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Adobe has just announced the roll-out of version 22.0 of Photoshop, an update that brings a range of new features, including neural filters which can manufacture someone’s smile and change a person’s age, all with a handful of sliders.
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Adobe has just announced the roll-out of version 22.0 of Photoshop, an update that brings a range of new features, including neural filters which can manufacture someone’s smile and change a person’s age, all with a handful of sliders.
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Loupedeck users have something new to look at, as a new plugin unveiled at Adobe MAX improves the editing experience in Loupedeck CT and Loupedeck Live.
Loupedeck, the creator of custom consoles for photo and video editing, designed to make the creative process faster and more intuitive, has announced a new plugin for Adobe Photoshop today at Adobe MAX. Loupedeck worked closely with the Adobe team to build the new plugin on its Unified Extensibility Platform (UXP) in Photoshop, and it is designed to provide an enhanced editing experience with Loupedeck CT and Loupedeck Live.
The new Loupedeck plugin is
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Adobe MAX is here so that must mean another update to Adobe Premiere Pro. I know what you’re thinking… didn’t Adobe just have a big update? Yes, they did, the September release. With that release, we got Scene Edit Detection and some new beta stuff. This MAX release gives us more beta stuff and some early access. I guess technically this isn’t a new release of the shipping version then and more of a look at features down the road.
But let me ask this … can an NLE software maker pump out releases and updates too often? Normally I’d
Continue reading “What’s new in Adobe Premiere Pro from Adobe MAX? Transcriptions and captions”
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I was NOT going to panic. After all, I had bigger concerns. Like not being stranded on the Alaskan tundra a hundred miles away from the nearest human being. Or being eaten by a bear.
It was October 1997, but I remember it like it was yesterday. Life-altering events have a way of doing that to your memory.
I was 40 years old, shooting a wildlife reality show in the wilds of Alaska. Our bush pilot had just landed his tiny Piper Super Cub with its beachball-like “tundra tires” out in the middle of nowhere. That’s because out in the
Continue reading “Reversing the Curse: Restoring Vision of Production and Post Professionals”
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This is a technique I hadn’t come across before, but now I’ve seen it, I can’t believe I haven’t used it before. Turn your time-lapse videos into long exposure photographs, easily.
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Sony announced the Spatial Reality Display (SR Display), said to offer designers and creators in film the means to bring ideas to life in stunning 3D displays, without the need for special glasses or HMDs.
Sony first showed the new Spatial Reality Display (SR Display) to attendees at the Consumer Electronics Show in January of this year, but now the company has it available for sale… if you’ve $4,999.99 to buy this display that does not require virtual reality glasses or any other type of headset. You also need a powerful computer to use it. Sony recommends an Intel
Continue reading “Sony Spatial Reality Display: 3D without glasses for creatives”
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At a time when social distancing is a wise choice, you’ll learn how to populate a city with a standalone crowd. No worries, it’s all in Unreal Engine, as part of a free webinar teaching how you can add life to your story.
The free webinar “Animation in Unreal Engine: Adding Life to Your Story” takes place on October 21 and it is possible to pick the session that works best for you. The webinar has two sessions, one at 9 AM EDT / 2 PM BST | and the other at 2 PM EDT / 7 PM BST. All
Continue reading “Free webinar: adding life to your story in Unreal Engine”
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Thanks to GPU acceleration Flicker Free 2.0 clocks 300%+ speed increase, but the new version also features greatly enhanced motion detection and other features.
Digital Anarchy, the company behind products as the Transcriptive Suite, which uses artificial intelligence and natural language processing to transcribe footage, is also responsible for other plugins and tols used by filmmakers. One of them has just been updated, Flicker Free, a powerful flicker removal technology for film and video. Version 2.0 is now available.
Award-winning director Emmanuel Tenenbaum uses Flicker Free to fix fast flickering, after he first tried the demo version
Continue reading “Digital Anarchy releases Flicker Free 2.0”
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We have a fun episode of MacBreak Studio for you this week, in which I show you how to create a 3D asteroid field and fly a camera through it.
I’m taking advantage of Motion’s brand new ability to import 3D models that are in the USDZ format – a format most commonly associated with Augmented Reality, but now you can bring those models into Motion, light them, animate them, composite them into scenes, and publish them for use in Final Cut Pro X.
In addition to importing 3D models, Motion now comes with a library of 60 built-in 3D Continue reading “Replicating and Animating 3D Models in Motion”
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One of the biggest trends in photography is the increasing presence of tools that leverage AI technologies to make everything from subject selection to full-scale edits more powerful and to enable new creative avenues. Is that necessarily a good thing, though? This thought-provoking video tackles the topic and offers an experienced landscape photographer’s thoughts on the matter.
