Latest Tutorials
Tutorial | Instructor | Date Updated | Runtime | Views | Relevance |
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VFX and more, Section 05, Part 05: Color grading
Color grading (in addition to Color correction) In this tutorial, you will learn that color correction is not only a method to “correct” footage, it is as well an art form to give a movie the look and feel that should always support the story. You will be introduced to a couple of tools for that work, which should make clear that the result counts and not the tool. |
Dr. Sassi | May 18 2012 | 14:23 | 882 | |
Final words, Section 06: A short conclusion and thank you
A short conclusion and thank you In this tutorial, you will be introduced to some thoughts about and why this series encourages you to explore other applications for your post-production. Thank you for following along. |
Dr. Sassi | May 18 2012 | 05:31 | 954 | |
VFX and more, Section 05, Part 03: Lens-flare
Lens-flare and where it comes from. In this tutorial you will learn about what actually happens inside a camera to produce a lens flare. This knowledge is then used to determine what sort of things you should consider when it comes time to create a lens flare in post. (Note: It is best to try to keep it out of your render and do it in post!) |
Dr. Sassi | May 18 2012 | 10:22 | 1093 | |
VFX and more, Section 05, Part 04: Toe and Shoulder
Toe and Shoulder, or on the end we produce what we need to feed the final format In this tutorial, you will learn about preparing your 32bit footage for broadcast. This involves converting the linear profile into something that matches broadcast standards. A large part of this work involves Toe and Shoulder curves, and how these play a role in the movies we watch. |
Dr. Sassi | May 18 2012 | 20:46 | 825 | |
VFX and more, Section 05, Part 01: Blend-modes, 32-bit float
Blend-modes, 32-bit float, the evil (old) screen and its siblings In this tutorial, you will learn how to test Blend modes, as already introduced in the longer Blend-mode series. This tutorial will show you a closer look at “32-bit per pixel” workflows and issues that can crop up when working with some blend modes. (Please make a test after each major update, as some “bugs” should be repaired in the future.) |
Dr. Sassi | May 18 2012 | 19:24 | 996 | |
VFX and more, Section 05, Part 02: Heat-waves
Heat-waves, and how to produce those in post-production with the help of CINEMA 4D In this tutorial you will learn an additional method to help bring your 3D objects into your practical footage, this effect is the heat wave. This video covers just one of the many methods for using particles in the creation of heat waves. |
Dr. Sassi | May 18 2012 | 17:13 | 1346 | |
Integration, Section 04, Part 10.2: Motion-blur
Motion-blur, what moves, what does not, the camera in relation to object and environment In this tutorial you will learn how to use a proxy object in your scene to determine when you have the correct amount of motion blur. This method is usable for all renders in C4D. Once you have the motion blur set up the way you like, you will then be able to use several methods to render the results. |
Dr. Sassi | May 18 2012 | 07:55 | 767 | |
Integration, Section 04, Part 10.1: Motion-blur, MB in 3D or post
Motion-blur, MB in 3D or post, or both (CV—> multi-pass series!) In this tutorial, you will learn how to analyze the Motion Blur in the practical footage you have shot, and then how to recreate a similar effect using the Standard Render. |
Dr. Sassi | May 18 2012 | 09:16 | 679 | |
Integration, Section 04, Part 9.3: Depth of Field (DOF), the AR DOF option and the use in Post
Depth of Field (DOF), the AR DOF option and the use in Post In this video you will learn about the issues that arise from depth-of-field effects and motion blur being separate elements when creating them through post. This video provides a commentary on how you can take steps to solve the problem, and also provides information on how the Physical Renderer can solve the same problem in one render step, Mostly this information will help you to understand the problem in the first place. |
Dr. Sassi | May 18 2012 | 13:23 | 1085 | |
Integration, Section 04, Part 9.2: Depth of Field (DOF), Setting up a fake DOF, without Z-depth
