrmalique.com/index.php/tutorial-how-to-get-perfect-skin/" onclick="javascript:urchinTracker('/outbound/www.mrmalique.com/index.php/tutorial-how-to-get-perfect-skin/?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/16.jpg" class="img_thumb" alt="1" border="0" /></a></p> <p><br /></p><p><a href="http://www.tu-torial.com/view_tut.php?id=192" onclick="javascript:urchinTracker('/outbound/www.tu-torial.com/view_tut.php?id=192?ref=http_//digg.com/page5');">Retouch Yellow Skin</a></p> <p><a href="http://www.tu-torial.com/view_tut.php?id=192" onclick="javascript:urchinTracker('/outbound/www.tu-torial.com/view_tut.php?id=192?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/21.jpg" class="img_thumb" alt="2" border="0" /></a></p> <p><a href="http://freeonlineclasses.net/index.php/Photoshop-Classes/Adobe-Photoshop-CS3-Photo-Retouching-Techniques/Professional-Skin-Smoothing.html" onclick="javascript:urchinTracker('/outbound/freeonlineclasses.net/index.php/Photoshop-Classes/Adobe-Photoshop-CS3-Photo-Retouching-Techniques/Professional-Skin-Smoothing.html?ref=http_//digg.com/page5');">Professional Skin Smoothing</a></p> <p>Learn the ultimate technique industry professionals use to retouch skin. This skin smoothing technique makes skin appear smooth without losing the texture. You’ll find this technique used in many magazines, ads, and other publications.</p> <p><a href="http://freeonlineclasses.net/index.php/Photoshop-Classes/Adobe-Photoshop-CS3-Photo-Retouching-Techniques/Professional-Skin-Smoothing.html" onclick="javascript:urchinTracker('/outbound/freeonlineclasses.net/index.php/Photoshop-Classes/Adobe-Photoshop-CS3-Photo-Retouching-Techniques/Professional-Skin-Smoothing.html?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/31.jpg" class="img_thumb" alt="3" border="0" /></a></p> <p><br /></p><p><a href="http://www.photoshoptalent.com/photoshop-tutorials/how-to-smooth-a-skin.php">How to smooth a skin</a></p> <p>In this tutorial I’ll show you how to make a skin like the the ones you see in magazines like Playboy.</p> <p><a href="http://www.photoshoptalent.com/photoshop-tutorials/how-to-smooth-a-skin.php"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/42.jpg" class="img_thumb" alt="4" border="0" /></a></p> <p><br /></p><p><a href="http://www.photoshoptalent.com/photoshop-tutorials/makeup-makeover.php">Makeup makeover</a></p> <p>In this tutorial I will show you how to remove hair in front of someone’s face, retouch skin and apply makeup using Photoshop (any version). Any skill level (tutorial includes some basic informations and descriptions for beginners).</p> <p><a href="http://www.photoshoptalent.com/photoshop-tutorials/makeup-makeover.php"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/52.jpg" class="img_thumb" alt="5" border="0" /></a></p> <p><br /></p><p><a href="http://photoshoptutorials.ws/photoshop-tutorials/photo-retouching/airbrushing---natural-smooth-skin.html" onclick="javascript:urchinTracker('/outbound/photoshoptutorials.ws/photoshop-tutorials/photo-retouching/airbrushing---natural-smooth-skin.html?ref=http_//digg.com/page5');">Airbrushing - Natural Smooth Skin</a></p> <p>Since the pre-digital era, glamour photos have been airbrushed by skilled photographers to remove imperfections on the skin. Now, with advance image editing software such as Adobe Photoshop, airbrushing can easily be mimiced with realistic results. However, many airbrushing techniques removes too many details causing the skin to look plastic and unrealistic. In this tutorial, we’ll teach you an effective Photoshop technique to simulate airbrushing without losing the texture.</p> <p><a href="http://photoshoptutorials.ws/photoshop-tutorials/photo-retouching/airbrushing---natural-smooth-skin.html" onclick="javascript:urchinTracker('/outbound/photoshoptutorials.ws/photoshop-tutorials/photo-retouching/airbrushing---natural-smooth-skin.html?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/61.jpg" class="img_thumb" alt="6" border="0" /></a></p> <p><br /></p><p><a href="http://www.dphotojournal.com/photoshop-tutorial-the-quick-way-to-remove-freckles/" onclick="javascript:urchinTracker('/outbound/www.dphotojournal.com/photoshop-tutorial-the-quick-way-to-remove-freckles/?ref=http_//digg.com/page5');">Removing Freckles</a></p> <p>In this tutorial we’re going to show you how you can remove freckles easily and quikcly using gaussian blur and history brush.</p> <p><a href="http://www.dphotojournal.com/photoshop-tutorial-the-quick-way-to-remove-freckles/" onclick="javascript:urchinTracker('/outbound/www.dphotojournal.com/photoshop-tutorial-the-quick-way-to-remove-freckles/?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/72.jpg" class="img_thumb" alt="7" border="0" /></a></p> <p><br /></p><p><a href="http://photoshoptutorials.ws/photoshop-tutorials/photo-retouching/remove-freckles.html" onclick="javascript:urchinTracker('/outbound/photoshoptutorials.ws/photoshop-tutorials/photo-retouching/remove-freckles.html?ref=http_//digg.com/page5');">Remove Freckles</a></p> <p>Reduce slight freckles naturally without using the Healing Brush. In this Photoshop tutorial, you’ll learn how to subtract freckles using a layer. This process provides the most natural results for light-brown freckles (ephelides) but will not work for dark freckles (lentigines).