,

Tip #1163: Fill a 3D Object with Texture

… for Apple Motion

Tip #1163: Fill a 3D Object with Texture

Larry Jordan – LarryJordan.com

To retain texture, especially for white 3D objects, use Stencil Luma.

A white cylinder, filled with bamboo, yet retaining the lighting texture.

Topic $TipTopic

One of the new features in Motion 5.4.7 is 3D objects. They are in their own category in the Library. Here’s a better way to give them texture.

In the screen shot, I created a cylinder made out of strips of bamboo. Sorta. Here’s how.

  • Drag Library > 3D Objects > Cylinder into the timeline.
  • Using the 3D controls, position it however you want. Here, I tipped it forward to see the difference between the top and sides.
  • In the same group, drag Library > Content > Backgrounds > Bamboo Weave under the cylinder in the Layers panel.
  • Select the cylinder and change Inspector > Properties > Blend mode to Stencil Luma.

Stencil Luma retains the grayscale texture, while keying the background into the foreground.

NOTE: Stencil Alpha would replace the white, but lose all the depth provided by the lighting.

EXTRA CREDIT

To emphasize the shading created by the lighting, add Filters > Color > Levels to the cylinder, then tweak the Levels settings to emphasize the differences in grayscale.

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Tip #1165: Different Ways to Use Slow Motion

… for Visual Effects

Tip #1165: Different Ways to Use Slow Motion

Larry Jordan – LarryJordan.com

This article focuses on the theory of slow-motion with LOTS of videos for more info.

(Image courtesy of The Slow Mo Guys.)

Topic $TipTopic

This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is a summary.

Let’s face it, slow motion is cool. There’s just something undeniably awesome about the slowing down of time. Whether it’s in a giant action sequence on an IMAX screen, or in the tiny moments of your favorite YouTube series on a smartphone, the effect of slow motion seems to always work and delight audiences of any size.

So, while there are plenty of tips and tricks to read up on for how to shoot slow motion and high frame rate, we’re actually going to dive more into the theory of slow motion and the different ways you might want to utilize it in your film and video projects.

Actually shooting slow motion for action and stunts is perhaps one of the most technically challenging feats on any production and, in part, why we see them more often in the biggest of big-budget films versus indie features and DIY shorts. It’s important to keep in mind both safety and practicality when tackling slow motion for stunts, as you’ll need to be in control of every element of the situation to make sure your camera is properly framed, focused, and recording the exact high frame rate moves that you’ve carefully and meticulously planned.

In many ways, slow motion for cinema-sake has become synonymous with this new style, as digital editing has made techniques like speed ramping easier to use and more precise to control. If you’re looking to add slow motion or fast motion in your projects today, your best bet might just be to get a solid HFR camera, shoot at 120fps (if possible), and then make all your slow motion and speed ramping decisions in the edit once you have everything planned and covered.

EXTRA CREDIT

This article includes videos on

  • Slow Motion for Action and Stunts
  • Slow Motion to Highlight Cinematic Moments
  • Slow Motion to Draw Attention to Details
  • Slow Motion for Sports
  • Ramping Between Slow and Fast Motion
  • A link to The Slow Mo Guys YouTube channel

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Tip #1166: Get Started with Cinema 4D

… for Visual Effects

Tip #1166: Get Started with Cinema 4D

Larry Jordan – LarryJordan.com

Learning new software is never easy – but this is a good place to start.

(Image courtesy of Cineversity.com.)

Topic $TipTopic

In this series of about 20  video tutorials, instructor EJ Hassenfratz shows how to get up and running in Cinema 4D through this project-based series introducing you to the basic concepts of 3D modeling, animation, and rendering. Each movie in the series is about ten minutes in length.

Episode 1 provides a brief series overview on what you’ll be learning and the aspects of 3D that will be covered.

Here’s the link to Episode 1 on Cineversity.com.

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Tip #1167: Learn Maya on “Maya Monday”

… for Visual Effects

Tip #1167: Learn Maya on “Maya Monday”

Larry Jordan – LarryJordan.com

Free, short, video tutorials to learn Autodesk Maya 2020.

(Tutorial images courtesy of Toolfarm.com.)