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ACDSee’s brand new edition of Photo Studio Ultimate has arrived on the scene and offers a powerful new tool to revolutionize color editing in your photography workflow. With plenty of fantastic new features, upgrades to old favorites, and a few time-saving innovations, this software is a strong contender in the world of photo editing.
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As part of my efforts to share the experience of some veteran film editors, this week I’m honored to interview editor Steve Rotter, who was nominated for a BAFTA for sound editing on Dog Day Afternoon – a film edited by his mentor, Dede Allen. He won an Emmy and an ACE Eddie for editing the TV series Holocaust. And was nominated for an ACE Eddie and won an Oscar for his editing on The Right Stuff.
In addition to these award-winning films, he edited The Missouri Breaks, The World According to Garp, What Women Want, Enchanted, The Parent Trap,
Continue reading “ART OF THE CUT with Oscar-winning editor Steve Rotter”
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As part of my efforts to share the experience of some veteran film editors, this week I’m honored to interview editor Steve Rotter, who was nominated for a BAFTA for sound editing on Dog Day Afternoon – a film edited by his mentor, Dede Allen. He won an Emmy and an ACE Eddie for editing the TV series Holocaust. And was nominated for an ACE Eddie and won an Oscar for his editing on The Right Stuff.
In addition to these award-winning films, he edited The Missouri Breaks, The World According to Garp, What Women Want, Enchanted, The Parent Trap,
Continue reading “ART OF THE CUT with Oscar-winning editor Steve Rotter”
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Here is a demo for you to listen to: the whole 3D audio recording of the Poznań Philharmonic Orchestra concert, with 34 musicians, 30 microphones, and 600 audio channels, totals 3 hours and 700 GB of audio data. Enjoy!
Zylia, an industry leader in the field of 3D audio recording, continues to promote its solution for anything from VR and AR to games of concert streaming. The most recent example is a 4-minute demo that takes you to the stage as the Poznań Philharmonic Orchestra plays the overture from “The Marriage of Figaro”, from W. A. Mozart. The video premiered
Continue reading “Zylia navigable audio system: a 3D sound experience”
Click here to view on the original site: Original Post
Here is a demo for you to listen to: the whole 3D audio recording of the Poznań Philharmonic Orchestra concert, with 34 musicians, 30 microphones, and 600 audio channels, totals 3 hours and 700 GB of audio data. Enjoy!
Zylia, an industry leader in the field of 3D audio recording, continues to promote its solution for anything from VR and AR to games of concert streaming. The most recent example is a 4-minute demo that takes you to the stage as the Poznań Philharmonic Orchestra plays the overture from “The Marriage of Figaro”, from W. A. Mozart. The video premiered
Continue reading “Zylia navigable audio system: a 3D sound experience”
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A classic visual effects job is to place a place one planar object (such as a new sign, a video screen, etc.) onto another planar object (such as a wall, a laptop, a cell phone, etc.) while either the camera, the target object, or both are moving. This requires some form of tracking.
In the early days of After Effects we had corner pin tracking, where you tracked the four corners of the target, and warped the new object to fit inside those tracked points. The problem often was that those four points had their own individual jitter Continue reading “After Effects Classic Course: 3D Camera Tracking”
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A classic visual effects job is to place a place one planar object (such as a new sign, a video screen, etc.) onto another planar object (such as a wall, a laptop, a cell phone, etc.) while either the camera, the target object, or both are moving. This requires some form of tracking.
In the early days of After Effects we had corner pin tracking, where you tracked the four corners of the target, and warped the new object to fit inside those tracked points. The problem often was that those four points had their own individual jitter Continue reading “After Effects Classic Course: 3D Camera Tracking”
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Are you inadvertently clipping your exports from Resolve? I wrote an article about this a while ago, Solutions to Resolve 4: Full data and video levels in DaVinci Resolve – don’t clip your proxies and transcodes. It turns out that this is not the end of the story.
Jean-Pierre Demuynck, an engineer who helped develop the ITU-R BT specifications, drew my attention to a further problem I hadn’t been aware of. That’s what I’ll be sharing with you here. (If you’re not familiar with using full and video levels in Resolve, please first read the Solutions to Resolve 4 article
Continue reading “Solutions to Resolve 6: Clipped Exports – the YUV enigma”
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Are you inadvertently clipping your exports from Resolve? I wrote an article about this a while ago, Solutions to Resolve 4: Full data and video levels in DaVinci Resolve – don’t clip your proxies and transcodes. It turns out that this is not the end of the story.
Jean-Pierre Demuynck, an engineer who helped develop the ITU-R BT specifications, drew my attention to a further problem I hadn’t been aware of. That’s what I’ll be sharing with you here. (If you’re not familiar with using full and video levels in Resolve, please first read the Solutions to Resolve 4 article
Continue reading “Solutions to Resolve 6: Clipped Exports – the YUV enigma”