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April 24th, 2014
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RSSNEWS:
Matrox at InfoComm 2014 — Product Preview
Video Streaming and Recording Appliance, Quad HD Capture Card, Video Wall Controller Boards, H.264 Encoders/Decoders and Fiber-Optic KVM Extenders to be Showcased
Matrox® Video and Matrox Graphics Inc. will be sharing booth N2247 at InfoComm 2014 (Las Vegas, June 18-20). Matrox Video will showcase the award-winning Monarch HD™ video streaming and recording appliance and the VS4™ quad HD capture card for multi-camera recording and streaming. Matrox Graphics Inc. will demonstrate the field-proven Mura™ MPX video wall controller boards, Maevex™ Full HD over IP H.264 encoders/decoders and zero-latency Avio™ fiber-optic KVM extenders.
published 2 days ago   read more
Cinedeck Saves Anger Management Series $2.25 Million In Post Production Costs
Cinedeck LLC, pioneering developer of capture systems for digital cinema, broadcast and post production, today revealed that its Cinedeck RX record, ingest and transcode platform has saved US comedy-series "Anger Management" (Debmar-Mercury Productions, FX Network) $2.25 million in post production costs, while supporting the delivery of double the number of episodes typically produced over the same production period.
published 1 week ago   read more
Camera Corps Q3 Takes Centre stage at 2014 NAB Show
Camera Corps reports a swarm of interest in its new Q3 compact robotic head among television production creatives attending the 2014 National Association of Broadcasters' Show in Las Vegas, April 7-10. Five years on from the launch of the multiple-award-winning Q-Ball, Q3 is completely redesigned to offer more features, greater sensitivity and higher image quality.
published 1 week ago   read more
VITEC Unveils New End-to-End 4K IPTV Solution for Enterprise TV and Sports Venues
4k Ultra HD Streaming presented as part of Sony 4K Vision Presenter Technology Demonstration at NAB
VITEC, a worldwide leader in advanced video streaming solutions, today announced it has partnered with Sony to show a live demonstration of their new End-to-End 4K IPTV solution for real-time, multicast distribution of Ultra HD video.
published 1 week ago   read more
Echostreams Teams Up with LSI and Microsoft to Demonstrate High-Availability Virtualized Shared Storage for Media Professionals at NAB 2014 in Las Vegas at LVCC Booth No.SL10810
Company showcases a complete family of Microsoft Server 2012 R2 certified cluster-in-a-box redundant platforms designed for OEMs, ranging from entry-level UP Intel E3 Haswell to top-of-the-line DP E5 Ivy Bridge, enhanced with LSI Syncro™® CS 9271-8i active/active redundant RAID adapters.
Echostreams Innovative Solutions, LLC. today announced the availability of an entire family of redundant server platforms, DuraStreams™, that are designed specifically for various Small-Medium-Business (SMB) verticals, with the support of the latest LSI Syncro® CS HA DAS technology. These platforms are certified under Microsoft Windows Server 2012 R2 for continuous availability, ideal for OEMs, System Integrators and Value-Added-Resellers building “Business in a Box” and “Branch in a Box” all-in-one Windows Server Hyper-V appliances. Knowing there are different needs coming from different SMB verticals that cannot be satisfied with “one-size-fits-all” approach, Echostreams has developed not one, but five different cluster-in-a-box redundant platforms supporting E3, E5-1400, E5-1600, and E5-2600 platforms. Environments suitable for these cluster-in-a-box redundant platforms include Retail, Medical/Dental Offices, Hotels & Restaurants, Education, Media & Broadcasting, and many others.
published 1 week ago   read more
ACME Portable: First Ever Portable Workstation with 4K Resolution
ACME Portable, the manufacturer of high-performance portable computers, is showcasing at NAB Show 2014, Booth# SL8827 the first ever portable workstation with Ultra HD 4K display. This portable workstation, called the MegaPAC L2, is ideal for many professional works that involve 4K display, including but not limited to 3D rendering, post-production processes, and professional photography.