</p> <p><a href="http://photoshoptutorials.ws/photoshop-tutorials/photo-retouching/remove-freckles.html" onclick="javascript:urchinTracker('/outbound/photoshoptutorials.ws/photoshop-tutorials/photo-retouching/remove-freckles.html?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/85.jpg" class="img_thumb" alt="8" border="0" height="96" width="244" /></a></p> <p><br /><br /></p><h3>Body</h3> <p><br /></p><p><a href="http://www.photoshopcosmetics.com/tutorials/eliminate-cellulite/index.php" onclick="javascript:urchinTracker('/outbound/www.photoshopcosmetics.com/tutorials/eliminate-cellulite/index.php?ref=http_//digg.com/page5');">Eliminate Cellulite</a></p> <p><a href="http://www.photoshopcosmetics.com/tutorials/eliminate-cellulite/index.php" onclick="javascript:urchinTracker('/outbound/www.photoshopcosmetics.com/tutorials/eliminate-cellulite/index.php?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/110.jpg" class="img_thumb" alt="1" border="0" height="244" width="159" /></a></p> <p><a href="http://www.photoretouchingtutorials.com/retouchtutz/retouch1liquifytrim.htm" onclick="javascript:urchinTracker('/outbound/www.photoretouchingtutorials.com/retouchtutz/retouch1liquifytrim.htm?ref=http_//digg.com/page5');">Trimming weight off with the Liquify tool</a></p> <p><a href="http://www.photoretouchingtutorials.com/retouchtutz/retouch1liquifytrim.htm" onclick="javascript:urchinTracker('/outbound/www.photoretouchingtutorials.com/retouchtutz/retouch1liquifytrim.htm?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/25.jpg" class="img_thumb" alt="2" border="0" height="244" width="193" /></a></p> <p><br /></p><p><a href="http://www.graphicdesignclass.com/intermediate-school/remove-love-handles/index.php" onclick="javascript:urchinTracker('/outbound/www.graphicdesignclass.com/intermediate-school/remove-love-handles/index.php?ref=http_//digg.com/page5');">Removing Love Handles</a></p> <p>In this tutorial we will see how to remove love handles (or the extra fat around the waist).</p> <p><a href="http://www.graphicdesignclass.com/intermediate-school/remove-love-handles/index.php" onclick="javascript:urchinTracker('/outbound/www.graphicdesignclass.com/intermediate-school/remove-love-handles/index.php?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/34.jpg" class="img_thumb" alt="3" border="0" height="108" width="244" /></a></p> <p><br /><br /></p><h3>Nails</h3> <p><br /></p><p><a href="http://photoshopforfun.com/nails.htm" onclick="javascript:urchinTracker('/outbound/photoshopforfun.com/nails.htm?ref=http_//digg.com/page5');">Manipulating nails by increasing length & changing shade</a></p> <p><a href="http://photoshopforfun.com/nails.htm" onclick="javascript:urchinTracker('/outbound/photoshopforfun.com/nails.htm?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/112.jpg" class="img_thumb" alt="1" border="0" height="161" width="244" /></a></p> <p><br /></p><p><a href="http://www.graphicdesignclass.com/intermediate-school/longer-nails/index2.php" onclick="javascript:urchinTracker('/outbound/www.graphicdesignclass.com/intermediate-school/longer-nails/index2.php?ref=http_//digg.com/page5');">Longer Nails</a></p> <p>You might come across the scenerio that you are working on a photograph for a project where the woman’s nails are short, but you would like them to be longer. This tutorial shows how to do that. It’s also useful if you want to see how your own nails would look if they were longer.</p> <p><a href="http://www.graphicdesignclass.com/intermediate-school/longer-nails/index2.php" onclick="javascript:urchinTracker('/outbound/www.graphicdesignclass.com/intermediate-school/longer-nails/index2.php?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/26.jpg" class="img_thumb" alt="2" border="0" height="184" width="244" /></a></p> <p><br /><br /></p><h3>Nose</h3> <p><br /></p><p><a href="http://www.photoshopessentials.com/photo-editing/nose/" onclick="javascript:urchinTracker('/outbound/www.photoshopessentials.com/photo-editing/nose/?ref=http_//digg.com/page5');">Easy Digital Nose Job</a></p> <p>In this Adobe Photoshop tutorial on digital photo editing, we’re going to learn how incredibly easy it is to give someone a digital nose job (not that anyone we know would need it, of course!). This photo editing technique is so simple and easy, you’ll be tempted to use it on photos of people who honestly don’t need it. Or at least, that’s what you can tell them when they ask you why you made their nose smaller. You simply had to because it was so much fun and so easy to do!</p> <p><a href="http://www.photoshopessentials.com/photo-editing/nose/" onclick="javascript:urchinTracker('/outbound/www.photoshopessentials.com/photo-editing/nose/?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/113.jpg" class="img_thumb" alt="1" border="0" height="190" width="244" /></a></p> <p><br /></p><p><a href="http://www.magnet-photo-frames.com/tutorials/smaller-nose2.html" onclick="javascript:urchinTracker('/outbound/www.magnet-photo-frames.com/tutorials/smaller-nose2.html?ref=http_//digg.com/page5');">Smaller Nose</a></p> <p>Ever wondered what your nose would look like if it were smaller. This tutorial will walk you through the steps for reducing the size of a nose in a photograph using Photoshop.