This video covers a technique for making 3D Wings in Adobe After Effects.
Related links:
iaenicanimation.com
A determined young boy, Ragu, is sent by his master on his final quest to become a monk. A seemingly simple task becomes an unexpected challenge for Ragu as he discovers the real value of his quest.
© 2010 Brendan Carroll & Francesco Giroldini. Music by Erez Koskas. Ringling College of Art + Design.
Related links:
vimeo.com
sky-textures.com presents selection of 75 hires RAW DNG skies available on 1 DVD for only $99. You can download a free midle samples , only for evermotion users.
DOWNLOAD!
Buy it HERE!
Related links:
evermotion.org
sky-textures.com
Modular Character System is the Animation and rigging system for Maya by Suntoucher labs
Features:
- inverting parent/child relationships in animation
- IK/FK switching on any handle
- interactive rig creation and proportion editing with attached geometry
- character to character interactions
- and much more...
Via:
CG Channel
Allan Mckay is sharing his own amazing script called Fume FX 2.0 Auto Script v1.0
. This script allows you to set up your container with all the correct settings you need
He wrote:
"This is more a 5 minute thing I wrote for my own uses, however I posted this on a few forums and a lot of people have gone crazy for it. So I’m releasing it publically for anyone who needs it. It’s written ‘as is’ but I find it useful for production.
Basically set up your container with all the correct settings you need (I have had one or two people run the script right after making their grid expecting it to do something magical for them, so keep in mind you SET UP YOUR CONTAINER and then once you have everything how you want it, ie. simulation, wavelet, retiming and rendering all set up. You can run the script, and it will initially simulate your container, and then run the wavelet and retiming sims and then render it. Which means rather than hitting sim several times at each phase, you can run the script and it will simulate each phase for you and then render it once it’s done. Which means you can go get that beer at the pub that you’ve been craving all day. (or focus on other shots without needing to baby sit this one)."
DOWNLOAD SCRIPT!
Related links:
vfxsolution.com
(San Francisco, California--August 30, 2010) RE:Vision Effects, acclaimed effects plug-in industry leader and makers of Academy Award winning software, announces that new versions of their Twixtor and ReelSmart Motion Blur plug-ins for Autodesk Advanced Systems (Smoke, Flare, Flint, Flame, Inferno, and Burn), including Smoke on Mac, are now available.
Twixtor enables you to speed up or slow down your image sequences with visually stunning results. In order to achieve its unparalleled image quality, Twixtor synthesizes unique new frames by warping and interpolating frames of the original sequence... employing RE:Vision's proprietary tracking technology that calculates motion for each individual pixel.
ReelSmart Motion Blur (RSMB) automatically adds more natural-looking motion blur to a sequence. Proprietary tracking technology is at the heart of RSMB, so there is no handwork involved. Of course you can add as little or as much blurring as you need and even remove motion blur! This is a useful tool to give video a more film-like feel, and is also useful to reintroduce motion blur for blue or green screen shoots where a fast shutter is necessary to pull a good key.
New Features:
- Smoke on Mac support
- Floating point image support
- Speed enhancements have been introduced that make these versions significantly faster than previous versions.
- Floating license support introduced.
- Multi-host application floating licenses available: with multi-host licensing users can float a single license across many applications, including: Nuke, Flame, Fusion, After Effects (Twixtor PRO only), Shake, Softimage, Smoke, Flint, Flare, Inferno, Combustion, Premiere Pro (Twixtor PRO only), and Maya and Max Composite.
Availability and compatibility
All versions of Smoke, Flint, Flame, Inferno, Flare and Burn on Linux 64-bit and Mac OS 10.6 are supported.
Pricing:
- ReelSmart Motion Blur v4 Sparks node-locked license is $189.95. Floating License: $284.93.
- Twixtor v5 Sparks node-locked license is $795.00. Floating License: $1195.00.
- Upgrade pricing available on website.
- Customers who purchased RSMB v3 and Twixtor v4 Sparks on or after August 1, 2010 will receive the latest version for free.
- Volume discounts available. Contact sales@revisionfx.com.
Demo material, examples and software are available at http://www.revisionfx.com .
RE:Vision Effects is an acclaimed industry leader of visual effects plug-ins for Adobe After Effects, Eyeon Fusion, Apple Final Cut Pro, Apple Final Cut Express, The Foundry's Nuke, Adobe Premiere Pro, Autodesk 3ds Max/Maya Composite, Avid editing systems, Autodesk Systems (Sparks), Autodesk SoftImage, Apple Shake, Quantel genQ and others.
Related links:
revisionfx.com
Glare is a program to generate physical accurate glare/bloom for 3d renders or high dynamic images.
Guillermo M. Leal LLaguno announced that Glare v1.00 is now available. He wrote:
" As a 3d artists we are most of the time trying to make our renders look as real as possible, one area which even do seems easy but is not, is to represent our image bright areas.
We must make believe the viewer that he/she is looking at something that is much brighter than what really is, at list on the image.
One way to achieve that is to add glare/bloom to the image, and that is where this program can help us.
The program is going to look at the bright pixels which the user specifies and add glare to thoes areas. After the glare is calculated we can change some parameters interactively like the intensity, gamma of the glare layer and add some image effects like sharpening, vignetting and chromatic aberrations.
finally we can save the complete image (original image + glare) or save the glare layer alone for later composition perhaps in after effects or other composition program."