Depth of Field (DOF), Setting up a fake DOF, without Z-depth In this video you will learn how to use the Depth Pass that was created in CINEMA 4D in a compositing application, such as After Effects. Once in a compositing application you will have different methods for creating Depth of Field like effects with this pass. Over the course of the video 4 different methods will be outlined and along with a comparison of their strengths and weaknesses. |
Dr. Sassi | May 18 2012 | 11:41 | 1061 | |
Integration, Section 04, Part 8.1: Light Wrap/(Light Glow)
Light Wrap/(Light Glow)––Light wrap used in example In this video you will learn how to add “light wrap” to help integrate your CG objects with your practical footage. Two different methods for creating “light wrap” will be covered. The first method involves bringing footage into After Effects and utilizing object buffers to create the light wrap effect. The second method looks at how to use special blend modes to create the a similar effect. |
Dr. Sassi | May 18 2012 | 26:26 | 802 | |
Integration, Section 04, Part 9.1: Depth of Filed (DOF), Z-depth, double size or more
Depth of Filed (DOF), Z-depth, double size or more In this video you will learn what “Z-Depth” (or a “Depth Pass”) is. Throughout the course of the video you will learn how to set up a scene to get predictable results from a Depth Pass, this workflow is geared towards use with the Standard Render, but the theory can be applied anywhere. You will also be introduced to the difference between information maps (Depth Pass, Motion Vector Pass) and image information (Diffuse, Specular, Reflection, Etc ), and the consequences they have within post-production. |
Dr. Sassi | May 18 2012 | 16:15 | 1189 | |
Integration, Section 04, Part 7.2: Color, Sfumato, Color-correction and Object Buffer
Color, Sfumato, Color-correction and Object Buffer In this video you will learn how to use an “Object Buffer” to create a matte pass that can be used for color corrections. This pass can be even animated, multiple object buffers can be blended together in the compositing application of your choice, to color-correct a single object or a whole group. In this case you will learn the basics in After Effects, and Nuke. |
Dr. Sassi | May 18 2012 | 11:27 | 878 | |
Integration, Section 04, Part 7.1: Color, Sfumato, one dimensional Perspective
Color, Sfumato, one dimensional Perspective: 3D methods and a 2D post method In this video you will learn about several different methods for adding atmospheric perspective, also known as Sfumato, into your scene. This effect causes objects to change color (become washed out), and lose detail as they move into the distance. This is a very subtle detail, but important to for achieving successful integration, especially if your CG objects are moving through space. |
Dr. Sassi | May 18 2012 | 24:31 | 871 | |
Integration, Section 04, Part 6.7: Light, Secondary Lights, Shadow, Shadow caster use in 3D
Light, Secondary Lights, Shadow, Shadow caster use in 3D In this video you will see a workflow for dealing with shadows in reflections. Once you have integrated your CG shadow over your practical footage you will want to bring that back into CINEMA so that you that it can also be seen in reflections. ie, a spaceship flying aver the ground would cast a shadow, and that shadow would be visible on the bottom of the ship. In this tutorial you will learn a method to do this. (No solution of the Double shadow effect is discussed here, however––for that have a look into the JET “Making of” series) |
Dr. Sassi | May 18 2012 | 13:54 | 697 | |
Integration, Section 04, Part 6.8: Light, Secondary Lights, Shadow, the Three Qualities of Shadow
Light, Secondary Lights, Shadow, the Three Qualities of Shadow In this video further discussion about the finer details of shadows is provided. This includes the color, the gradient (the change of light within the shadow) and the properties of the shadow border (edge).The video wraps with examples to help explain these properties. |
Dr. Sassi | May 18 2012 | 11:20 | 706 | |
Integration, Section 04, Part 6.6: Light, Secondary Lights, Shadow, Shadow caster use in 2D
Light, Secondary Lights, Shadow, Shadow caster use in 2D In this video you will learn how to produce a render using the shadow catcher. After you have setup the shadow catcher, shadow casters and finally a light source, you need to render the shadows out. Once there is a shadow pass to work with you will be introduced to the problem of the “double shadow” (when you have the cg shadow overlapping the shadows in the original footage) and several solutions for solving the problem. |
Dr. Sassi | May 18 2012 | 30:43 | 794 | |
Integration, Section 04, Part 6.5: Light, Secondary Lights, Shadow, the Light tool