</p> <p><a href="http://www.magnet-photo-frames.com/tutorials/smaller-nose2.html" onclick="javascript:urchinTracker('/outbound/www.magnet-photo-frames.com/tutorials/smaller-nose2.html?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/27.jpg" class="img_thumb" alt="2" border="0" height="238" width="204" /></a></p> <p><br /></p><p><a href="http://www.photoshoplab.com/Digital-Nip-Tuck.html?id=tutorial_Digital-Nip-Tuck" onclick="javascript:urchinTracker('/outbound/www.photoshoplab.com/Digital-Nip-Tuck.html?id=tutorial_Digital-Nip-Tuck?ref=http_//digg.com/page5');">Digital Nip Tuck</a></p> <p>Photoshop is probably the cheapest alternative to plastic surgery possible. Unfortunately, Photoshop is only helpful in computer land. In this tutorial, I’ll show you how to do your own plastic surgery with a nose job to up and coming MTV starlet, Ashlee Simpson.</p> <p><a href="http://www.photoshoplab.com/Digital-Nip-Tuck.html?id=tutorial_Digital-Nip-Tuc" onclick="javascript:urchinTracker('/outbound/www.photoshoplab.com/Digital-Nip-Tuck.html?id=tutorial_Digital-Nip-Tuc?ref=http_//digg.com/page5');"><img src="http://www.photoshoptalent.com/blog/wp-content/uploads/2008/03/35.jpg" class="img_thumb" alt="3" border="0" height="176" width="244" /></a></p> <p> </p> <p><br />That’s it, this post was brought to you by:<br /><br /><a href="http://www.photoshoptalent.com/">PhotoshopTalent.com</a> - Photoshop Contests, Prizes, Tutorials, Art, Forums, … FUN!<br /><br />More photoshop stuff coming up soon! If you like this post, I’d appreciate if you digg it.</p><br /><br /><br /><br /><a href="http://www.onlywire.com/submit?u=URL&t=TITLE&tags=TAG1%20TAG2" title="Add this Article to Onlywire" target="_blank"><img src="http://www.onlywire.com/i/onlywire.ico" align="absmiddle" border="0" /> Add to Onlywire</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-17516801956568594382008-03-05T07:54:00.000-08:002008-03-05T07:57:10.214-08:00COBRA STARSHIP - Snakes on a Plane - Making Of<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img512.imageshack.us/img512/2460/soapbandyk3.jpg"><img style="cursor: pointer; width: 400px;" src="http://img512.imageshack.us/img512/2460/soapbandyk3.jpg" alt="" border="0" /></a><br /><span>The Making of the Cobra Starship "Snakes On a Plane (Bring It)" Music Video featuring the Gym Class Heroes, The Academy Is..., The Sounds and Midtown</span><br /><span style="font-weight: bold;">VIDEO</span><br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/XV24FN4rDzE"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/XV24FN4rDzE" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br /><span style="font-weight: bold;">Making of<br /></span><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/sK1azsXWfdQ"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/sK1azsXWfdQ" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><span style="font-weight: bold;"><br /></span>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-44942050018996324052008-03-05T07:49:00.000-08:002008-12-10T16:02:43.518-08:00FIEST - 1234 // MAKING THE VIDEO<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1YWcJ1u4jXaHRhhBg508NeE_OhNSkIMMn7k_9BxuHHjkbo3BS6-7c9LaqvA-8B0rWLaz6a0fA6_jzkUl_fWjXC0PxuLpIDWt-DAXvI5WZuderZW0bumVEbu1QmXU5tEGb0LpCIAUHQ5Y/s1600-h/fiest.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1YWcJ1u4jXaHRhhBg508NeE_OhNSkIMMn7k_9BxuHHjkbo3BS6-7c9LaqvA-8B0rWLaz6a0fA6_jzkUl_fWjXC0PxuLpIDWt-DAXvI5WZuderZW0bumVEbu1QmXU5tEGb0LpCIAUHQ5Y/s400/fiest.jpg" alt="" id="BLOGGER_PHOTO_ID_5174285313493891426" border="0" /></a><br /><br /><span>From the album "The Reminder" (2007) </span> <span>Making of the brilliant Feist video 1234, directed by Patrick Daughters. Also on <a href="http://www.blogger.com/www.listentofeist.com">www.listentofeist.com</a><br /><br /><span style="font-weight: bold;">VIDEO</span><br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/p8Z-DIAthbM"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/p8Z-DIAthbM" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br /><span style="font-weight: bold;">MAKING OF<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/7Hfn7EPM9CE"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/7Hfn7EPM9CE" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br /></span></span>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-23901221232004590072008-03-05T07:42:00.000-08:002008-03-05T07:48:29.050-08:00Orange County Choppers HP Commercial<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.orangecountychoppers.com/occ/images/jasonworkstation1_lg.jpg"><img style="cursor: pointer; width: 400px;" src="http://www.orangecountychoppers.com/occ/images/jasonworkstation1_lg.jpg" alt="" border="0" /></a><br /><br /><span>check out this exclusive behind-the-scenes footage showing how HP's OCC Spot was made for the Superbowl...more cool content and great deals at hp.com!