Reference:
- Physically-Based Glare Effects for Digital Images. by Spencer, Shirley, Zimmerman, Greenberg. SIGGRAPH 95
High Dynamic Range Imaging>
Fundamentals of Computer Graphics
Physically Based Rendering
Via:
maxunderground.com
NEW YORK - (Aug. 30, 2010) - World-class animation studio Nathan Love (www.NathanLove.com) continues its successful collaboration with advertising agency 22squared (www.22squared.com), bringing two new animated broadcast spots to life for Baskin-Robbins' nationwide summer advertising campaign.
For August, the campaign welcomes two new characters: Barry Baaa, a long-faced sheep that loves blowing bubbles with Baskin-Robbins' August Flavor of the Month, Pink Bubblegum ice cream, and Olive Ostrich, a playful bird who's ecstatic about Baskin-Robbins' birthday cakes. For each character, Nathan Love's art department created genuinely unique looks and personalities, and the animators added the life and soul, creating adorably personable creatures. Barry Baaa debuted widely on U.S. television and cable media outlets on August 3; on August 8, it was declared the top ad for all demographics for the first week of August by Ace Metrix(TM), the industry standard in television advertising analytics.
"This campaign has been an amazing validation for our studio, showcasing our ability to turn highly creative projects around quickly, and proving that we are ready for anything," said Joe Burrascano, Nathan Love's owner and creative director. "Our goal of preparing the studio for feature films and creating original content is becoming more of a reality every day. We're extremely grateful to 22squared and Baskin-Robbins for involving us in this high-profile campaign. The spots have been attracting lots of positive attention, and we can't wait to roll this success into our next project."
The crew at Nathan Love designed and directed the entire campaign in SD and 1080 HD. Their tools for the spots included a combination of Adobe Creative Suite and Autodesk Maya for the animation, and The Foundry's Nuke compositing software for finishing. Each campaign spot also features Drew Skinner's original music and sound designs.
"These spots were created with Baskin-Robbins' primary mission – to provide a full range of quality ice cream and cake products in a fun, inviting environment – in mind," added John Stapleton, 22squared's chief creative director. "With this team of animated characters, we were able to communicate Baskin-Robbins' mission in a way as innovative and enthusiastic as their flavor catalog and fans."
Watch the Baskin-Robbins characters.
About Nathan Love
Break out the crayons and beer, because Nathan Love is ready to play! This world-class animation studio is known for creating memorable characters, detailed worlds and engaging narratives, making it a party and inviting your whole crew. Driven by a passion for storytelling, their creative, technical and production capabilities are constantly evolving. Equally at home creating sensational 2D and 3D animation, the studio's talents span all aspects of project creation and production. They are creators of commercial campaigns, original films, super-fun web content, video game projects, merchandise and more. Besides their extraordinary craftsmanship Nathan Love is also fun and inviting to work with, enjoying daily collaborations with leading creatives, live-action and CGI directors, sound designers, composers, web developers and other artists. So next time you're dreaming-up a project, drop your briefcase and join the fun at www.NathanLove.com, or call +1.212.925.7111.
About 22squared
We don't want to talk to you. It's not that we have anything against you. In fact, you seem quite delightful. It's just, we don't think talking to people is a particularly effective form of communication. Instead, we like to talk with people. See what they're interested in. And then have a two-way conversation. We do the same with brands. We find what people are interested in, and then help insert our brands into the conversation. The result is work that gets people talking. And makes brands grow. We call it the Advocacy Model, and we apply it across all mediums, for clients as diverse as Southeast Toyota Distributors, Publix Super Markets, Baskin-Robbins, Florida's Natural Grower, CBSSports.com, Shoe Carnival, Lincoln Financial Group. If you'd like people to start talking about your brand, look us up at www.22squared.com. We're looking forward to the conversation.
Related links:
NathanLove.com
22squared.com
Blazej Floch, a long time Fusion user and Python Guru, explains different ways on how to connect Fusion with Python.
Related links:
eyeonsoftware's channel
When Soundbooth, first appeared with Adobe's Creative Suite 3 in 2007, users of Adobe's high-end audio program, Audition, were scratching their heads trying to understand what Adobe was up to. Why would the company compete with itself by releasing another audio editing program when it already had a highly successful one in it's stable? Was Adobe phasing out Audition and replacing it with Soundbooth? Since Adobe released a version 3 of Audition in the same year, it certainly didn't seem like that was the case. So what was going on?
Over the last 3 years and two upgrades to Soundbooth, it's pretty clear that what Adobe is up to is creating an audio editing tool that is aimed at video editors who don't have time or the need for the complexity of Audition and it's tool-oriented design. I'm not sure the CS3 release of Soundbooth was up to the task with it's lack of mulit-track capability. The much-improved Soundbooth CS4 is probably the program they should have released as it not only had decent multi-track capability, but improved effects and tight integration with other Adobe products, most notably Adobe Premiere Pro, the superb digital video editing program. In effect, Soundbooth and Premiere Pro are halves of the same program. At least, the interaction between them makes you feel like you are working with one program.
Soundbooth CS5
With the recent 2010 release of the outstanding Creative Suite 5 Production Premium (CS5), Adobe added it's third version of Soundbooth so let's follow Ricky Grove to take a look at what's new in Soundbooth CS5 and see how the upgrade measures up
REVIEW ARTICLE HERE!
