NAB 2016 Highlights

“Now that NAB 2016 is passed and I’ve had some time to let my brain settle, here is a review of my week and hopefully this will cover a few things you might have missed during the week.

NAB is always a marathon and every year when I get back, it seems like it takes a full week to recover. This year I decided to do things a bit differently.  First, I broke my own rule from my NAB Survival Guide about bringing your spouse. My husband, Dan, is a photographer and is interested in visual imagery, plus he has been friended on Facebook by a lot of my industry friends, so he was excited to meet them. Second, we planned an extra day to get out of the city and see a little nature. Third, we only went to a maximum of two events in the evenings instead of cramming in three or four. Here are some of the highlights.

NAB Show 2016: Virtual Reality: Explore. Immerse. Embrace.

The big buzz this year was VR, virtual reality, and I learned a lot about it. On Sunday evening, we went to a dealer VR event by The Foundry at the Tommy Wind Theater. They had VR content creators talking about how it will change how we plan, shoot, and edit content.

The Foundry VR Panel

One thing that I hadn’t considered is that cinematography as we know it is no longer part of the project. When content is 360°, your viewer is looking all over the place, so you no longer frame a shot. Lighting setups will also change. How will VR work with stories? It seems to me that it could work with a horror film, but it’s really suited to gaming, concerts, sporting events, and the like. Here’s the whole panel presentation. I did see my friend Nedge who came in from Turkey there, so that was pretty cool. ” – Michele Yamazaki Terpstra

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RE:Vision Effects RE:Lens for After Effects

Provides easy corrections and conversions for common projections and lens distortions. Explore novel uses!

RE:Lens is also available for a discounted introductory price, so not only can you snag a great new tool… you can save as well!

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NAB Show Sales Ending Soon!

The NAB sales are coming to an end, see what you can still save on!

Save 20% on Curious Animal packs (Super Deformer Pack, Mega Deformer Pack and Fallofftopia) from now until April 21, 2016.

Digital Film Tools has slashed it’s prices 30% for the duration of NAB.  Hurry, this sale ends Thursday, April 21, 2016.

All DocOptic products are 15% off for the duration of NAB.

Genarts is offering 15% off new licenses of Sapphire, and 30% off upgrades!

Save a whopping 30% on ALL Laubwerk products, this week only!  Sale ends April 21, 2016.

For 1 week only, get 40% off MovieType 2 for Cinema 4D and 30% off MovieType for Element 3D.  Today through Thursday April 21, 2016.

Save 30% on Node-Locked Silhouette FX Licenses. Hurry, sale ends Thursday, April 21, 2016.

Save 30% off Everything the Pixel Lab has to offer and 50% off the Mega Pack!

Save 30% on ALL Tiffen products this week only!  Sale ends Thursday, April 24.

This week only, get 25% Off All Video Copilot products, including upgrades!  Sale ends Thursday, April 21st, 2016.

Click Here to Learn More & Purchase Today

Animal Award & Conference: Submit Your Projects

“The competition for the animago AWARD in its 20th anniversary year is officially underway.

You have until 30 June 2016 to submit your projects in these following categories:

  • Best Visual Effects
  • Best Short Film
  • Best Character
  • Best Game Cinematic
  • Best Motion Design
  • Best Advertising Production
  • Best Visualization
  • Best Young Production (€3,000 prize money contributed by DIGITAL PRODUCTION)
  • Best Still (public voting)
  • Jury´s Prize
  • Architecture Prize, presented by DETAIL
  • Anniversary Prize (public voting)

Check here for the complete details of each categories.” – Vincent Frei

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Webinar Replay: BCC 10: Masking & Tracking in PixelChooser powered by mocha

 

Missed last week’s training? In this one hour tutorial, Mary Poplin shows Continuum Complete 10 users how to take advantage of the new PixelChooser that’s powered by mocha planar tracking.

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Foley: The Art of Making Sound Effects

“From snapping celery stalks to slapping phone books, learn how foley artists use everyday objects to create realistic sound effects in film.

Top image via SoundWorks Collection

Foley is the art of creating sound effects for radio, film, and television. The term actually comes from a man, Jack Donovan Foley, who made sound effects for live radio broadcasts. He focused on creating realistic sounds with the tools he had around him rather than using generic sounds made in other programs. This was reminiscent of the theatrical sounds of vaudeville shows.

Jack Foley started working for Universal Studios in 1914. By the time “talkies” came around in the 1920s, studios wanted to create authentic sound effects for their films. On set, microphones were only used to record dialogue. Therefore sound effects would have to be recorded after the film was shot.

Foley assembled a team that would project the film onto a screen while recording an audio track of sound effects — mostly footsteps. The earliest films had them adding the sounds of walking and doors opening and closing.

Foley became the expert in sound effects audio recording. He continued to perform up until his death in 1967. Many of the techniques he developed are still used today.” – Michael Maher

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The Game-Changing Title Work of Elastic

“Elastic’s incredible work on title sequences and marketing campaigns for both film and television have turned them into an industry leader. Let’s take a closer look.

Animation, broadcast design, editorial work, visual effects — production studio Elastic can do it all, though they are most known for being experts at film/television marketing and branding. Led by industry veterans Patrick ClairMelissa EcclesAndy Hall, and Oscar-winning editor Angus Wall, Elastic’s talent is responsible for some of the most memorable opening title sequences of all time. Let’s take a look at their long history of amazing work.

Angus Wall

Angus Wall began editing commercials for acclaimed director David Fincher in 1988 and eventually cut the opening title sequence of Se7en in 1995. While Kyle Cooper directed the titles for R/Greenberg Associates, it was the staccato editing of Angus Wall that really made this piece so chilling.” – Johnathan Paul

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