<br /><br /><span style="font-weight: bold;">Heres the Video</span><br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/d6KNZJXmmKs&color1=0x5d1719&color2=0xcd311b"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/d6KNZJXmmKs&color1=0x5d1719&color2=0xcd311b" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br /><span style="font-weight: bold;">HOW iTS dONE<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/pMJHHjWCAzg"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/pMJHHjWCAzg" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /></span></span>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-20325078572034997272008-02-27T12:08:00.000-08:002008-12-10T16:02:43.741-08:00Smashing Pumpkins VIDEO - SUPERCHRIST<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5clrYUJ_smfMKHQafl725szAm6m3E3prwA3VXlkrccCIdV91Pzt_PMYUtrEe6kuItvUThbnW5SfDw6Stj1nETAHmhhHbsFuzZJouL-8poOEXyiRa9optgUCYRiR3A0m1jYhvqjjsz1Ow/s1600-h/smashing_pumpkins4.jpg"><img style="width: 393px; height: 397px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5clrYUJ_smfMKHQafl725szAm6m3E3prwA3VXlkrccCIdV91Pzt_PMYUtrEe6kuItvUThbnW5SfDw6Stj1nETAHmhhHbsFuzZJouL-8poOEXyiRa9optgUCYRiR3A0m1jYhvqjjsz1Ow/s400/smashing_pumpkins4.jpg" alt="" id="BLOGGER_PHOTO_ID_5171754588621437970" border="0" /></a><br />This is our first Music Video Post. We will be providing our viewers with the best and latest in music videos, a currently to be considered dying industry. MV's(music videos) have gone downhill alot in the recent years,others stand out. This is one. Low budget or no budget?<br /><br />Note: Im also aware of the fact that this is not a current lineup of the band. i just thought it was a pretty sick picture. peace.<br /><br /><a href="http://myspacetv.com/index.cfm?fuseaction=vids.individual&videoid=29097011">The Smashing Pumpkins - Superchrist</a><br /><embed src="http://lads.myspace.com/videos/vplayer.swf" flashvars="m=29097011&v=2&type=video" type="application/x-shockwave-flash" height="346" width="430"></embed><br /><a href="http://myspacetv.com/index.cfm?fuseaction=vids.addToProfileConfirm&videoid=29097011&title=The%20Smashing%20Pumpkins%20-%20Superchrist">Add to My Profile</a> | <a href="http://myspacetv.com/index.cfm?fuseaction=vids.home">More Videos</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-71817492863685726862008-02-23T09:58:00.000-08:002008-02-23T10:02:00.888-08:00Color Correction in PHOTOSHOP<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.rightreading.com/blog-images-07/photoshop-default-1.jpg"><img style="cursor: pointer; width: 400px;" src="http://www.rightreading.com/blog-images-07/photoshop-default-1.jpg" alt="" border="0" /></a><br /><br /><span>Wonder how to properly set the darkest, lightest & gray points in a photoshop corrected photo? This is a great method to correct photos using Photoshop.<br /><br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/Se3htZz2noo&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/Se3htZz2noo&rel=1" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br /><br /></span>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com1tag:blogger.com,1999:blog-4165896302507016098.post-58834027893752294522008-02-21T09:12:00.000-08:002008-02-21T09:21:19.956-08:00AVID LIQUID 7 Training Videos<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.urdalen.no/images/llb05_avid_editor.png"><img style="cursor: pointer; width: 400px;" src="http://www.urdalen.no/images/llb05_avid_editor.png" alt="" border="0" /></a><br /><br />Avid Liquid’s powerful SD and HD video editor offers integrated DVD authoring; surround sound audio processing and 1000s of powerful real-time effects. Liquid’s integrated toolset provides all of the tools needed to create the highest quality productions and finish to tape, DVD or web steams.<br /><br />There are more tutorials at <a href="http://learn.avid.com/content/tutorials/">AVID's website</a><br /><br /><span style="font-weight: bold;">Color_Correcting_in_Avid_Liquid</span><br /><embed style="width: 400px; height: 326px; font-weight: bold;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=1528787631070329954&hl=en" flashvars=""></embed> <br /><br /><span style="font-weight: bold;">Capture_and_Import_Video</span><br /><embed style="width: 400px; height: 326px; font-weight: bold;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=8857072646695281172&hl=en" flashvars=""></embed> <br /><br /><span style="font-weight: bold;">Editing</span><br /><embed style="width: 400px; height: 326px; font-weight: bold;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=5281856933128370274&hl=en" flashvars=""></embed> <br /><br /><span style="font-weight: bold;">Managing Formats</span><br /><embed style="width: 400px; height: 326px; font-weight: bold;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=5664567046118410479&hl=en" flashvars=""></embed> <br /><br /><span style="font-weight: bold;">Author_a_DVD</span><br /><embed style="width: 400px; height: 326px; font-weight: bold;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=6374875717397871801&hl=en" flashvars=""></embed> <br /><br /><span style="font-weight: bold;">Audio Editing</span><br /><embed style="width: 400px; height: 326px; font-weight: