Stop Motion Animation is one of simplest and traditional form of animation technique used for animating inanimate things. Just like a cartoon animation, a physical object is moved in small amounts between individually photographed frames, creating the illusion of movement when a series of images played in a continuous sequence on a video playback system. It may sound very easy, but this process is always time consuming and the final result will not be as fluid as a captured video. But there are areas in which you can or have to use stop motion technique. This simple technique has inspired many to produce lovely creative animation videos.

A Short Love Story In Stop Motion from Carlos Lascano

This Is Where We Live from 4th Estate

Florian from Andrew Gibbs

Fat City Reprise – Long Gone from Cesar Kuriyama

White Winter Hymnal from Grandchildren

Adobe Photoshop Cook from Lait Noir

automatic from ricfortune

Hoedown from Rodeo from Eleanor Stewart

My Paper Mind from Javan Ivey

For someone new to the world of animation, especially real-time animation, the industry and what’s available can appear downright bewildering. There are a great many solutions it seems, starting with Autodesk’s wonderful, but pricey solutions, to free and shareware solutions. There are of course the most well-known and perhaps also the most popular solutions such as Autodesk’s solutions, Kinemac for the Mac and Reallusion’s iClone4. But there are plenty of other options as well.

A lot depends on what the application is. The applications for real-time animation can range from such a thing as creating 3D-characters that can be manipulated in some way at real-time, either for animated film or gaming purposes, to something as simple as setting up a nice animation that you want to send as a greeting. These days the subject of producing real-time animations in teleconferencing or video-conferencing scenarios is also becoming gradually more common. These can be thought of as a virtual puppet, with one person controlling the movements of the puppet, which is an animated object on a computer screen. Some people also refer to this as performance animation, since it implicitly involves someone directing the animated object or character’s movements, in that sense this person is the “performer” for the animation. No matter what you call it, and what the exact application, one thing is clear that it requires some kind of real-time capability, either through manipulation on an interface, or better still through motion capture. The second thing that it also requires is a real-time rendering engine that can render the animation being created quickly and efficiently, and display almost at the same time as it is being created.

In the degenerate sense many gaming platforms are actually doing a little bit of real-time animation, and something like the Wii platform in particular is doing something like that. There is motion capture (or you interact through an interface composed of input devices: keyboard, mouse, joystick, etc.) and then there is rendering to show that motion on screen. However, the big distinction being that nothing creative is being achieved in this case.

Before moving on we should also mention that there are scientific and legal applications as well, where the animation can be used to simulate (or emulate) certain scenarios to glean more information or better understanding. Thus, the applications are plentiful, and so are the solutions. Another note of caution that is required is that sometimes real-time animation can mean real-time rendering, in that a given animation is not a recorded animation but rather that each frame is rendered at real-time as you watch it (however the animation itself may be predefined and there need not be a direct interaction producing it while you watch it).

We decided to take a look at a few so that a resource of a range of solutions would be available at one place. And then depending on what you need you can select whichever you prefer. The list is not comprehensive, but we hope that it will serve as a guide.

The Pricey

Autodesk Real-Time Animation Suites

Undoubtedly the industry leader. Some of Autodesk’s solutions have been around for years, especially 3ds Max (which was previously called 3D Studio Max). The Autodesk Suites come in two flavors: the Maya real-time animation suite and the 3ds Max real-time animation suite. Both suites include MotionBuilder. Here is a look at each software individually with pricing (free trials are available):

3ds Max: 3ds Max includes 3D modeling and rendering software. The 2010 version has a number of features including: a new Graphite modeling and texturing system; integrates the Mental Mill technology; extensive polygon modeling capabilities; efficient character animation software with an integrated Biped toolset; Spline and 2D modeling tools; character animation through skeletons and inverse kinematics; an integrated Mental Ray renderer; advanced motion capture capabilities; and much much more. Priced at $3495. 1GB RAM required, with 2GB Hard Disk space and Direct3D 9/10 or OpenGL graphics (128 MB). Windows XP Professional or better.