Related links:renderosity.com
The spot created for the international Olympic commitee as the official Olympic spot during the 2010 Vancouver Games. It has been broadcasted worldwide and nominated several time for best commercial in festivals around the world
directed by : Fx&Mat
Produced by : Christine Ponzevera at Nexus productions
Agency : Cole&Weber
THE MAKING OF
Related links:
behance.net
Intel’s upcoming next-generation laptop chips will have a dozen new features to improve graphics performance and will be able to play Blu-ray 3D movies, the company said on Thursday.
Laptops with processors based on the Sandy Bridge architecture will play Blu-ray 3D movies while preserving battery life, said Nick Knupffer, an Intel spokesman. Users won’t need to buy a separate graphics processor to specifically view 3D content.
Sandy Bridge chips are due to go into production later this year, Knupffer said. Company officials have said that PCs with the new chips could hit store shelves in the first half of next year.
The company is expected to shed more light on Sandy Bridge’s graphics performance at the upcoming Intel Developer Forum in San Francisco, Sept. 13-15.
Intel’s graphics improvements come from higher levels of integration and the addition of specialized accelerators to decode video, analysts said.
Intel for the first time will integrate the CPU and graphics processor on a single chip, said Nathan Brookwood, principal analyst at Insight 64. The current generation of chips based on the Westmere architecture have the CPU and graphics core on one piece of silicon, but as separate units.
The higher levels of integration will also help Intel cram in more transistors to improve graphics performance, Brookwood said. The Sandy Bridge CPUs and GPUs will be made using the 32-nanometer process, while with current chips, the CPU and GPU are made using the 32-nm process and the 45-nm process, respectively.
Graphics performance typically doubles from one chip generation to the next, said Dean McCarron, principal analyst at Mercury Research.
Intel’s current laptop chips are capable of 1080p video, and improvements in Sandy Bridge chips could bring a noticeable graphics improvement to PCs, McCarron said.
Intel’s chips go into more than 80 percent of the world’s computers and the company is widely recognized for its CPU design, but lags behind Advanced Micro Devices in graphics. AMD later this year will release a family of chips called Fusion that integrate the CPU and GPU in a single chip. The first Fusion chip, code-named Ontario, will go into netbooks and ultraportable laptops. The next wave of Fusion chips for laptops and desktops will be released next year. AMD has already said Fusion will allow users to view Blu-ray movies and play 3D games.
However, Intel’s improvement in integrated graphics will not affect the discrete graphics market, McCarron said. There is a growing interest in switchable graphics, in which laptops have both integrated and discrete graphics, McCarron said. That allows users to switch between them depending on the application they’re using.
More laptops are shipping with both graphics processors — up to 45 percent of the laptops worldwide in the second quarter, McCarron said.
“Irony here is that each graphics solution — whether it’s Intel integrated or discrete — is succeeding on its merits,” McCarron said. “It’s not like you’re picking one or another.”
The sudden ramp-up in adoption of discrete graphics cards in laptops came at the start of this year, when Intel released its new Core family of processors, McCarron said. Users were perhaps unhappy with the integrated graphics performance of Core chips, which is why they bought discrete graphics cards.
source:
3dguy.tv
The Gnomon School of Visual Effects opened its doors in 1997 and has since prepared hundreds of artists for careers in the entertainment industry. Gnomon alumni contribute design, animation, effects, characters, creatures, models, matte paintings and more to many of your favorite films, TV shows and games.
Join Them in celebrating the best work of Their current students and recent graduates who today work at such studios as Industrial Light and Magic, Sony Imageworks, Digital Domain and Blizzard Entertainment.
When:
Saturday, September 11th, 2010
7:00 pm — 11:00 pm
Where:
Gnomon Gallery
1015 N. Cahuenga Blvd.
Hollywood, CA 90038
Related links:
gnomonschool.com
Chaos Group announces an extension of the Bundle Promotion Three in One and gives you the opportunity to equip yourself with a complete rendering solution. Three in One is a powerful combination between the V-Ray for 3ds Max production renderer and the interactive rendering engine V-Ray RT for 3ds Max, topped with the ultimate professional image sequence player and viewer: Pdplayer.
This economic Bundle proposal will be valid until 1st of November 2010. For more information, please contact Chaosgroup's local representative in your respective country.
Related links:
chaosgroup.com
There is only one man that can stop a shipment of bio-technology being sold in Istanbul. Check out the trailer for James Bond 007: Blood Stone and see James Bond in action.
More Info
Related links:
g4tv.com
GTC announced today: World-renowned robotics visionary Dr. Sebastian Thrun and molecular-simulation pioneer Dr. Klaus Schulten will join NVIDIA Co-Founder and CEO Jen-Hsun Huang as keynote speakers for GTC 2010
About GTC 2010
GPUs are the future of computing. Be part of the revolution at GTC 2010! Building on last year’s inaugural event, GTC 2010 takes place Sept. 20-23 at the San Jose Convention Center. Attend this event to:
- Learn about seismic shifts in GPU computing
- Preview disruptive technologies and emerging applications
- Get tools and techniques to impact mission critical projects
- Network with experts, colleagues and peers across industries.