bold;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=-9106049818020176112&hl=en" flashvars=""></embed> <br /><br /><span style="font-weight: bold;">SFX</span><br /><embed style="width: 400px; height: 326px; font-weight: bold;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=-3182671517829922674&hl=en" flashvars=""></embed>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com2tag:blogger.com,1999:blog-4165896302507016098.post-28496395883009430762008-02-18T19:19:00.000-08:002008-02-18T19:23:10.059-08:00FIRST LOOK : THE SMURFS MOVIE<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.slashfilm.com/wp/wp-content/images/smurfsgreen.thumbnail.jpg"><img style="cursor: pointer; width: 400px;" src="http://www.slashfilm.com/wp/wp-content/images/smurfsgreen.thumbnail.jpg" alt="" border="0" /></a><br /><br />With Hollywood running short on ideas, Paramount greenlit a computer animated movie based on the classic trippy 80’s cartoon series The Smurfs (Truth is that the Smurfs are actually 50 years old, having first appeared in comic strips).<br /><br /><br />The first images from this upcoming big screen computer animated adaptation appeared in the Happy Smurfday Euro Tour, planned to coincide with the Smurf’s 50th birthday. We’ve composited the photos found on <a href="http://www.mushroomvillage.com/shroomroom/showthread.php?t=807">MushroomVillage </a>(via ComingSoon) to bring you one big panoramic photo (as it was originally presented). Click on the photo above to enlarge.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.slashfilm.com/wp/wp-content/images/smurffootage.jpg"><img style="cursor: pointer; width: 400px;" src="http://www.slashfilm.com/wp/wp-content/images/smurffootage.jpg" alt="" border="0" /></a><br />There is also footage in a news report video on France3.fr which shows artists working on the new movie. Check out some stills below.<br /><br />Smurf Movie Footageuser2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-29840441345560182972008-02-18T05:34:00.000-08:002008-02-18T05:46:02.285-08:00Create the Pleasantville Effect in AVID Liquid<img src="http://www.lazydork.com/movies/pleasantville.jpg"><br /><br />This video will show you how to use AVID Liquid to recreate the effects in the movie Pleasantville.<br /><br /><embed style="width:400px; height:326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=-328898362246944487&hl=en" flashvars=""> </embed>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-20724239280825950602008-02-11T10:36:00.000-08:002008-02-11T10:47:19.098-08:00100 Photoshop Tutorials<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img136.imageshack.us/img136/8462/hotzt5.jpg"><img style="cursor:pointer; cursor:hand;width: auto;" src="http://img136.imageshack.us/img136/8462/hotzt5.jpg" border="0" alt="" /></a><br /><br />Each one starts as a thumbnail that can be hovered over to display more information. A truly great resource.<br />Have <span style="font-weight:bold;">fun</span> and keep going. Gotta be Smarter than the software!user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-83700144435236701352008-02-10T18:08:00.000-08:002008-02-10T18:10:03.583-08:00VISUAL FUTURIST: the art & life of syd mead<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/b018CzxbKMY&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/b018CzxbKMY&rel=1" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br />"VISUAL FUTURIST" NOW AVAILABLE FOR PURCHASE ON SYD MEAD'S "OFFICIAL" WEBSITE! <br /><a href="http://www.SYDMEAD.com"><br />SYDMEAD.com</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-13395972009445269742008-02-10T18:03:00.000-08:002008-02-10T18:08:11.464-08:00CG Channel Special Gnomon Workshop in LA<embed style="width: 400px; height: 250px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=-4769745608300281284&hl=en" flashvars=""></embed><br /><br />CG Channel was in Los Angeles last week-end to attend the Gnomon Workshop Live event that featured some of the latest and most advanced ... all » production techniques by industry masters such as J.P. Targete, Sparth (Nicolas Bouvier), Syd Mead, Taron, Puddnhead, Mark Goerner, Mark Lefitz, Feng Zhu, Chris Nichols and Aaron Sims.<br /><br />We also talk with a former student of the school, Jennifer Yu about her time there and her impressions of the teachers and the school's curriculum.<br /><br />You'll also have a preview of the many on-camera interviews we had with some of the speakers present along with many other visiting artists.user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-7405923143348249992008-02-10T17:00:00.000-08:002008-02-10T17:02:24.881-08:00Add us to technorati!<a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><br /><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a><a href="http://technorati.com/claim/znvp5w2uff" rel="me">Technorati Profile</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-64729353750300213142008-02-09T20:34:00.000-08:002008-02-09T20:42:14.706-08:00R.S. Connett - Painter<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.urspore.com/images/fbfiles/images/Connett7.jpg"><img style="cursor: pointer; width: 400px;" src="http://www.urspore.com/images/fbfiles/images/Connett7.jpg" alt="" border="0" /></a><br /><br /><br />This guys selling his stuff on ebay. <a href="http://search.ebay.com/_W0QQfgtpZ1QQfrppZ25QQsassZvmaximus">Check it out!