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ADOBE ULTRA:HomeAdobe Ultra ForumAdobe Ultra TutorialsAdobe Ultra

Adobe Ultra

August 27th, 2014
Adobe : Ultra Home
RSSNEWS:
ARRI Announces ProRes UHD Output for AMIRA
A new software upgrade for ARRI’s documentary-style AMIRA camera will allow it to record ProRes UHD files, answering the 4K requirements of some productions. The upgrade is expected to be available for purchase at the online ARRI License Shop by the end of 2014.
published 16 hours ago   read more
New Jersey-Based Davideo Multimedia Fields Event/Corporate Projects With Panasonic’s New AJ-PX270 P2 HD Handheld
Dave Hall, principal of Davideo Multimedia (Berkeley Heights, NJ) recently invested in Panasonic’s new AJ-PX270 P2 HD camcorder for his roster of corporate/event assignments, including ongoing work shooting performance videos for the New Jersey Performing Arts Center.
published 2 days ago   read more
DISK Archive Corporation’s ALTO FM Hybrid Cloud Solution Breaks Cost Barrier for Long-form Storage
Disk Archive Corporation and Squared Paper Ltd. have announced ALTO FM, a new hybrid storage concept which overcomes the high costs that have made the cloud unusable as a storage platform for long-form broadcast content in native resolution.
published 2 days ago   read more
Fletcher Sports Shoots Continuous Ultra-Motion 4K for Baseball and NBA with I-MOVIX X10 UHD
Chicago-based sports production specialists Fletcher Sports has completed the first season of major league baseball and NBA coverage using the I-MOVIX X10 technology and plan to use its new fleet of X10 UHD systems over the next season to come.
published 2 days ago   read more
CyberLink Partners with John Schneider Studios to Support Renowned Actor’s Independent Filming’s Initiative
Bringing a Complete Editing Studio Equipped with CyberLink’s Director Suite to Support Unique Initiative of Actor and Producer John Schneider to Promote Independent Filmmaking
CyberLink Corp. (5203.TW), a world leader in multimedia software, today announces a partnership with John Schneider Studios, to promote and support independent filmmakers. To cement the partnership, CyberLink has donated a complete editing workstation, equipped with the company’s high-end Director Suite. This collection of software includes PowerDirector, winner of multiple industry awards for its power, speed and polyvalence.
published 5 days ago   read more
GB Labs HyperSpace brings SSD performance levels to HDD NAS storage systems
(7.J15b) GB Labs UK |With its new HyperSpace technology, GB Labs brings broadcasters and post facilities a next generation storage technology for IBC 2014.
published 5 days ago   read more
GB Labs launches new 4K DIT system
(7.J15b) GB Labs UK |GB Labs’ 4K Duo On-Set is a game changer for high end 4K location production. It delivers a lightning fast ingest station, an UltraHD storage platform and a secure high speed data LTO backup solution. For the first time, it opens up the potential for 4K project sharing and archiving in the field, with the option for editors, audio technicians and colorists to work simultaneously on the same project. With multiple clients connecting using 1Gb, 10Gb or 40Gb Ethernet, this will deliver significant time savings and help the director to shape the production as never before.
published 5 days ago   read more
Accusys ExaSAN Introduces PCIe3.0 Storage Solutions at IBC 2014
Accusys is introducing the latest PCIe3.0 storage solutions for post-production workgroups at IBC 2014. The applications include double DAS, Thunderbolt connection to the new Mac Pro, and ExaSAN Level 2 SAN infrastructure and will be shown at Accusys ExaSAN’s booth.
published 5 days ago   read more
Blackmagic Cinema Camera and DaVinci Resolve 11 Used on Owl City “Wolf Bite” Music Video
Blackmagic Design today announced that the music visualizer for Owl City’s newest track, “Wolf Bite,” was shot on the Blackmagic Cinema Camera (EF) and color graded on DaVinci Resolve 11. The video is one of the first projects in the world to be finished on the newest version of DaVinci Resolve.
published 6 days ago   read more
FilmLight Showcases Latest Solutions at SET 2014
Creative, Practical and Efficient Colour Workflows on Display in Brazil
FilmLight, alongside local partner PSK, will demonstrate how its technology is helping broadcasters, movie producers and creative studios shorten timescales without compromising creativity or quality at the SET Expo 2014 taking place in Sao Paulo, Brazil, August 24-27 2014 (PSK booth D18).
published 7 days ago   read more