Related links:
blogs.nvidia.com
Design Visualisation blog announced the winners for the Autodesk 3D Star Competition
AND THE WINNERS ARE:
Joseph Thomas
http://www.wonder-vision.com
Tarik Ali
http://www.tarik-ali.co.uk
Simeon Patarozliev
http://www.spatarozliev.co.uk
Related links:
autodeskshowcase.co.uk
Canon Introduces the World’s Widest Fisheye Zoom Lens, a New Telephoto Zoom Lens and Two New Super Telephoto Lenses with Optional New Extenders
(Lake Success, New York--August 26, 2010) Canon U.S.A., Inc., a leader in digital imaging, rounds out its Summer product introductions with four new L-series lenses and two new accessory extenders for professionals and advanced amateurs. Leading the introductions, the EF 8-15mm f/4L Fisheye USM lens is the world’s widest fisheye zoom lens, providing professional photographers and cinematographers with a unique optical tool for capturing 180º angle-of-view shots on all EOS Digital SLR cameras.
Photographers looking for a broad focal length range with excellent image quality will enjoy the Company’s first L-series 70-300mm telephoto zoom lens, the new EF 70-300mm f/4.5-5.6L IS USM lens, delivering outstanding sharpness, contrast and color fidelity in a compact, lightweight form factor. Canon is introducing two new versions of its popular super telephoto lenses, the new EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM super-telephoto lenses delivering incredible image quality at all apertures for professional photojournalists, sports and wildlife photographers. For professionals and advanced amateurs looking to push their L-series Canon telephotos to the limit, the Company is proud to upgrade its two popular extenders with the new Canon Extender EF 1.4x III and Extender EF 2x III for additional telephoto reach and exceptional clarity. Photographers will immediately notice that the latest Canon L-series telephoto lenses and extenders have a more neutral white tone compared to earlier models. This new shade of white will be used with all L-series telephoto lenses and extenders beginning in the second half of 2010. The introductions of these Canon lenses have been timed with Canon’s latest camera introduction, the Canon EOS 60D Digital SLR camera, designed for advanced amateurs and emerging professional photographers.
“Canon’s core has always been our optics, and we are constantly challenging ourselves to produce better and more advanced optical systems for our customers. These six new products advance the state of the art in Canon lens technology and provide new and innovative tools for professionals and advanced amateur photographers,” stated Yuichi Ishizuka, executive vice president and general manager, Consumer Imaging Group, Canon U.S.A.
Canon EF 8-15mm f/4L Fisheye USM lens
With its unique focal length range, the EF 8-15mm f/4L USM is the world’s widest fisheye zoom lens. It delivers 180º diagonal angle of view images for all EOS SLR cameras with imaging formats ranging from full-frame to APS-C, and provides 180º circular fisheye images for full-frame EOS models. Professional photographers and cinematographers will revel in the unique perspectives afforded to them through this lens, particularly when coupled with the highly popular full-frame EOS 5D Mark II DSLR camera. Canon’s new Fisheye zoom lens features both UD and aspherical lens elements to enhance image quality and is equipped with rubber gaskets and seals to enhance weather resistance. Canon’s proprietary SWC (Sub Wavelength Structure Coating) is used to minimize flare and a new fluorine anti-smear coating is applied to the front and rear elements to make lens cleaning easier than ever.
The Canon EF 8-15mm f/4L Fisheye USM lens is expected to be available in January of 2011 for an approximate retail price of $1,400.
Canon EF 70-300mm f/4-5.6L IS USM lens
Compact and lightweight, yet durable and professionally sharp, the EF 70-300mm f/4-5.6L IS USM lens is the ideal telephoto zoom lens for advanced amateurs looking for that extra reach to bring a subject in tight and close. Providing the power and durability to maximize every shooting opportunity, the Canon EF 70-300mm f/4-5.6L IS USM lens features two UD ultra-low dispersion glass elements for enhanced sharpness, L-series weather and dust sealing for shooting in harsh conditions, improved mechanical design, and streamlined ergonomics to help avoid inadvertent mode switch operation. The shapes of the lens elements and their coatings have been optimized to minimize ghosting and flare to produce high-contrast and high-resolution throughout the zoom range. A sophisticated floating system optical formula optimizes image quality at all distance settings and reduces minimum focusing distance by more than a foot. An updated optical image stabilization system compensates for camera shake up to an equivalent of four full shutter-speed steps, a full step improvement compared to earlier EF 70-300mm lenses. A new fluorine anti-smear coating is applied to the front and rear elements.
The Canon EF 70-300mm f/4-5.6L IS USM lens is expected to be available toward the end of October for an approximate retail price of $1,500.
Canon EF 300mm f/2.8L IS II USM lens
The Canon EF 300mm f/2.8L IS II USM is the 6th generation of a venerable family of Canon 300mm f/2.8 lenses that began in 1974, and have become famous for their exceptional sharpness, contrast and color fidelity. Ideal for a wide range of applications ranging from professional photojournalism and sports photography to nature and wildlife, Canon’s 300mm f/2.8 lenses have always led the industry with new technical advances in every generation. The EF 300mm f/2.8L IS II USM lens carries on this tradition with improved image quality, lighter weight, improved Image Stabilization and enhanced durability making it a great option for handheld work in the field. The optical formula of the new lens has been upgraded with the inclusion of two fluorite lens elements for improved image quality and reduced chromatic aberration. Helping to reduce arm fatigue, Canon has reduced the overall weight of the lens by 13 percent to 82.9 oz., making it the lightest weight lens in the Canon EF 300mm f/2.8 series. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation and has been enhanced through the incorporation of a rolling-ball-friction system in place of sliding parts in the compensation optics barrel for a minimum-friction structure. The overall durability of the lens has also been enhanced through increased usage of magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches and a new fluorine anti-smear coating applied to the front and rear elements.