Maya: Maya is a 3D modeling, animation, rendering and visual effects software. It has a host of features including: professional camera tracking; polygon texture assignment and editing; NURBS modeling; Trax nonlinear animation system; Motion Capture with Dense Data Editing and Resampling; Rigid and Soft Body Dynamics; a number of rendering controls and effects; integrated scripting; and more. Also priced at $3495. 2GB RAM required, with 2GB Hard Disk space and OpenGL graphics (128 MB). Windows, Mac or Linux.

MotionBuilder: MotionBuilder is a character animation tool, that allows you to create real-time animation fluidly and quickly. Characters can be built using intelligent skeletons and kinematics. Then bringing them to life is through keyframe or effection motion capturing tools or both. There are a host of animation tools and motion editors, to get exactly the motion effect that you want. Its feature set includes: multi-threading and optimization; real-time simulations of characters; real-time support for deformation of highly-detailed, fully-textured characters; and support for multiple characters through a large animation data set. Sells for $3995. Requires Windows XP SP2 or higher with 2GB RAM, 1GB Hard Disk space, and OpenGL 1.5 Graphics.

Mach Studio Pro

According to its publisher’s Mach Studio Pro really gives you the capability to “Work at the Speed of Thought!” Whether this is accomplished or not is for you to find out, but it does have an attractive set of features that seem to promise much. To begin with there is the real-time rendering engine that will easily render the animation on your desktop without requiring a separate rendering utility. It provides a great deal of interactivity with the 3D graphic workspace and that is one of its strongest features. There are fully animatable properties for all objects, lights, materials and cameras, including an auto-keying feature. You can also change the lighting rigs at any point in the production process, giving you a great deal of artistic flexibility. It is resolution independent and thus allows rendering at any resolution and format. Best of all, it supports interoperability with industry standard tools such as Autodesk’s Maya and 3ds Max. Runs on Windows XP Professional, Vista Business and Windows 7 (32bit or 64bit) and requires ATI or NVIDIA DirectX9 graphics card with at least 1GB of RAM. Publisher’s insist on ATI FirePro Graphics capabilities as well. Student version is available for $999, full version is $3,999 (if you already have an ATI FirePro or compatible high end Graphics card), else the price with an ATI FirePro card is $4,999.

Animate Pro

Toon Boom’s Animate Pro combines vector technology, real-time animation tools and nodal compositing to provide a comprehensive animation toolkit. The beauty of the suite begins with the interface that can be user adapted and customized as needed. Working comfort is further enhanced by a smooth integration of the pipeline and workflow. Artistic freedom is supported by the fact that Animate Pro allows a number of multiple brush tools, textures, and gradients, along with an advanced clean, ink and paint toolkit – the combination of which will let you keep your paper artistic style alive on the computer screen, with the benefit of nuance and intricacy. Symbols and pegs work in unison with key framing is possible in cut-out to speed-up the animation process. In terms of camera control, Animate Pro allows you complete control along all three axes, including moving, scaling and rotation. Other features include: advanced lip-syncing and cell-swapping tools; frame tweening is possible using the timeline; drawings can be exposed according to your requirements using Xsheet; inverse kinematics; a vast range of over 50 special effects that can be applied in real-time, while an animation is in progress; and a nifty morphing tool. Windows XP or higher OR Mac OS X 10.5 or higher. At least 1GB of RAM and 300MB Hard Disk space. NVIDIA or ATI video card. Priced at $1999.99, but there is a trial version available.