Topic $TipTopic

Toolfarm.com has created a series of video tutorials on using Maya 2020. With a focus on empowering artists throughout the production pipeline, Autodesk Maya 2020 introduces new tools that not only help animators, modelers, riggers, and technical artists work faster and more intuitively. In addition, it makes the creative process more fun.

All tutorials are free.

Here’s the link

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Tip #1143: 5 Tips to Make Video More Cinematic

… for Random Weirdness

Tip #1143: 5 Tips to Make Video More Cinematic

Larry Jordan – LarryJordan.com

Notice – nowhere in this list does it mention frame rate.

Ah… the movies.

Topic $TipTopic

This article first appeared in MotionArray.com. This is a summary.

One of the most asked questions that come from beginner filmmakers is, “how do I make my films look more cinematic?” Today, we’re going to go over five tips to help you make your next video look and feel more cinematic.

Part 1: What Does Cinematic Footage Mean?

There are a couple of interchangeable terms we can use. Cinematic, professional, high-quality, sharp, etc. Essentially, the highest overall goal is to make your video look like what you see when you watch a feature film in a theater.

Part 2: Tips to Make Cinematic Films & Videos

  1. Create Depth. You might have heard that shooting with a shallow depth of field is an easy way to make your footage look more cinematic fast. That’s because it does! It really helps, and it’s mostly because it’s a very effective shortcut to giving your shot depth.
  2. Get Your Light Right. Lighting is such a huge category that we can’t do it justice in just a quick overview. Instead, this article offers some quick solutions that can help you out in a pinch to get better quality shots out of whatever camera you’re using.
  3. Aspect Ratio. Basically, you can trick your audience into seeing your footage as more cinematic by changing its aspect ratio.
  4. Color Correction. You knew this one was coming. Color correction is a huge piece of this puzzle. This is where you take the image you captured and shape it into the final product in terms of light and color.
  5. It’s All an Illusion. Movie-making is all a magic trick. Because that’s what a movie is — it’s a trick. So the last goal in all of this is to make sure you don’t remind your audience that they’re watching a movie.

EXTRA CREDIT

This article goes into more depth, and multiple steps for each of these points. This is a nice refresher of things you once knew, but, maybe, forgot.

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Tip #1144: An Excellent Discussion of Plot & Story

… for Random Weirdness

Tip #1144: An Excellent Discussion of Plot & Story

Larry Jordan – LarryJordan.com

It all starts with a plot and story. Here’s how to get started right.

The basic plot diagram in three acts.

Topic $TipTopic

This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is a summary.

Let’s explore the fundamentals of story and plot structure and how filmmakers can use these basics to create their own narratives. In fact, a good script is only as good as the plot — or the story at the center of it all. But, what makes a good story? And, how do you structure the perfect plot for your films and screenplays?

What is a plot? Looking into purely literary terms, a plot is simply: “The plan, scheme, or main story of a literary or dramatic work, as a play, novel, or short story.” Although, for our film purposes, it’s probably best to go with the functional definition: “The sequence of events where each affects the next one.” Basically, this just means the plot is what happens and in what order.

A story, on the other hand, is “an account of imaginary or real people and events told for entertainment,” which is slightly different in that it accounts for the sensational elements of things that may or may not have actually happened and are presented for entertainment purposes.

The article presents a video of Kurt Vonenegut discussing the shape of a story, along with detailing the basics of plot diagrams and structure.

As well, another video discusses Joseph Campbell‘s Hero’s Journey. This plot and story structure is as old as humankind itself. It’s perhaps the most nuanced take on how stories are structured and the individual plot points you need to use (or at least understand) for your projects.

Finally, this article provides examples of plot structure with videos about:

  • Harry Potter
  • Empire Strikes Back
  • Dead Man’s Chest
  • Rick and Morty / Adult Swim

It really becomes up to you — as a screenwriter and/or filmmaker — to take these structures for what they are: building blocks to your story. You can choose which structure or format that’s best for you and your narrative, as well as decide at what point you might want to deviate from the structured norms to create unease or excite wonder in your audience and their formulaic expectations.

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Tip #1145: What Every Sound Utility Should Know

… for Random Weirdness

Tip #1145: What Every Sound Utility Should Know

Larry Jordan – LarryJordan.com

The sound utility person is an essential piece of the audio puzzle on set.

(Image courtesy of pexels.com.)

Topic $TipTopic

This article, written by Daron James, first appeared in NoFilmSchool.com. This is a summary.