The Canon EF 300mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $7,000.
Canon EF 400mm f/2.8L IS II USM lens
Quintessential for many sports assignments including baseball, football, soccer and golf, Canon’s professional 400mm f/2.8 lenses provide the light gathering capability and long telephoto reach that photographers need to freeze the action and fill the frame . The Canon EF 400mm f/2.8L IS II USM is the 5th generation in Canon’s 400mm f/2.8 series and the successor to the current EF 400mm introduced in 1999. The new lens has been engineered for the ultimate in optical performance through the use of two fluorite lens elements for improved quality and reduced chromatic aberration. Helping photographers in the field, Canon has reduced the overall weight of the lens by a substantial 28 percent from 189.4 oz to 135.8 oz, making it Canon’s lightest weight 400mm f/2.8 lens ever. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation and has been enhanced through the incorporation of a rolling-ball-friction system in place of sliding parts in the compensation optics barrel for a minimum-friction structure. The overall durability of the lens has also been enhanced through increased usage of magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches and a new fluorine anti-smear coating is applied to the front and rear elements.
The Canon EF 400mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $11,000.
Canon Extender EF 1.4x III & Canon Extender EF 2x III
The two new EF extenders are direct replacements of the current extenders offered by Canon as essential accessories for professionals. These new extenders have been designed to provide faster autofocusing and improved autofocus precision with compatible EF lenses. Each extender includes an anomalous dispersion lens element for reduced chromatic aberration and enhanced optical image quality. Each extender also features a newly developed microcomputer that increases AF precision when the extenders are used with a IS Series II EF super-telephoto lens. Both extenders are equipped with rubber gaskets and seals to enhance weather resistance. A new fluorine anti-smear coating is applied to the front and rear elements of both extenders.
The Canon Extender EF 1.4x III & Canon Extender EF 2x III are expected to be available in December for an approximate retail price of $500 each.
New Lens Features
In addition to an anti-reflection multi-coating, the front and rear elements of all newly announced EF lenses and extenders are treated with Canon’s new fluorine anti-smear lens coating. The fluorine layer is highly oil- and water-repellent so that any oil smears or water droplets on the lens can be wiped off quickly and easily without the aid of solvents using a soft dry cloth. These four new lenses and two new extenders are the first of their type to employ fluorine coating, and it is expected that this new feature will enhance the usability of the lenses during adverse shooting conditions.
The new Series II EF super-telephoto lenses can correct camera shake up to four full shutter speed steps, compared to two shutter speed steps for the original versions. This improvement is made possible by a new low-friction stabilizer mechanism that is not only more efficient than the previous design but also smaller and lighter. Other enhancements to the IS systems of both new super telephoto lenses have enabled quieter operation ideal for use during video capture.
Providing professional sports and wildlife photographers with greater tracking flexibility, Canon has introduced a third Image Stabilization mode option to its new EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM lenses. When mode 3 is selected on the lens, the image stabilization effect will not be seen in the viewfinder. When the shutter button is pressed halfway, the lens will begin detecting camera or lens movement and only during exposure, when the shutter is fully depressed, will the Image Stabilization engage and provide the equivalent of four stops faster compensation for blur-free images. The new Mode 3 is particularly useful when a photographer does not want to see the IS working in the viewfinder while tracking a moving subject.
Helping moviemakers achieve smoother and more appealing focus shifts when filming on EOS DSLR cameras, Canon has included a new Power Focus (PF) mode on the Company’s two new super telephoto lenses. This mode allows manual rack focusing to be operated smoothly by turning a playback ring that is normally used for the focus preset function. Both low-speed and high-speed focus shifting are available.
Additionally, a new security slot attachment has been included on both new super-telephoto lenses to allow a wire-type security lock to be easily affixed, a great safety feature for professionals shooting from high vantage points above arenas and crowds.
About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked fourth overall in the U.S. in 2009†, with global revenues of US $35 billion, is listed as number six in the computer industry on Fortune Magazine's World’s Most Admired Companies 2010 list, and is on the 2009 BusinessWeek list of "100 Best Global Brands."
†Based on weekly patent counts issued by United States Patent and Trademark Office.
All referenced product names, and other marks, are trademarks or registered trademarks of their respective owners.
Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.
Related links:canon.com
Photographers looking for a broad focal length range with excellent image quality will enjoy the Company’s first L-series 70-300mm telephoto zoom lens, the new EF 70-300mm f/4.5-5.6L IS USM lens, delivering outstanding sharpness, contrast and color fidelity in a compact, lightweight form factor. Canon is introducing two new versions of its popular super telephoto lenses, the new EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM super-telephoto lenses delivering incredible image quality at all apertures for professional photojournalists, sports and wildlife photographers. For professionals and advanced amateurs looking to push their L-series Canon telephotos to the limit, the Company is proud to upgrade its two popular extenders with the new Canon Extender EF 1.4x III and Extender EF 2x III for additional telephoto reach and exceptional clarity. Photographers will immediately notice that the latest Canon L-series telephoto lenses and extenders have a more neutral white tone compared to earlier models. This new shade of white will be used with all L-series telephoto lenses and extenders beginning in the second half of 2010. The introductions of these Canon lenses have been timed with Canon’s latest camera introduction, the Canon EOS 60D Digital SLR camera, designed for advanced amateurs and emerging professional photographers.