RSSTUTORIALS:
Adobe Premiere Pro
Cooking With Premiere Pro CC on PBS's America's Test Kitchen
Cooking With Premiere Pro CC on PBS's America's Test KitchenAs America's Test Kitchen enters its 15th season on PBS, they've made the switch to Premiere Pro Creative Cloud. Post-production Supervisor and director Herb Sevush has been with the show from the beginning, and confessed some trepidation moving away from FCP 7, but has found it to be a great fit for their data-intensive, increasingly 4K multicam production, and his work with remote editors. Here, Herb offers some insights into both the why and the how of their switch, with special attention to Premiere Pro CC's approach to multicam.
Editorial, Feature by Herb Sevush on 07/21/2014
Adobe After Effects
LightGrid Script and Demo Tutorial Part TWO with New Feature
LightGrid Script and Demo Tutorial Part TWO with New FeatureLightGrid Script creator Brian Charles demonstrates his newly modified After Effects script for rigging lights in grids and circles. The modified script with the new feature, which adds the ability to enable individual light colors through a checkbox in the effect control panel, is available as a free download in the Project Files folder.
Tutorial, Video Tutorial by Brian Charles on 06/29/2014
Adobe After Effects
Green Screen Billboard Compositing
Green Screen Billboard CompositingThis After Effects tutorial demonstrates how to simulate augmented reality centered around a city billboard by compositing green screen footage and editing it into the scene.
Tutorial, Video Tutorial by Ari Grunzeweig on 06/22/2014
Adobe After Effects
After Effects Handwriting Tutorial
After Effects Handwriting TutorialThis tutorial will show you how to create an animation of a marker writing out a logo or a few words, followed by a slick reveal to an actual logo.
Tutorial, Video Tutorial by Ari Grunzeweig on 06/20/2014
Adobe After Effects
LightGrid Script and Demo Tutorial
LightGrid Script and Demo TutorialLightGrid Script creator Brian Charles demonstrates his After Effects script for rigging lights in grids and circles. The script is available as a free download in the Project Files folder.
Tutorial, Video Tutorial by Brian Charles on 05/29/2014
Adobe After Effects
mocha Tracks The Wolf of Wall Street
mocha Tracks The Wolf of Wall StreetWith multiple VFX Oscars (Hugo and Titanic, plus a nomination for Apollo 13) plus a couple of Emmys (Star Trek: The Next Generation and Star Trek: Deep Space Nine) under his belt, the most remarkable thing about Rob Legato's latest VFX extravaganza is that it doesn't appear to have any VFX at all! Martin Scorsese's The Wolf of Wall Street is a masterpiece of what has become known as invisible effects, and this article from our friends at Imagineer, highlighting Rob's work with mocha, is a real eye-opener.
Editorial, Feature by Imagineer Systems on 05/19/2014
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
VFX & Motion Graphics on Star Trek: Into Darkness
VFX & Motion Graphics on Star Trek: Into DarknessAndrew 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