There are dozens of roles and responsibilities on a film set. Whether you’re a camera assistant, a prosthetic makeup artist, a set costumer, or a video assistant, everyone makes up the dynamic team that supports a director’s vision.

A sound utility is one of the puzzle’s most important pieces. Part of the production sound team that generally includes a production sound mixer, a boom operator, and a sound utility, they’re often referred to as 2nd boom, third, or cable person.

As a sound utility, you’re one of the first people on set. You power up the sound equipment, check batteries and wireless frequencies, and you make sure there are enough printed sides of the shooting script. You understand the shooting schedule and when it’s time to move. You double-check the bag rig in case the production sound cart can’t be used. You understand audio playback and the importance of soundproofing sets.

You need to have people skills, understand set politics, and know when to speak up.

One of your most methodical and critical jobs on set will be to wire talent. You’re working with actors, wardrobe and makeup/hair to make sure everyone is on the same page and understands what you’re looking to accomplish. Having to stop production to fix an incorrectly placed lav is something every sound department wants to avoid.

Here are some additional tips:

  • Assist the boom operator, wire the talent, and make sure all equipment is in range
  • Set up loop systems, dampen noise, and make sure everything is charged
  • Organize paperwork, know where your gear is, and make sure the equipment works
  • Remember to wear your IFB, be a cart master, and make sure everything is returned

The article goes into more detail on each of these points with detailed, practical advice.

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Tip #1141: Loop a Video Segment

… for Apple Motion

Tip #1141: Loop a Video Segment

Larry Jordan – LarryJordan.com

Remember, Loop calculates frames from the start of a clip.

The Loop and Set Speed Behavior settings.

Topic $TipTopic

The Loop behavior loops a portion of a video over and over and… over. Here’s how to use it.

Apply Behaviors > Retiming > Loop to a clip.

The Loop behavior applies to the start of a clip. If that’s not what you want to loop, trim the clip until the video you want is at the start of the clip.

Using Inspector > Behaviors > Loop, set the number of frames you want to loop. The default is 30.

EXTRA CREDIT

It is often helpful to change the speed of a looping clip, for example, to slow it down.

To do so, apply Behaviors > Retiming > Set Speed and set the Speed setting to the slow motion you want.

NOTE: Be sure to drag Loop above Set speed so that the frames are chosen from the source video. If Set Speed is dragged above Loop, the frame count is based on the slowed-down clip.

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Tip #1120: Free Title Animations for Premiere

… for Visual Effects

Tip #1120: Free Title Animations for Premiere

Larry Jordan – LarryJordan.com

These templates require the latest version of both Adobe Premiere & After Effects.

One of these free motion graphic templates for Premiere.

Topic $TipTopic

This article, written by Todd Blankenship, first appeared in PremiumBeat.com. With these free animated motion graphics templates for Premiere Pro, you can add some eye-catching animated titles to your edits — quickly and easily.

As you can tell, we’ve been all about these sort of gritty textured styles of animation and design lately. I feel like it’s a nice step outside of the clean, almost sterile corporate animation and design we see so often. We’ve recently learned some new ways to incorporate some of that handmade stop-motion style texture and vibe into these motion graphics templates for Premiere.

With each of these free motion graphics templates for Premiere, we wanted to include as much customization as possible. Every single one of these templates has a whole slew of options inside of the Essential Graphics Panel. These options will give you the ability to create a vast amount of different, unique title animations, rather than just the ten stock looks included.

Here’s the link to download these free, motion graphics templates for Adobe Premiere.

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Tip #1146: 22 FREE After Effect Show Reel Templates

… for Visual Effects

Tip #1146: 22 FREE After Effect Show Reel Templates

Larry Jordan – LarryJordan.com

These take your work and make it shine!

(Image courtesy of Pexels.com)

Topic $TipTopic

This article first appeared in MotionArray.com.

After a year like this one, any good news is welcome. So MotionArray has assembled twenty-two After Effects showreel templates to kick-start your showreel.

Selecting the best moments is one thing, but how do you piece it together in a fluid and eye-catching way? It can be difficult to devote time to creating a showreel when you’re also busy working and creating videos.

These include a variety of show reels, wedding reels, sports reels, and, ah, just about any other reel you need to create.

All free. Downloads are located here.

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