“Canon’s core has always been our optics, and we are constantly challenging ourselves to produce better and more advanced optical systems for our customers. These six new products advance the state of the art in Canon lens technology and provide new and innovative tools for professionals and advanced amateur photographers,” stated Yuichi Ishizuka, executive vice president and general manager, Consumer Imaging Group, Canon U.S.A.
Canon EF 8-15mm f/4L Fisheye USM lens
With its unique focal length range, the EF 8-15mm f/4L USM is the world’s widest fisheye zoom lens. It delivers 180º diagonal angle of view images for all EOS SLR cameras with imaging formats ranging from full-frame to APS-C, and provides 180º circular fisheye images for full-frame EOS models. Professional photographers and cinematographers will revel in the unique perspectives afforded to them through this lens, particularly when coupled with the highly popular full-frame EOS 5D Mark II DSLR camera. Canon’s new Fisheye zoom lens features both UD and aspherical lens elements to enhance image quality and is equipped with rubber gaskets and seals to enhance weather resistance. Canon’s proprietary SWC (Sub Wavelength Structure Coating) is used to minimize flare and a new fluorine anti-smear coating is applied to the front and rear elements to make lens cleaning easier than ever.
The Canon EF 8-15mm f/4L Fisheye USM lens is expected to be available in January of 2011 for an approximate retail price of $1,400.
Canon EF 70-300mm f/4-5.6L IS USM lens
Compact and lightweight, yet durable and professionally sharp, the EF 70-300mm f/4-5.6L IS USM lens is the ideal telephoto zoom lens for advanced amateurs looking for that extra reach to bring a subject in tight and close. Providing the power and durability to maximize every shooting opportunity, the Canon EF 70-300mm f/4-5.6L IS USM lens features two UD ultra-low dispersion glass elements for enhanced sharpness, L-series weather and dust sealing for shooting in harsh conditions, improved mechanical design, and streamlined ergonomics to help avoid inadvertent mode switch operation. The shapes of the lens elements and their coatings have been optimized to minimize ghosting and flare to produce high-contrast and high-resolution throughout the zoom range. A sophisticated floating system optical formula optimizes image quality at all distance settings and reduces minimum focusing distance by more than a foot. An updated optical image stabilization system compensates for camera shake up to an equivalent of four full shutter-speed steps, a full step improvement compared to earlier EF 70-300mm lenses. A new fluorine anti-smear coating is applied to the front and rear elements.
The Canon EF 70-300mm f/4-5.6L IS USM lens is expected to be available toward the end of October for an approximate retail price of $1,500.
Canon EF 300mm f/2.8L IS II USM lens
The Canon EF 300mm f/2.8L IS II USM is the 6th generation of a venerable family of Canon 300mm f/2.8 lenses that began in 1974, and have become famous for their exceptional sharpness, contrast and color fidelity. Ideal for a wide range of applications ranging from professional photojournalism and sports photography to nature and wildlife, Canon’s 300mm f/2.8 lenses have always led the industry with new technical advances in every generation. The EF 300mm f/2.8L IS II USM lens carries on this tradition with improved image quality, lighter weight, improved Image Stabilization and enhanced durability making it a great option for handheld work in the field. The optical formula of the new lens has been upgraded with the inclusion of two fluorite lens elements for improved image quality and reduced chromatic aberration. Helping to reduce arm fatigue, Canon has reduced the overall weight of the lens by 13 percent to 82.9 oz., making it the lightest weight lens in the Canon EF 300mm f/2.8 series. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation and has been enhanced through the incorporation of a rolling-ball-friction system in place of sliding parts in the compensation optics barrel for a minimum-friction structure. The overall durability of the lens has also been enhanced through increased usage of magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches and a new fluorine anti-smear coating applied to the front and rear elements.
The Canon EF 300mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $7,000.
Canon EF 400mm f/2.8L IS II USM lens
Quintessential for many sports assignments including baseball, football, soccer and golf, Canon’s professional 400mm f/2.8 lenses provide the light gathering capability and long telephoto reach that photographers need to freeze the action and fill the frame . The Canon EF 400mm f/2.8L IS II USM is the 5th generation in Canon’s 400mm f/2.8 series and the successor to the current EF 400mm introduced in 1999. The new lens has been engineered for the ultimate in optical performance through the use of two fluorite lens elements for improved quality and reduced chromatic aberration. Helping photographers in the field, Canon has reduced the overall weight of the lens by a substantial 28 percent from 189.4 oz to 135.8 oz, making it Canon’s lightest weight 400mm f/2.8 lens ever. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation and has been enhanced through the incorporation of a rolling-ball-friction system in place of sliding parts in the compensation optics barrel for a minimum-friction structure. The overall durability of the lens has also been enhanced through increased usage of magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches and a new fluorine anti-smear coating is applied to the front and rear elements.