</a><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.urspore.com/images/fbfiles/images/Artistworkarea.jpg"><img style="cursor: pointer; width: 400px;" src="http://www.urspore.com/images/fbfiles/images/Artistworkarea.jpg" alt="" border="0" /></a><br />"<span class="text"><p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">My name is Robert Steven Connett. I go by 'RS Connett' ~ My current occupation is as a full time artist/painter.</span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">You can see some of the art I make here on 'myspace' , and more of it at these links;</span> <span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;"> <a href="http://www.msplinks.com/MDFodHRwOi8vd3d3LnZvbWl0dXMuY29t" target="_blank">http://www.vomitus.com</a> & <a href="http://www.msplinks.com/MDFodHRwOi8vdm1heGltdXMuZGV2aWFudGFydC5jb20vZ2FsbGVyeS8=" target="_blank">http://vmaximus.deviantart.com/gallery/ </a> </span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">If you like what you see I </span><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">hope you will join my mailing list below. You will see all my new releases and offerings</span></p> <p> .. --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> </p><div align="center"> <table border="0" cellpadding="0" cellspacing="0" width="200"> <tbody><tr> <td nowrap="nowrap" width="100%"><a href="http://www.msplinks.com/MDFodHRwOi8vdWkuY29uc3RhbnRjb250YWN0LmNvbS9kLmpzcD9tPTExMDEyODE5NjE0OTUmcD1vaQ==" target="_blank" style="font-family: Verdana,Geneva,Arial,Helvetica,sans-serif; font-size: 10px; color: rgb(0, 0, 0);">Click here to see New RS Connett Art</a></td> </tr> </tbody></table> </div>.. --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">I was born in San Francisco on August 19, 1951. I lived in San Francisco until 1999. I then moved to Los Angeles, CA, where I live currently.</span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">Being born in 1951 makes me a Geezer in most of your young eyes. Unfortunately, If you live long enough, becoming old is unavoidable. At least, for now ...</span></p><p><span><span class="text"><span><span class="text"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.urspore.com/images/fbfiles/images/Connett8.jpg"><img style="cursor: pointer; width: 400px;" src="http://www.urspore.com/images/fbfiles/images/Connett8.jpg" alt="" border="0" /></a></span></span></span></span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">When I was young I thought that I would die young. I hoped that I would die young. Now, I want to live forever because I feel the reality of death. I hope that technology will be able to augment my existence so that I might never die. Better a living brain in a jar than death. I would prefer my dreams to nothingness. I would like to live indefinitely, choosing the time and place of my death. I would like to perfect who I am until I grew weary of my life, and choose to end it. Though I believe this will all soon become possible, I think I may have been born too soon to benefit from the science that will come to make it happen. That science that may make immortals of us all is coming. It may actually be an evolutionary step for mankind. ... but I digress.</span></p></span><p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">I like to believe that I have not lost the idealism and fascination with life which I have seen die in the hearts and minds of so many of my contemporaries. (contemporaries = The people you grew up with) I also believe that throughout the years my soul has been saved by my art. Through my art I have been able to maintain an important balance.The creation of art has helped me gain a certain amount of pride and sense of specialness. It is important to feel special. In some way we all are. When you forget that, or take for granted that you are not, you begin to lose the game of life.</span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">There are many artists 'better' and 'worse' than me. Comparisons of this sort do not matter. It should not matter to anyone. Comparing yourself to others is a deadly trap. You must have faith in the knowledge of our uniqueness. I have seen envy ruin many a good soul. The world is a place of relativities. We all see things so differently, that I believe we might go mad if we were able to see through the eyes of another, if even for a few moments. I think when one goes mad, truly mad, it only takes a moment.</span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">For over 20 years I worked by day, and created my art by night. I disliked my day job. I resented this job. I was always angry about that. I was envious of what I thought I saw in others. Those who had the wisdom or luck to be doing things they enjoyed. I was forced to work for money as most of us are. The days of hoping life would change for me, (Rather than I changing it) turned into years and then decades. Life is a very short dream. The awakening is in your death bed.