published 1 week ago   read more
Sound Devices Expands Line of Video Recorders With Introduction Of PIX 270i and PIX 250i AT NAB 2014
New Recorders Offer Extensive High-Quality Video, Audio and Networking Capabilities Addressing the Multiple Source Needs of Today’s Large-Scale Productions
Sound Devices, specialists in audio and video products for production, introduces its latest PIX recorders, PIX 270i and PIX 250i, at the 2014 NAB Show (Booth C2546). PIX 270i and PIX 250i seamlessly replace tape- and disc-based video decks for a complete offering that addresses a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports and events, and mobile production.
published 2 weeks ago   read more
Ready-to-use 4K Broadcast Graphics Solution from Ventuz and Blackmagic at NAB
Ventuz and Blackmagic Partner Up at NAB 2014 To Showcase A Cost-Efficient, Off-The-Shelf 4K Broadcast Graphics Workflow In Booth #SL11127. Software/hardware Integration Enables Live, On-Air Broadcast Graphics Without Pre-Rendering.
Ventuz Technology, developer of resolution-independent, real-time graphics software and Blackmagic Design, manufacturer of creative video technology join forces to provide an affordable, off-the-shelf solution that can be used today for 4K Ultra HD broadcasts.
published 2 weeks ago   read more
Colorfront Debuts New Color Engine At NAB 2014
Colorfront, the Academy and Emmy Award-winning developer of high-performance, on-set dailies and transcoding systems for motion picture, high-end episodic HDTV and commercials production, today announced Colorfront Engine, a state-of-the art, managed color pipeline, which enables creative on-set look creation and ensures the vital color integrity of digital materials from camera-to-post. Colorfront Engine incorporates major color science breakthroughs, and makes its debut at NAB 2014, Las Vegas.
published 2 weeks ago   read more
Sound Devices Expands Line of Video Recorders with Introduction of PIX 270i and PIX 250i at NAB 2014
New Recorders Offer Extensive High-Quality Video, Audio and Networking Capabilities Addressing the Multiple Source Needs of Today’s Large-Scale Productions
Sound Devices, specialists in audio and video products for production, introduces its latest PIX recorders, PIX 270i and PIX 250i, at the 2014 NAB Show (Booth C2546). PIX 270i and PIX 250i seamlessly replace tape- and disc-based video decks for a complete offering that addresses a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports and events, and mobile production.
published 2 weeks ago   read more


RSSTUTORIALS:
Adobe After Effects
mocha Tracks The Wolf of Wall Street
mocha Tracks The Wolf of Wall StreetOscar-winning VFX Supervisor Rob Legato and Brainstorm Digital use mocha visual effects tools on Martin Scorsese's Wolf of Wall Street.
Editorial, Feature by Imagineer Systems on 04/16/2014
Adobe After Effects
Klip Collective Pushes Film Into New Spaces At Sundance
Klip Collective Pushes Film Into New Spaces At SundanceProjection mapping installation relies on Adobe Creative Cloud tools to create stunning visuals for the Sundance Film Festival entry, "What's He Building in There."
Editorial, Feature, People / Interview by Adobe on 01/21/2014
Adobe After Effects
Joseph Kosinski’s Film “Oblivion” Showcases Elegant Effects
Joseph Kosinski’s Film “Oblivion” Showcases Elegant EffectsWorld‐class user interface designers, graphic artists, and animators create crisp, timeless visual elements for the sci-fi film starring Tom Cruise and Morgan Freeman, Oblivion. Kosinski turned to Bradley G. Munkowitz (GMUNK), whom he'd previously worked with on Tron Legacy. As lead interface graphic designer, GMUNK then pulled a team together that included Interface Graphic Designers Joseph Chan (Chanimal) and Jake Sargeant, and Interface Animators Alexander Perry (AP), Navarro Parker (Nav), and David Lewandowski (D-Lew). They were happy to reunite to share how much fun they had creating the 2D effects for the film using an Adobe workflow.