The Mid-Range

Craft Director Studio

Craft Director Studio is a set of tools that extends the capabilities of existing software such as Maxon Cinema 4D and SoftImage, and enables real-time functionality on them. (It also works with Maya and 3ds Max, although in their case the real-time enhancement point is a bit moot. There are of course other enhancements that can be added to extend their functionality.) Based on Artificial Intelligence and autonomous control systems research, the main objective and achievement of the Craft Director Studio set of tools is to radically transform the workflow to make them real-time or near real-time. Automatic keyframing is used for time savings and the quality of animations is improved through the use of a real-time physics engine. Pricing is in terms of bundles such as a Camera Tools Bundle, an Architecture Bundle, a Forensic Bundle, and so on. Individual features can also be bought as modules, such as Craft HumanizerCam (part of Camera Tools Bundle), Craft Airplane Extended (part of Vehicle Tools Bundle) and so on. Prices range from $129 to $1199 for individual modules. Bundles vary from $986 to $5099. Note that depending on how much you buy, this can easily go into the “pricey” bracket, and that there is the price of the core software to be considered as well.

DX Studio

DX Studio is a complete integrated development environment for 3D graphics creation that includes a comprehensive suite of editing tools (including real-time editing tools) as well as a real-time 3D rendering engine. Apart from a full-featured 2D and 3D real-time interactive editor, which is powerful in itself, it provides support for a programming and scripting framework: DXMesh API allows you to build using C++ programming; using ActiveX technology you can build your own C++, C# and VB.net applications with the DX Studio player as a component; bring your scene to life with event driven JavaScript; and there is also in-built support for SOAP and OLEDB database access. A number of special effects are available such as Vertex Morphing, Animated Sprites, a Particle System, as well as a host of post-processing effects including bloom, radial blur, fractal clouds, rain, and more. There are a number of reusable modules. Especially worth noting is the excellent camera module which behaves much like a 3D game camera, or even real-life cameras. Other modules include a vehicle module and a streaming module. Wide range of light and shade effects possible and there is a comprehensive DX Studio Shader system. At approximately $409 (299 British Pounds) this seems to be a really good buy. Requires 1GB RAM with Shader Model 2+ Graphics with 128MB RAM. For Windows XP SP2 or higher (DirectX 9.0).

Messiah Studio

Messiah Studio is an award winning 3D animation and rendering application. The professional edition costs $599 and is worth it when you consider that such films as Ghost Rider, Hell Boy, and the Harry Potter movies have used Messiah Studio. If that is still too high a price tag, there is also the basic edition that is more affordable at $399. Messiah Studio has excellent motion capture capabilities and the renderer is a hybrid of scanline and raytracing technology. The Messiah renderer has a number of attractive features such as: a flexible node based shader editor; multithreaded rendering; global illumination; high dynamic range imaging (HDRI) lighting; subsurface scattering and more. Its other features include: an Armature system that provides a direct visual method for creating character and program control; easy-to-use skeleton and deformation features; modular interoperability with a number of major suites; a great many plug-ins for enhanced functionality; hair effects including clumping, guide hairs, dynamics and collision (click on image to see an excellent demo/tutorial); and much more.

The Cheap

iClone

At $199.95 iClone 4 is certainly an affordable real-time 3D animation solution. It allows for drag-and-drop based fast editing, and object’s can be individually edited In-Screen. It is very easy to bring live actors into iClone and then proceeding from there to creating animation using this as a basis is quite simple. This is simplified by a number of features such as: customizable actors and styles; body transformation and facial deformation capabilities; CloneCloth costume design for the actors; 3D facial puppeteering; interactivity between actors and In-Screen objects; In-Screen motion editing and more. Other features include: HDR video effects; set designing with 3D blocks and material balls, as well as the ability to build a stage with terrain, sky and live plants (see figure); advanced camera and lighting options, with lens effects, directional and point lights, HDR and IBL lighting effects, etc.; and a whole lot more.

