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Creating an Enchanted Object with Premiere Elements 7
Jun 10, 2009
Science fiction and fantasy shows often feature objects frozen in midair, using the power of 'the Force' or other magical abilities. Have you ever wondered how to create this effect? Paul Ekert steps through the process of creating the illusion of an 'enchanted object.'
iMovie 09 and iDVD for Mac OS X: Lighting
Jun 4, 2009
Learn how basic lighting works, and how to take advantage of it to ensure that the objects you’re shooting don’t turn out to be dark, talking blobs when you’re editing.
Creating Transparent Video with Adobe After Effects CS4
May 19, 2009
Transparency plays a key role in the success of animation and interactivity. By embedding transparency into graphic elements, you can composite together different elements created at different times, allowing for true flexibility.
Guns a-Blazin': Creating a Muzzle Flash with Premiere Elements 7
May 13, 2009
Have you ever seen a gunfight onscreen and wondered why it seemed so blah? Paul Ekert steps through the process of adding a muzzle flash to make the pop of a gun more exciting.
Hollywood Movie Titles: The Star Wars Title Effect
May 7, 2009
Learn how to create your own vanishing logo and epic “scrolling story” just like the ones you’ve come to know and love from the Star Wars movies.
The Lean Forward Moment: Production Design
Apr 23, 2009
The look and feel of the worlds that the characters move through need to give a deeper look into their personalities and the script’s meaning. In short, the design of the film must perform a storytelling function without using words. Otherwise, it’s just radio. And that is what this chapter is all about.
Adobe After Effects CS4: Optimize the Pipeline
Apr 9, 2009
This chapter examines how image data flows through an After Effects project in detail. That may not sound gripping until you realize how much your creativity is hampered by remaining ignorant of this stuff.
After Effects CS4 for Windows and Macintosh: Compositions
Mar 19, 2009
This chapter also describes the fundamental process of layering footage in compositions, and in so doing, lays the groundwork for the rest of the book, which focuses largely on how to manipulate those layers.
Keyframe Interpolation in Adobe After Effects CS4
Mar 9, 2009
This chapter explains how you can assign various interpolation methods to keyframes to impart nuance and variation to your animations using the Timeline panel’s Graph Editor.
Getting Started and Getting to Know the Workflow of Adobe After Effects CS4
Mar 2, 2009
Learn the how to get started and the basic workflow of Adobe After Effects CS4, including how to create a project and import footage, create compositions and arrange layers, navigate the Adobe After Effects interface and more.
Exporting Still Images from Final Cut Pro
Feb 18, 2009
So how do you export a still frame from Final Cut? Tom Wolsky shows you how and also alerts you to a number of gotchas to avoid along the way.
Color Keying in After Effects CS3
Nov 19, 2008
Are your matte edges crunchy, chewy, contrasty, solid, sizzling? Do these terms even mean anything to you? They will by the time Mark Christiansen finishes showing you how to work with After Effects CS3 color keying.
Distorting Objects with the Puppet Tools in After Effects CS3
Nov 14, 2008
Pull, squash, stretch, and otherwise deform objects onscreen using the After Effect CS3 Puppet tools. Whether you're creating realistic animations, fantastic scenarios, or modern art, the Adobe Creative Team shows you how the Puppet tools can expand your creative freedom.
Animating Layers in After Effects CS3
Nov 13, 2008
Animation is all about making changes over time to an object or image's position, opacity, scale, and other properties. In this step-by-step exercise, the Adobe Creative Team explores some of the fun possibilities for animating a Photoshop file in After Effects CS3.
Pyrotechnics: Creating Fire, Explosions, and Energy Phenomena in After Effects 7.0
Nov 13, 2008
Humans are so familiar with fire that we can tell when it looks wrong, even if we don't understand the physics of explosions and fireworks. By using Mark Christiansen's After Effects techniques, however, you can provide at the compositing stage what the filmmaker couldn't afford on set: realism.
Virtual Cinematography in After Effects 7.0
Nov 13, 2008
Mark Christiansen's far-reaching article discusses multiple aspects of replicating a physical camera in After Effects, with the ultimate goal of matching, influencing, or changing the camera's perspective.
Climate: Air, Water, Smoke, Clouds in After Effects 7.0
Nov 12, 2008
If you think of a color key as an edge matte surrounded by two holdout mattes (one for the core, one for the background), how do you combine these mattes in Keylight? Mark Christiansen explains.
Color Correction in Adobe After Effects CS3
Nov 12, 2008
Mark Christiansen demonstrates that color matching in After Effects is a skill that you can practice and refine, even if you have no feel for adjusting images - and even if you tend to think of yourself as colorblind.
Keying in After Effects CS3
Nov 12, 2008
Does the idea of keying conjure up images of a meteorologist on the evening news, or a shooting technique used in motion pictures? With After Effects, even the simplest, least-expensive project can take advantage of keying. The Adobe Creative Team takes us through a step-by-step example of this technique.
Videoblogs How-to Videos and News
Nov 4, 2008
Learn how to use continuity to craft effective how-to sequences and get tips about how to develop an online image for your personality-driven Web show.

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