Editorial, Feature, People / Interview by Adobe on 11/23/2013
Adobe After Effects
Star Trek Into Darkness: Main Titles, Graphics & Displays
Star Trek Into Darkness: Main Titles, Graphics & DisplaysAndrew Kramer of Bad Robot and author/owner of the site Video Copilot was tapped to create more than 30 title sequences for the resurrection of the classic science fiction franchise with Star Trek: Into Darkness, while the OOOii team created stunning graphics and heads-up displays for the blockbuster film. OOOii CEO Kent Demaine, Lead Designer Jorge Almeida and Andrew Kramer shared their great experiences working on the latest seminal Star Trek film.
Editorial, Feature, People / Interview by Adobe on 11/20/2013
Adobe Premiere Pro
Seasoned Film Editor Takes Adobe Premiere Pro CC For a Spin
Seasoned Film Editor Takes Adobe Premiere Pro CC For a SpinCustomizable interface, visual effects integration, and fast rendering time impressed long-time Avid editor and second generation filmmaker, Nicolas de Toth. Nicolas recently enjoyed the opportunity to edit a commercial for MagnaFlow and chose to work with Adobe Premiere Pro for the first time in his career.
Editorial, Feature, People / Interview by Adobe on 11/15/2013
Adobe After Effects
Delivering Content for TV's Top Shows
Delivering Content for TV's Top ShowsDelivering content for some of television's top shows, including House of Lies, Grey's Anatomy, and, of course The Walking Dead, Stargate Studios continues to break the mold of how feature films, television series, electronic games, and commercials are generated. In this article, read how Adobe Creative Cloud and automation create a competitive edge for the iconic production studio, Stargate Studios.
Editorial, Feature, People / Interview by Adobe on 11/08/2013
Adobe After Effects
Adobe Ups Creative Cloud and Adobe Anywhere
Adobe Ups Creative Cloud and Adobe AnywhereAdobe has updated its Creative Cloud with 150 new features, including numerous video tools for Premiere Pro, After Effects, SpeedGrade and other components. In addition, the company has also planned significant updates to Adobe Anywhere Video, the "modern collaborative workflow platform" that allows Adobe pro-video solutions benefit from centralized media and assets across standard networks.
Editorial, Feature, People / Interview by Debra Kaufman on 09/10/2013
Adobe After Effects
Fans OCCUPY Conan With Self-Produced Parodies
Fans OCCUPY Conan With Self-Produced ParodiesLead editor Dan Dome and editors Robert Ashe, Jr., Chris Heller and David Grecu all put together OCCUPY Conan, a fan-sourced episode of the popular late night show. It's harder than it sounds, and that's why the Conan Editing Team is now up for an Emmy for Outstanding Multicam Editing for a Comedy Series.
Editorial, Feature, People / Interview by Debra Kaufman on 09/09/2013
Adobe After Effects
Advanced AECC Techniques: Hollywood VFX - Michael Bay Look
Advanced AECC Techniques: Hollywood VFX - Michael Bay LookIn this lesson, Kevin P McAuliffe breaks down how to create the cool lens filter effect that Michael Bay uses in almost all of his movies. Although in most cases this effect is created "in-camera", there are reasons you would want to do the effect in post. Once you see how to create this effect, it will become a "go-to" effect you can keep in your back pocket for those clients whose footage needs that extra boost!
Tutorial, Video Tutorial by Kevin P McAuliffe on 09/06/2013
Adobe After Effects
Advanced AECC Techniques: Hollywood Visual Effects - AvP TWO
Advanced AECC Techniques: Hollywood Visual Effects - AvP TWOIn this lesson, Kevin P McAuliffe builds on lesson one by not only showing you how to break down a title treatment and animate it on the screen, but also how to use the Adobe Bridge to your advantage to take animations that might take you minutes or hours to create, and be able to drop them on in seconds.