Light, Secondary Lights, Shadow, the Light tool and the SUN or how to get the shadow. In this video you will learn how the light tool can be a big support in setting a light in CINEMA 4D based on a shadow in the practical footage. The work needed to set up your sun is discussed here, as typically there will be no survey data from the set that can be used to determine where the sun is located. You will also continue to explore how the shadow catching / casting geometry is created. |
Dr. Sassi | May 18 2012 | 16:17 | 1137 | |
Integration, Section 04, Part 6.3: Light, Secondary Lights, Shadow, Shadow Caster
Light, Secondary Lights, Shadow, Shadow caster, set up for the scene. In this video you will learn several methods of dealing with shadows in your scene. You will explore 3 different methods that cover a range of situations, including, “eye-balling” and using survey information . As well as creating geometry to “catch” shadows, you will also need geometry to cast shadows. |
Dr. Sassi | May 18 2012 | 30:50 | 700 | |
Integration, Section 04, Part 6.4: Light, Secondary Lights, Shadow, Shadows and Color
Light, Secondary Lights, Shadow, Shadows and Color This video provides an exploration into the color of shadows in the practical footage. Shadows are not just black, they are actually filled with color, and this is important to know. The concept is very important, as these colors should match through the entire scene. |
Dr. Sassi | May 18 2012 | 09:31 | 841 | |
Integration, Section 04, Part 6.2: Light, Secondary Lights, Shadow, Buildings and Shadows
Light, Secondary Lights, Shadow, Buildings and shadow as well as indirect light This video introduces you to the material that will be covered in the next few videos. This includes a discussion on why keeping the “interactivity” of light between all objects, real and 3D, is very important. You will also learn about how light interacts with the various elements within the scene. Some of the problems that can occur when light, or more specifically, the results of light, do not match between your practical footage and your object in the scene are also covered. |
Dr. Sassi | May 18 2012 | 07:53 | 779 | |
Integration, Section 04, Part 5.1: Reflection Bi-Directional, Panorama
Reflection Bi-Directional, Panorama In this video you will be introduced to some of the problems of using a spherical panorama to create reflections, in that they are only correct at one point in space and time. This tutorial will show you how to set up objects in your scene to help you create better reflections between your footage and the object you are integrating. You will also learn how to use different texture projection to help in creating proper reflection maps. |
Dr. Sassi | May 18 2012 | 40:48 | 767 | |
Integration, Section 04, Part 6.1: Light, Secondary Lights, Shadow
Light, Secondary Lights, Shadow: Global Illumination, Light dome, Fake. In this video you will learn about three different ways of setting up lighting for your scene: (1) a light dome, (2) an HDRI with global illumination, or (3) just fake it with a few light objects. You will learn a technique to normalize an HDRI for using it with MoGraph (even considering that in R12 or R13 higher values than 100% are possible via image-information). How to process your images for better usage with GI, and finally wrap up by looking at dealing with animation when using faked lighting. |
Dr. Sassi | May 18 2012 | 37:33 | 904 | |
Integration, Section 04, Part 4.1: Details, Scale: Spaceships and Scale
Details, Scale: Spaceships and scale, who knows anything about them? In this video you will learn how you can use certain visual cues from an image to determine the scale of an unknown spaceship. The theme is split: first you will be introduced to “scale and the environment” and then to “scale of the object itself”. Both themes will help you to create believable scenes, even with a spaceship. |
Dr. Sassi | May 18 2012 | 06:54 | 980 | |
Integration, Section 04, Part 3.3: Lens-distortion: Putting it back in
Lens-distortion: Putting it back in In this video you will use some of the information of from the previous video (chapter 4 part 3.2), to re-apply the lens distortion to renders so they look as if they were shot through the same lens as the practical footage. NUKE is used again, but the fundamental idea of this process is not application dependent, so you will be able to accomplish this with any application. |
Dr. Sassi | May 18 2012 | 10:49 | 668 |