</span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">I lived in the city of San Francisco all my life.In 1998 I moved from my home in San Francisco to Los Angeles. I was married that year. I was 47 years old.</span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">My wife is my great support, in all ways. In LA I worked as a general manager in a film distribution company, another job I loathed, ( including 3 hours a day of unpaid commuting time) My wife suggested that I quit this job because I was miserable. She said, "You can work only on your art and I will support us while you build a career." </span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">I jumped at that opportunity! The first year of that was wonderful. it is a VERY different thing to work a few days or nights a week doing artwork, than to do it every day, for many hours. When one works many hours every day, one develops abilities and builds knowledge quickly, (through trial & error in my case because I have no art education) In fact, I find that as I work on my art every day, my artistic expertise and knowledge grows exponentially. Once I discovered the joy of working on my art every day, I could no sooner think of stopping the process than to stop eating or breathing. </span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">Then suddenly everything changed. My wife was diagnosed with breast cancer. This happened about one year into her support plan of me. She was forced to go through the hideous treatments; chemotherapy, radiation, etc. and of course, our 'deal' was cancelled by fate. Suddenly, my comfortable 'slow & steady' career move had to become our main source of income. I had to take care of my wife and bring home enough money for us to keep our home. All this is terrifying for many reasons. It was like jumping from heaven into hell within 24 hours. The randomness of life can pull the rug out from under us, and I'm afraid it does this to most of us, often repeatedly.</span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">I had to find a way make enough money for us to live with my artwork alone. I'd compromised all my life to make money. The only thing I held sacred was my artwork. I look back now and see much of my earlier art as being immature, pretentious and derivative. However, that was me! </span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">My art is the sanctuary where I protect my heart and my individuality. I believe that in creating my art I have saved my eyes from total blindness. It is why I see things with eyes that can still recognize the magic in the world. </span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;"> I am now still in the middle of this 'mid-life career change' fight . I do whatever I have to do to keep us home and eating. I sell prints and small originals on Ebay. I take on private commissions. I sell originals and mounted 'Giclee' prints privately to a growing list of private collectors. I even painted a portrait, (<a href="http://www.msplinks.com/MDFodHRwOi8vd3d3LnZvbWl0dXMuY29tL211c2V1bS9uZXdfd29yay9Qb3J0cmFpdF9NYWdlZS5odG1s" target="_blank">http://www.vomitus.com/museum/new_work/Portrait_Magee.html</a>, or see it here on my 'myspace' page under 'music') That's all much more than 'okay' because I enjoy and feel pride as a craftsman in the creation of these works. </span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">After 25 years of creating art for my own catharsis first, and for public scrutiny second, I'm not sure I could become 'commercialized' now ever if I wanted to. And I don't want to.</span></p> <p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;">I appreciate the support of anyone who cares to write me, make a comment, or to critique. I learn the most from negative criticisms concerning my technique than anything else. As I said, I did not attend any art school, and so the world is my teacher. I study the art of the contemporary artists, many of whom have 'myspace' pages. I watch their work and dissect it. I see their originals in the galleries of LA, my one remaining social practice. I do my best to deconstruct their works and learn from their ways. Of course, I am very influenced by these artists. I'm sure you can find similarities of their styles in my work. This is a homage to their talent, craft and imaginations. I feed from their minds."</span></p><p><a href="http://www.vomitus.com/museum/rants/artists_statement.html">Official Site</a><br /></p><p><span style="font-family:Arial, Helvetica, sans-serif;font-size:85%;"><a href="http://www.myspace.com/connett">MYSPACE</a></span></p><p>This guys are is hot.<br /></p>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-1144080917784888112008-02-08T08:53:00.000-08:002008-02-08T08:57:53.166-08:00DAVE HILL - Sketch Theatre Artist Smokes Pot<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/-qG0TWOLRno&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/-qG0TWOLRno&rel=1" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Watch Sketch Theatre artist Dave Hill draw you some cool creepy looking guy while he has a joint then a cigarette. Make sure you edit that out Dave! Dont want all those young upstart teens wanting to be artists smoking weed and stuff!