Kinemac

Kinemac is a solution for Mac OS X which, coming in at $299 is a great deal. It allows you to drag images, text, movies and songs onto the Kinemac stage and you can easily integrate them into your animation. Movies and text can be applied to ready-to-use objects such as cubes, cylinders, spheres, tubes, pipes, etc. and these can easily be animated using key frames. The animation control system is based on Brezier curves and it allows you to control individual aspects of movement including translations, rotations, resizing, fading, speed, acceleration and deceleration. This can be done for any object that is on the Kinemac stage, and the animation can be played in real-time. A number of helpful tutorials explain how to get things done in Kinemac.

Blender

Blender is an Open Source solution available for Windows 98 or higher, Mac OS X, Linux, FreeBSD, SGI Irix 6.5 and Sun Solaris 2.8 or higher. It is mainly a modeling and rendering tool which can be used to create things such as 3D avatars, architecture models, and animations from photos. The 3D object modeling progresses through a traditional polygon mesh, NURBS surfaces, Bezier and B-spline curves. Mesh modeling is possible based on vertex, edge and/or face selection. Rigging features include a fast skeleton creation mode and automatic skinning. The rendering engine is tightly integrated with the node compositor and the render engine supports layers and passes. Real-time 3D functions include: a graphical logic editor for defining interactive behavior without the need of programming; collision detection and dynamics simulation with Bullets Physics Library support; full support for vehicle dynamics, multi-materials, multi-texture and texture blending modes, per-pixel lighting, dynamic lighting, Normal and Parallax Mapping; and more. Requires at least 128MB of RAM with 20MB free hard disk space and an OpenGL graphics card with 16MB RAM; but 2GB of RAM recommended with OpenGL Graphics card that has 128MB RAM.

Animata

Animata is another Open Source tool that is ideally suited to such tasks as real-time animation and interactive background projections for shows. The movement of puppets as well as the changes in the background are generated at real-time allowing for continuous interaction between you (or the performer) and the end-result animation. It is possible to create an animated character that reacts to its environment through the integration of such things as physical sensors, cameras or other environmental variables. Jazz Pub is an amazing example of an animation reacting to an audio input stimulus created using Animata.

When it comes to the world of chroma key technology, there are many factors that go into a great key. There are specific lighting scenarios, the types of green or blue screens, your camera, the amount of skill you possess, and second most importantly… the software you use. We are going to take a look at nine of the most useful pieces of software out there to make your life that little bit easier when it comes to checking your keys in real time, or checking out the mattes to make sure that the footage you are shooting is going to be the easiest to work with in post.

Ultimatte

Ultimatte is one of the heavy hitters in this niche of the market. Lots of new studios and shows like The Soup, Tosh.0, and really any other show that tapes live on television with green screen walls probably uses this software/hardware combo. Ultimatte is the world’s leading live keying hardware and software package that allows you to feed your cameras directly into the Ultimatte box, then out to your control room for further live work. There are a few different Ultimattes to choose from, the latest being the Ultimatte 11 HD/SD which is the most powerful, letting you deal with both SD and HD formats, Enhanced Matte controls and a four input router. They also have three other models, the 500 deals in only SD, but has a lot of the same controls as the 11, the DV obviously deals in only DV, but plugs in directly with firewire, and inputs via S-video, composite or firewire. Although they don’t tell you what the prices are on the website, they are pretty high, and I believe you have to inquire via email to get any hard prices.

BoinxTV

BoinxTV is a Mac only platform, but provides an easy to use solution when it comes to live broadcasting, podcasting, or just recording direct to disk, this is an all-in-one package with a moderate budget. Aside from being able to stream to the internet, or output to a projection screen or whatever, BoinxTV lets you do a live chroma key in the process, making your post production duties more minimal. Having the ability to add pictures, video, music or whatever you need to put together a show makes this package a great choice for anyone wanting to experiment with have a live production studio in their office, or on the road. Best thing about this, is the price is only $199 – $499, but you can also use the 30 evaluation version free of charge!