Tutorial, Video Tutorial by Kevin P McAuliffe on 08/21/2013




RSSTHREADS:
Re: Image glitch/error effect
by Alex Harris in the Adobe After Effects Forum
This is called data moshing, I have done this a few times for an effect, there are tons of presets on videohive.net that can save you time, but I use a warp, a wiggle, and a blind effect to make it look like its actual tape footage that's glitching. You...
8 hours ago   read more
Re: Image glitch/error effect
by Dave LaRonde in the Adobe After Effects Forum
That's called data-moshing. You'd have to look up the technique. But at least you have a starting point now. Dave LaRonde Promotion Producer KGAN (CBS) & KFXA (Fox) Cedar Rapids, IA...
9 hours ago   read more
Re: will a 256 gig SSD be enough for caches or should i go for 500?
by shane Scott in the Adobe After Effects Forum
thanks eric!...
9 hours ago   read more
Re: will a 256 gig SSD be enough for caches or should i go for 500?
by EricBowen in the Adobe After Effects Forum
Yes the 4910MQ would be worth the money with AE due to the cache. Eric-ADK Tech Manager support@adkvideoediting.com...
9 hours ago   read more
Image glitch/error effect
by Tommi Hakanen in the Adobe After Effects Forum
Hey guys, Any suggestions how to emulate a video glitch like the one I've attached a photo of? It is one of those lingering image errors you occasionally get with VLC, at least I sometimes do. Would be an interesting tool for transitions....
10 hours ago   read more
Re: When previewing, why does it always re-process whole work area even when I make a small change?
by Dave LaRonde in the Adobe After Effects Forum
If you tweak a layer that's the same duration as the composition, that'll happen. If you tweak a 2-second clip in a 30-second comp, AE only has to think about that 2-second bit. Dave LaRonde Promotion Producer KGAN (CBS) & KFXA (Fox) Cedar Rapids, IA...
10 hours ago   read more
Re: will a 256 gig SSD be enough for caches or should i go for 500?
by Dave LaRonde in the Adobe After Effects Forum
I gave you my response on the Adobe forum. Dave LaRonde Promotion Producer KGAN (CBS) & KFXA (Fox) Cedar Rapids, IA...
10 hours ago   read more
Re: will a 256 gig SSD be enough for caches or should i go for 500?
by shane Scott in the Adobe After Effects Forum
hey eric! i actually had another little question i wanted to ask you. upgrading 4800MQ to i7-4910MQ is $245. do you think the performance gain would be worth it?...
10 hours ago   read more
adding a screen to 3d model for commercial
by kassun majchrzak in the Adobe After Effects Forum
I have our device rendered out from maya and the footage imported into AE. The device does a complete 360 spin from a fixed camera. I have to add in a screen with animation on it. I have tried motion tracking and mocha but I end up going through frame...
10 hours ago   read more
Re: sigh... collect files not collecting
by anita sancha in the Adobe After Effects Forum
Found this conversation about the problem... http://forums.adobe.com/thread/761697 Thanks for all your help Anita Sancha. www.anitasancha.co.uk...
10 hours ago   read more
Re: will a 256 gig SSD be enough for caches or should i go for 500?
by EricBowen in the Adobe After Effects Forum
If the OS is on a 480GB drive would be better but a 256GB would probably do it. Eric-ADK Tech Manager support@adkvideoediting.com...
10 hours ago   read more
will a 256 gig SSD be enough for caches or should i go for 500?
by shane Scott in the Adobe After Effects Forum
I'm getting a laptop for AE which will come with a terabyte HDD. Im going to put the OS and AE on an SSD. Do you think 256 gigs will be enough or should i go for 500? How much space would be enough for caching? I dont want to...