<br /><br /><a href="http://www.sketchtheatre.com">SKETCH THEATRE</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-53134442185339961342008-02-08T08:37:00.000-08:002008-02-08T08:45:53.024-08:00How Film Processing is Done<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/r2f9kz0JTmU&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/r2f9kz0JTmU&rel=1" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br />A short video showing the manufacturing process behind Processing Film.user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0tag:blogger.com,1999:blog-4165896302507016098.post-62630538347522803732008-02-07T11:20:00.000-08:002008-02-07T11:34:26.764-08:00TOM SAVINI - Makeup Artist - Interviews<img src="http://img132.imageshack.us/img132/3493/saviniqa2.jpg" alt="Tom Savini as a cop. Oh yeah." /><br /><br /><b>Thomas Vincent Savini</b> (born <a href="http://en.wikipedia.org/wiki/November_3" title="November 3">November 3</a>, <a href="http://en.wikipedia.org/wiki/1946" title="1946">1946</a>) is an <a href="http://en.wikipedia.org/wiki/US" title="US">American</a> <a href="http://en.wikipedia.org/wiki/Actor" title="Actor">actor</a>, <a href="http://en.wikipedia.org/wiki/Stunt_double" title="Stunt double">stunt man</a>, <a href="http://en.wikipedia.org/wiki/Film_director" title="Film director">director</a> and award-winning <a href="http://en.wikipedia.org/wiki/Special_effects" title="Special effects">special effects</a> and <a href="http://en.wikipedia.org/wiki/Makeup_artist" title="Makeup artist">makeup artist</a>.<sup id="_ref-awards_0" class="reference"><a href="http://en.wikipedia.org/wiki/Tom_Savini#_note-awards" title="">[1]</a></sup> He is known for his work on the <i>Living Dead</i> films directed by <a href="http://en.wikipedia.org/wiki/George_A._Romero" title="George A. Romero">George A. Romero</a>, as well as <i><a href="http://en.wikipedia.org/wiki/Friday_the_13th_%28film%29" title="Friday the 13th (film)">Friday the 13th</a></i>, <i><a href="http://en.wikipedia.org/wiki/Creepshow" title="Creepshow">Creepshow</a></i>, <i><a href="http://en.wikipedia.org/wiki/The_Burning_%28film%29" title="The Burning (film)">The Burning</a></i>, <i><a href="http://en.wikipedia.org/wiki/The_Prowler_%281981_film%29" title="The Prowler (1981 film)">The Prowler</a></i>, and <i><a href="http://en.wikipedia.org/wiki/Maniac_%281980_film%29" title="Maniac (1980 film)">Maniac</a></i>. He directed the <a href="http://en.wikipedia.org/wiki/Night_of_the_Living_Dead_%281990_film%29" title="Night of the Living Dead (1990 film)">1990 remake</a> of <i><a href="http://en.wikipedia.org/wiki/Night_of_the_Living_Dead" title="Night of the Living Dead">Night of the Living Dead</a></i>. Though officially retired from special effects, he has continued to direct, produce and star in several movies. Savini has been known to refer movie make-up effects projects to graduates of his school.<br /><br /><p>Savini runs the Special Effects Make-Up Program at the <a href="http://www.douglas-school.com/pages/savini.html" class="external text" title="http://www.douglas-school.com/pages/savini.html" rel="nofollow">Douglas Education Center</a> in <a href="http://en.wikipedia.org/wiki/Monessen%2C_Pennsylvania" title="Monessen, Pennsylvania">Monessen, Pennsylvania</a> and is the author of several books on special effects including <i>Grande Illusions</i> I and II (1983, 1994) and <i>Bizarro!</i> (1984), detailing the production and mechanical workings of many of his famous film effects. He is also associated with other books in the <a href="http://en.wikipedia.org/wiki/Horror_film" title="Horror film">horror</a> genre including <i><a href="http://en.wikipedia.org/wiki/Book_of_the_Dead_%28anthology%29" title="Book of the Dead (anthology)">Book of the Dead</a></i> for which he wrote the foreword. Savini is an associate of Dick Smith, who incorporates an advanced professional make-up seminar into the last semester of the program. Among other projects, Smith is known for his groundbreaking work in <i><a href="http://en.wikipedia.org/wiki/The_Exorcist" title="The Exorcist">The Exorcist</a></i>. Every <a href="http://en.wikipedia.org/wiki/Halloween" title="Halloween">Halloween</a> season, Savini hosts TerrorMania in the Pittsburgh area, a haunted house that showcases his effects talents.</p> Savini is a huge fan of <a href="http://en.wikipedia.org/wiki/Lon_Chaney%2C_Sr." title="Lon Chaney, Sr.">Lon Chaney, Sr.</a>. He named his son Lon, and Lon's daughter is named Chaney.<br /><br /><br /><br /><embed style="width: 400px; height: 326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=136405143846039204&hl=en" flashvars=""></embed><br /><br />Horror Effects with Tom Savini<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/KYVVRGKV5Oo&rel=1"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/KYVVRGKV5Oo&rel=1" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br /><br />More links to <a href="http://video.google.com/videosearch?q=Tom+savini">Tom Savini Videos here</a>user2930495847http://www.blogger.com/profile/00692100609095999112noreply@blogger.com0