The Canon EF 400mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $11,000.
Canon Extender EF 1.4x III & Canon Extender EF 2x III
The two new EF extenders are direct replacements of the current extenders offered by Canon as essential accessories for professionals. These new extenders have been designed to provide faster autofocusing and improved autofocus precision with compatible EF lenses. Each extender includes an anomalous dispersion lens element for reduced chromatic aberration and enhanced optical image quality. Each extender also features a newly developed microcomputer that increases AF precision when the extenders are used with a IS Series II EF super-telephoto lens. Both extenders are equipped with rubber gaskets and seals to enhance weather resistance. A new fluorine anti-smear coating is applied to the front and rear elements of both extenders.
The Canon Extender EF 1.4x III & Canon Extender EF 2x III are expected to be available in December for an approximate retail price of $500 each.
New Lens Features
In addition to an anti-reflection multi-coating, the front and rear elements of all newly announced EF lenses and extenders are treated with Canon’s new fluorine anti-smear lens coating. The fluorine layer is highly oil- and water-repellent so that any oil smears or water droplets on the lens can be wiped off quickly and easily without the aid of solvents using a soft dry cloth. These four new lenses and two new extenders are the first of their type to employ fluorine coating, and it is expected that this new feature will enhance the usability of the lenses during adverse shooting conditions.
The new Series II EF super-telephoto lenses can correct camera shake up to four full shutter speed steps, compared to two shutter speed steps for the original versions. This improvement is made possible by a new low-friction stabilizer mechanism that is not only more efficient than the previous design but also smaller and lighter. Other enhancements to the IS systems of both new super telephoto lenses have enabled quieter operation ideal for use during video capture.
Providing professional sports and wildlife photographers with greater tracking flexibility, Canon has introduced a third Image Stabilization mode option to its new EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM lenses. When mode 3 is selected on the lens, the image stabilization effect will not be seen in the viewfinder. When the shutter button is pressed halfway, the lens will begin detecting camera or lens movement and only during exposure, when the shutter is fully depressed, will the Image Stabilization engage and provide the equivalent of four stops faster compensation for blur-free images. The new Mode 3 is particularly useful when a photographer does not want to see the IS working in the viewfinder while tracking a moving subject.
Helping moviemakers achieve smoother and more appealing focus shifts when filming on EOS DSLR cameras, Canon has included a new Power Focus (PF) mode on the Company’s two new super telephoto lenses. This mode allows manual rack focusing to be operated smoothly by turning a playback ring that is normally used for the focus preset function. Both low-speed and high-speed focus shifting are available.
Additionally, a new security slot attachment has been included on both new super-telephoto lenses to allow a wire-type security lock to be easily affixed, a great safety feature for professionals shooting from high vantage points above arenas and crowds.
About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked fourth overall in the U.S. in 2009†, with global revenues of US $35 billion, is listed as number six in the computer industry on Fortune Magazine's World’s Most Admired Companies 2010 list, and is on the 2009 BusinessWeek list of "100 Best Global Brands."
†Based on weekly patent counts issued by United States Patent and Trademark Office.
All referenced product names, and other marks, are trademarks or registered trademarks of their respective owners.
Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.
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9th Annual VES Awards will be on January 28, 2011 at Century Plaza Hotel in Beverly Hills, CA and now Call for Entries in opening
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The original Magic Bullet Colorista brought the 3-way color corrector to After Effects and improved upon the one built into Final Cut Pro. With the recent release of Colorista II and the addition of secondary color correction, more flexible masking, and UI refinements the plugin has solidified its place as our go-to favorite for grading within those desktop applications.
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In this video, we'll cover the basics of Stereoscopic (S3D) editing in about 10 minutes. David Helmly also has a 7 part series on Stereoscopic Editing (about 60 minutes in total) which covers the same information in much more detail.
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David Helmly's channel
eyeonsoftware's channel shows us the video tutorial Using the CoordinateTransform modifier and a Particle Custom tool is one way to make particles to follow along a path in Fusion.
From ChaosGroupTV Dimitar Krastev from Chaos Group offers a video presentation of the Phoenix fluid dynamics plugin.
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(Marlborough, Massachusetts--August 24, 2010) Boris FX, the leading developer of integrated effects technology for video and film, today announced that Boris Continuum Complete 7 AVX (BCC 7 AVX) is now available. BCC 7 AVX brings over 200 filters to Avid Media Composer and Avid Symphony. The new release features lens blur effects, a video noise reduction tool, a new OpenGL particle engine, and new on-screen overlay control widgets for streamlined workflow.
“Boris Continuum Complete 7 AVX introduces highly sought-after lens blur effects as well as a new OpenGL particle engine,” commented Boris Yamnitsky, president and founder, Boris FX. “The release is also packed with new productivity tools such as Compare Mode for comparing the filtered result with the unfiltered source and on-screen overlay control widgets that allow parameter adjustments while the editor’s eye remains focused on the image.”
Boris Continuum Complete 7 AVX New Feature Highlights
- New Filters:
- BCC Noise Reduction smoothes out video noise using spatial and temporal information derived from the video clip - especially in dark areas of an image.
- BCC Lens Blur emulates a popular lens blur or rack defocus effect where out-of-focus highlights of an image clip take on the shape of the lens shutter. The filter includes a gradient map layer to control the depth of focus.