RSSTHREADS:
Masking multiple Particular solid layer
by Duca Simone Luchini in the Adobe After Effects Forum
Hallo everybody, I meet a problem using a multiple 3d layer composited on a multiple fog banks particular (sandwich tech). Having two 3d layers I must use a multiple particular layers, tree exactly, to use them between the two different 3d layer. It works pretty good. But now I need...
2 hours ago   read more
Re: AE CC 2014 no BMD monitor output
by Jan Vork in the Adobe After Effects Forum
Hi Tim, I use the latest drivers (10.1.4), a Decklink Studio 2 and PAL (720x576) on a Mac. So my situation is rather different than yours. I talked with Adobe about this in the week that cc2014 was released, but the issue still remains. Since AECC is working still, conlcuding...
4 hours ago   read more
Re: AE cs6 blurs
by Scott Adams in the Adobe After Effects Forum
Duplicated footage then I created a garbage mask and used roto brush and then frame by frame manipulation of the roto. Still not as accurate as i need but its what I've got to work with. Now i need to soften up edges to match so i dont have razor...
4 hours ago   read more
After Effects problem with clone stamp tool
by william king in the Adobe After Effects Forum
Hi, I've been using clone stamp tool in Photoshop for years and has no problem with it. But somehow I could never get it work on After Effects. After alt+click to select source I can then click (and hold left mouse button), rub and change the target area as expected...
5 hours ago   read more
Re: Need advice on a key (frizzy, white hair)
by Steve Brame in the Adobe After Effects Forum
Have you given Spill Slayer a shot? They have a trial version. http://aescripts.com/spill-slayer/ Asus P6X58D Premium * Core i7 950 * 24GB RAM * nVidia GeForce GTX 770 * Windows 7 Premium 64bit * System Drive - WD Caviar Black 500GB * 2nd Drive(Pagefile, Previews) - WD Velociraptor 10K drive...
8 hours ago   read more
Text inside of text
by James Quetant in the Adobe After Effects Forum
Hey what's going on guys... So I'm working on a kinetic typography project & I'm trying to place text inside of bigger text. The way I got it set up, the text that I want placed inside of the bigger text is zoomed in with the camera, I wanted the...
9 hours ago   read more
Re: After Effects CC 2014 and Red Footage
by Greg C Neumayer in the Adobe After Effects Forum
I'm piggybacking on your request as well. I'd like to start off on the right foot with Red footage, but at present, can't import the .r3d files I've been given. If the answer isn't easy, anyone have link to a thorough workflow tutorial?...
10 hours ago   read more
Re: Ray traced number countup?
by Greg C Neumayer in the Adobe After Effects Forum
I had a similar problem. But since my real usage didn't actually require seeing all 10,000,000 numbers I was scrubbing--and only required that we see the rollover to 10 million, I broke it into two pieces and just created the illusion by incrementing the first 5 digits to 10 thousand...
10 hours ago   read more
Colorama alternative in 32bit Linear working space?
by Greg C Neumayer in the Adobe After Effects Forum
I've long been a fan of Colorama for color grading and creating the "look" I'm interested in for my footage. But in 32b Linear color mode, the Colorama effect is difficult to work with my footage (all the dark parts I want to adjust are packed into the last couple...
10 hours ago   read more
Re: Need advice on a key (frizzy, white hair)
by Geoffrey Weglarz in the Adobe After Effects Forum
I Have the same problem. I have CC 2014 and have Keylight, Key Cleaner, and Advanced Spill Suppressor. I also have NeatVideo Noise Reduction. I have Premiere Pro CC 2014 as well and Ultra didn't work well. I also have Primatte Keyer from Red Giant and the BCC Keying plugins....
11 hours ago   read more
News: Team Detroit Selects RingSide Creative, Flavor, Dictionary Films and Cutters to Showcase Ford 2015 Super Duty in Bold New Style
by Cow News Droid in the Adobe After Effects Forum
...
11 hours ago   read more
Re: PFTrack - After Effects problem
by Keith Tonini in the Adobe After Effects Forum
Hey Ryan, assuming you made sure your fps are the same in both apps, here's a workaround. PFTrack is just giving you keyframes - if you zoom into the timeline you'll see that the keys lined up at the beginning (and if they don't, go ahead and select them all...
12 hours ago   read more


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