Telestream Wirecast

This software is more of a just-for-live-broadcast type of program in which you can hook up multiple camera to switch between them to create polished shows. Although this doesn’t have any hardware that comes with it, you are going to at least have to have firewire-enabled cameras and enough firewire ports on the computer you have the software on, or get analog to digital converter boxes to utilize your non-firewire cameras. This program does support HDV (if you buy the plugin for $100), but doesn’t support capture cards with HDMI, RCA, BNC, Composite, Component SD, or HD SDI, unless you can find a way to convert them to a firewire input. Despite the lack of input capabilities, they make it up in their streaming codecs, being able to hook up directly into sites like Ustream and Justin.tv, and can utilize graphics with alpha channels for things like name keys, overlays, and lower thirds.

Chroma Key Live

This free program was developed by a guy that actually figured he could develop his own program rather than buying something like BoinxTV or Wirecast. The only difference is this is only really to check to see if your actors are positioned correctly on your green screen sets to match up with your premade 3d scenes or matte paintings. What you do, is feed your camera into the firewire port on your laptop with the program running, then pick your chroma key color, and you will see the background of your scene (to be later composited in post) on the screen underneath your actor. Although this program actually doesn’t record your camera, you wouldn’t want to take this harsh chroma key anyways, because it is really bad. The program was written to check your mattes and to help you direct, rather than live keying. You can probably composite a lot better in a program like After Effects anyways, when you have more control over the matte chokers, screen gain, pre-blur and things like that.

BlackMagic Design DeckLink

I was a little disappointed to see that BlackMagic only has a built in SD keyer. I mean, if that is what you have handy, then perfect, but most of the video world nowadays has made the move to high definition. Also, if you are going to be shelling out $695 for a piece of hardware, I don’t think it is worth it, if that is what you are primarily going to use it for. Now enough of the cons, the fact that DeckLink Studio accepts capturing any kind of HD/SD signal, doesn’t make it completely worthless. You could always download the Chroma Key Live application or use it in conjunction with another program to feed cameras and video inputs into your system and software. It still is a great little piece of hardware to have handy, but the built in SD keyer just isn’t worth the money if that is your only reason for buying this.

Adobe Ultra CS3

This product seems as though its been discontinued by Adobe, at least for the time being, but if you can find a copy on craigslist or Ebay it might be worth the money you throw into it. It provides you with a library of pre-made virtual sets that you can place your actor in, or you can bring in your own matte paintings or virtual sets to work with. The downside of this software, is that it only supports DV input, and not HD. Hopefully down the line Adobe decides to pick the product back up, but until then, we can only really work with what is provided. Good news is, you can get a trial version of the software on Adobe’s website to dink around with to see if it suits your needs.

Conduit2

This is a really cool plugin, especially if you are used to Node Based Compositing. That is probably the biggest aspect of this plugin and why it appeals to so many people. Node Based Compositing is just something that generally isn’t available to After Effects, Motion, and Final Cut Pro users. The way this works as a plugin, is you apply it to a video layer, and then open up the settings of the plugin. There, you can apply your different nodes to get a good key like spill supression, chokers and things like that. One con about this plugin, is it is only for Mac systems, but the major plus about it is the amount of training material that is available on their website.

Veescope Live

This is a nice, cheap little solution if you are looking for a way to test out your green screen shots, to make sure the perspective is correct, checking to see if you have your camera move right… that sort of thing. This is a really simple, easy to use keying application that you can plug virtually any camera that has a firewire input into, and key it right there on set. At only $100 this is a good choice if you are looking for a legit piece of software to just check your keys.

Frischluft AE plugin

First thing to know about this plugin, is it is old, and After Effects was not made to utilize a plugin like this. The way this works, is you apply the plugin to a composition, and every time it redraws a frame, the composition updates and therefore draws a frame from your video camera. Its not exactly live, but close to it. This obviously doesn’t let you capture video into After Effects, but it lets you check your perspective and lighting with whatever you have built directly inside of After Effects.