11 hours ago   read more
Re: Rendered AE file: Where did it go?
by Walter Soyka in the Adobe After Effects Forum
Thanks, gents -- I updated my post accordingly! Walter Soyka Principal & Designer at Keen Live Motion Graphics, Widescreen Events, Presentation Design, and Consulting RenderBreak Blog - What I'm thinking when my workstation's thinking Creative Cow Forum Host: Live & Stage Events...
11 hours ago   read more
Re: color shift when importing Illustrator to After Effects
by Adam Kois in the Adobe After Effects Forum
Hmm Sorry, don't really know what to tell ya :(...
11 hours ago   read more
Re: Expression anomaly, or bug or just me?
by Walter Soyka in the Adobe After Effects Forum
[Zoli Somi] "When using the pick whip, through comp wide, (I made a control panel on the main comp, with different controls on an adjustment layer) It doestn't work from 2 or 3 comp level deep. It seems that the datas dont get to their destination. Sometime it does." If...
11 hours ago   read more
Re: color shift when importing Illustrator to After Effects
by Brendan Reilly in the Adobe After Effects Forum
I'm using ColorMatch RGB and 32 for depth. No matter what export settings I try, I'm still seeing a slight but noticeable darkening of the colors. I've tried exporting the footage from After Effects and then importing it into the Premiere project, and I've tried linking the comp directly to...
11 hours ago   read more
Re: Rendered AE file: Where did it go?
by Michael Szalapski in the Adobe After Effects Forum
This is the link he meant to give. - The Great Szalam (The 'Great' stands for 'Not So Great, in fact, Extremely Humble') No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced....
11 hours ago   read more
Re: Rolling Shutter Repair issue - I think
by Michael Szalapski in the Adobe After Effects Forum
The problem is that most tutorials and techniques for dealing with rolling shutter involve warping the video or something to move everything back in line. Your problem, however, is that you are completely lacking any sort of data at all. The sensor was only partly exposed to the lightning while...
11 hours ago   read more
Re: color shift when importing Illustrator to After Effects
by Adam Kois in the Adobe After Effects Forum
How are you exporting? What is your project settings? : Working color space, depth? You might want to try setting your working color space to make sure it is exporting in that and use the same setting in premier. I don't really have much experience working in Premier, but I'm...
12 hours ago   read more
Re: Rolling Shutter Repair issue - I think
by Jon Doughtie in the Adobe After Effects Forum
Do not know is this will help, but this tutorial on rolling shutter repair from Premiere CS6 might be worth a try. http://library.creativecow.net/devis_andrew/Premiere-Pro-CS6-Basics_107/1...
12 hours ago   read more
Re: color shift when importing Illustrator to After Effects
by Brendan Reilly in the Adobe After Effects Forum
I've been having the same issue and this workaround helped, but when I take the animation, which now looks correct in After Effects, into Premiere Pro, I'm having the same issue with the colors being darker again. What am I missing? I'm using the latest version of Adobe CC for...
12 hours ago   read more
Re: Rendered AE file: Where did it go?
by Jon Doughtie in the Adobe After Effects Forum
Just a heads-up Walter - that second link generates a 404....
12 hours ago   read more
Re: sigh... collect files not collecting
by anita sancha in the Adobe After Effects Forum
tidy up looks good too Thanks for all your help Anita Sancha. www.anitasancha.co.uk...
12 hours ago   read more
Re: sigh... collect files not collecting
by anita sancha in the Adobe After Effects Forum
okay thanks guys, but I don't want to upgrade... from this version.... its just that I would like to know what the bugs were for 5.5 if you know...? I can change the seq names to short code of some sort... but would love to know what the bugs were?...
12 hours ago   read more
Expression anomaly, or bug or just me?
by Zoli Somi in the Adobe After Effects Forum
Hi Experts! I really need Your help about this already annoying thing. When using the pick whip, through comp wide, (I made a control panel on the main comp, with different controls on an adjustment layer) It doestn't work from 2 or 3 comp level deep. It seems that the...
12 hours ago   read more


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