- BCC Lens Shape is a designer effect similar to a rack defocus effect where the shape of the bokeh can be imported from an external layer.
- BCC Lens Transition is a wipe filter that applies a lens blur or rack defocus effect to the specular highlights of outgoing and incoming image clips.
- BCC Particle Array 3D creates a grid of particles oriented in 3D space.
- BCC Pin Art 3D creates a pin board look based on a layer image.
- Compare Mode. Added to over one-third of BCC 7 AVX's filters, Compare Mode is a convenient tool that enables users to compare the filtered result with the unfiltered source via either a side-by-side view or a live split-screen view. In the side-by-side view, users can view the unfiltered and filtered image result in the preview window as changes are made to the image. In the split-screen view, users can drag the wipe bar anywhere across the image to compare the filtered result with the unfiltered source at any zoom level. Additionally, the Compare Mode feature includes the unique ability to view the filtered result with a live filtered layer in the timeline.
- On-Screen Overlay Control Widgets. The most commonly-used parameters in each BCC filter are now accessible via Avid-native on-screen overlay widgets, each with dynamic parameter value displays that update automatically as the widget is adjusted. Color-coded and easy to use, the new widgets allow parameter adjustments while the editor’s eye remains focused on the image. Overlays can be turned on and off by Avid’s built-in overlay control.
- Performance Gains. The new BCC Pin Art 3D and BCC Particle Array 3D filters integrate a new particle engine that is OpenGL-accelerated. All BCC 7 AVX filters take advantage of either multi-processing or OpenGL hardware acceleration to deliver an interactive effects design experience.
- Boris AAF Transfer Support. BCC 7 AVX is supported by Boris AAF Transfer, a new plug-in that facilitates seamless transfer of Final Cut Pro sequences with BCC 7 FxPlug filters to Avid Media Composer. BCC 7 FxPlug filters are translated to corresponding BCC 7 AVX filters - including all of the keyframed changes.
Pricing and Availability
Boris Continuum Complete 7 AVX is available immediately through the Boris FX worldwide reseller channel and direct through the Boris FX web site at http://www.borisfx.com for an MSRP of $1,995 USD. Owners of previous versions of BCC AVX may upgrade for an MSRP of $599 USD. A separate BCC 7 AVX for Avid DS release is planned for later this year.
About Boris FX
Founded in 1995, Boris FX is the leading developer of integrated graphics and effects technology, delivering 3D compositing and vector graphic products for broadcast, post-production, film, and multimedia. Boris products have grown to serve millions of artists worldwide. The company's success lies in its ability to integrate and leverage technologies through strong partnerships with industry-leading developers such as Adobe, Apple, Autodesk, Avid, Grass Valley, and Sony.
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borisfx.com
Francois Tarlier (TD Artist for a video game company during day, Matchmover / VFX Freelance Artist by night) unveils ft-CombineRGA Pixel Bender plugin allows you to shift channels or combine channels from a second source. What makes this plugin special versus the similar plugins that comes with After Effects, is that it works in 32bit and has a very simply to use UI.
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Color Finesse 3 gives you the high-end color correction and enhancement tools you need both as a plug-in for your favorite application—including After Effects, Final Cut Pro, Motion, and Premiere Pro—and as a standalone application. Because the standalone Color Finesse is not limited by restrictions imposed by a host application, it offers improved workflow, video handling, and project management.
Color Finesse 3 is cross-platform and works on systems from laptops to multi-processor workstations, without the need for specific video cards or multiple monitors. Settings move smoothly from plug-in to standalone so you can work the way you want to.
Color Finesse gives you full creative control over the color, mood, and look of your images quickly, easily, and accurately. The difference is visible when you use the best tool for the job.
The Color Finesse 3 PI plug-in works directly in After Effects, Final Cut Pro, Premiere Pro, and other hosts. You get simple access to color correction directly in the host application as well as via the specialized Color Finesse user interface.
Most video editing software now has its own built-in color correction, but it's often limited in capability, accuracy, and performance. Often you'll need to combine several color correction filters to perform even simple correction. Each filter you add increases rounding error and image degradation. Color Finesse does all its color correction operations without needing to constantly convert formats and round, reducing errors and creating a pristine image.
Color Finesse offers more correction tools—including secondary color correction and curves—than are found in most built-in correctors.
Three-point color correction is a powerful tool, but not when you're stuck with fixed definitions of what a highlight, midtone, and shadow is. Those definitions need to change from scene to scene, so Color Finesse gives you a simple tool to let you decide on the definitions, making three-point correction more intuitive and more effective.
And Color Finesse is a true 32-bit floating point color corrector, not just "floating point capable" and not in only a few correction tools.
Color Finesse as a Standalone Application - Color Correction Without Limits
The Color Finesse 3 standalone application focuses on just one thing: being the best color correction tool possible. Create your own projects or import one from Final Cut Pro via XML. Perform your color correction and output your final footage, or export it back to Final Cut.
Color Finesse 3 plays well with others. It handles QuickTime movies as well as image sequences. It supports image types from JPEG to BMP to TIFF to Targa to Cineon to DPX. It can import and export settings in ASC CDL, Photoshop, Discreet, and Quantel formats. It can preview footage via video cards from AJA, Blackmagic, and others.
Color Finesse 3 HD+ handles footage of all sizes, from standard def to HD to film.
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