library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_91 In this lesson, Kevin P McAuliffe talks about Transfer Modes, or Blend Modes as they are more commonly referred to, and how even though most editors think that you cannot work with them inside of Media Composer, you actually have the tools right at your fingertips…you probably just don’t realize it.
Boris FX’s Paul Ezzy breaks down the power of BCC Pin Art, an OpenGL-accelerated particle-based 3D generator in the latest episode of Boris TV. This two-fold tutorial shows you not only how to add a “pixel-disintegration” transition (think the pixels from an old-school Atari game) to your footage, but also how to take advantage of
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_88 In his final look at creating video walls, Kevin P McAuliffe talks to Mac users out there, specifically ones who have switched from Final Cut Studio to Media Composer, and shows them how to create the same video wall effect using the new MC7 and Apple’s Motion 5.
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_87 In this lesson, Kevin P McAuliffe looks at creating a video wall inside of Adobe’s After Effects CC. Since every video wall needs videos clips as their base, Kevin starts out inside of Avid’s Media Composer, and does all the prep work there, and then switches over to AE CC to quickly and easily
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_86 In this lesson, Kevin P McAuliffe wraps up his look at creating a video wall solely within your Media Composer timeline by not only dropping multiple video clips into each “monitor” with a few clicks of the mouse, but he adds “icing on the cake” by adding a stylized title to the final composite.
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_85 In this lesson, Kevin P McAuliffe shows you why you don’t always need to go to a compositing application to create what might seem like a complex video wall. What Kevin is going to show you, in many cases, is created with a plug-in, but once you see how easy it is to create
ibrary.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_72 In this lesson, Kevin P McAuliffe shows you how simple it is to create the effect made famous by film’s like Schindler’s List and Pleasantville, but he doesn’t do the effect as a color correction effect. Instead, he gives you a great introduction to an included Rotoscoping effect called Animatte. Once you see how
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_68 Advanced Compositing TWO: Network Promo Effect. In this lesson, Kevin P McAuliffe shows you another great promo technique that you would see during primetime on one of the major networks. These Advanced Compositing tutorials are hugely important to take your work to the next level! Not only are they simple to do, but they
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_60 In this lesson, Kevin P McAuliffe addresses a common mistake that editors make when doing a simple fade out, shows you how simple it is to fix, and then goes over other “simple fade in/out editorial mistakes” that are easily correctable. This lesson is crucial, as these simple techniques will show your clients your
How and why, and when you should use the Avid Pan and Zoom Effect.
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_57 In this last part of our look at Split Screens inside of Media Composer and Symphony, Kevin P McAuliffe gives you an introductory look at Matte Keying, and shows you why working with them has a huge, hidden advantage while working inside of your MC/Symphony timeline.
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_56 In the third part at our look at Split Screens inside of MC and Symphony, Kevin P McAuliffe shows you how easy it is to take the technique from the previous tutorial, and add realistic motion to the footage inside of the split screen elements.
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_55 In this second lesson in our look at Split Screens inside of Avid’s Media Composer, we look at how to create our own, right from within the MC/Symphony timeline using the standard title tool, and the 3D Warp effect.
Here is an example of how to blur out for example a logo of a moving object, when the camera also moving.
The proliferation of digital camera formats over the last decade has introduced entirely new color management concepts into a once straightforward editorial color pipeline. Although this tutorial by Igor Ridanovic of HDhead.com looks at Avid DS specific color management tools, it also lays down the basic groundwork necessaryto understand lookup tables (LUTs) and their use
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