As you can see, there are many options when it comes to live, on-set keying, some of which cost more than others, some might match your needs better than others, and some might match your budget. Whatever the reason you may choose your product, just make sure you try a trail version before you shell out some money and make sure it does exactly what you want. There are a lot of factors to consider, and testing your software out is probably the best bet when it comes to making an educated decision.

Autodesk Combustion has an extremely powerful tool – 3D fog for simulating and rendering realistic fog in your compositions. But 3D fog uses a Z-Depth which is usually obtained from 3D software packages like Maya or 3D Max while rendering. What if you working on 2D composite and need finish it quickly. To speed up things you can use pre-made fog footage. So whenever you want to composite fog onto footage, you can just make use of this footage.

Step 1

Create a new composition – File->New and import your footage – File->Import Footage.

Step 2

Create a new composition and add your pre-rendered fog footage to it.

Step 3

Add a Compound blur operator to footage. Go to operator settings by double clicking on compound blur node. Set the layer input to fog with luminance channel selected. Adjust the blur value to simulate diffraction.

Step 4

Add Set Matte operator to fog. Choose the layer – fog and set the input channel to luminance.

Step 5

Create a new composition “output”. Link the footage and fog node to the output node as shown in schematic diagram. Make sure that fog layer is on top on footage layer.

With this you are done.

The task of selecting software for live audio-visual performances can become overwhelming, given the wide variety of solutions that are available. As is true of choosing anything, you need to understand what you need. You then take a look at what is available. Once again as with most other products, there are features offered that you may not comprehend completely. Your selection depends on your own skills and experience in the profession too. This can be especially tough for someone who is just starting out in this domain, or trying to get things done in such software for the first time, because you may not even be sure of what you need exactly. A good starting point is to take a look at what is available. And hence what are presented here are the best ones according to the professionals. So read on here to get the taste of some of the best VJ software that is available in the market today, including free ones right at the end.

VJamm

VJamm made by Camart Ltd., described by the software publisher as a “piano for sound and vision.” It comes in two primary variants, VJamm (£50) and the VJamm Pro (£299). The professional version carry a number of advanced features, including support for higher resolution clips – 2048×2048, (while VJamm supports only up to 720×576), support for more file types (“.mov”, “.swf”, “.3ds”), better media import methods (Live Text creation and SMS to screen) and the ability to record a particular composition for later use. The Pro edition also allows the purchaser access to VJamm’s development program, which in turn is one of the reasons why the latest versions have a lot of intuitive features – driven by inputs from VJ’s who have used VJamm in the field.

Providing a comprehensive audio-visual solution, VJamm is reputed among VJ’s as having one of the most accurate time-bases which make it highly suitable for professional presentations – clip stretching and other clip calisthenics. Other attractive features include a responsive cross-fade module, a range of on-the-fly clip controls (like soft edge luma key, opacity, etc.), support for up to 16 layers of video with individual controls for each, and more.

There are add-ons that can be downloaded such as VJamm Blueprint which is an intuitive tool for creating attractive visual improvisations on-the-fly. The great thing about the add-ons is that you don’t have to purchase them – they are available for free to download, and will work as long as you use the registration key that is provided during purchase of VJamm/Pro – the publisher’s promise “you pay only once.”

But VJamm is for Windows PCs only. Minimum requirements: 1GHz CPU, 256 MB RAM, Windows XP with an Open GL graphics card. Free demo version is also available.

AVmixer Pro

A good choice for starters, Neuromixer’s AVmixer Pro fits somewhere midway between VJamm and VJamm Pro. Although it does not have the support for as many live external video streams, it does come with a fairly complete set of features and so is an ideal solution for a beginning to intermediate level VJ. At $89, it is much cheaper than the VJamm Pro, and certainly a better buy than the VJamm. And unlike VJamm it is also available for Mac OS X.

The interface is attractive as well as intuitive. You can view the layers side by side for individual manipulation, and most of the functions, including a playback speed slider (range from 8% to 800%). With a little tinkering and some practice, you’ll very quickly find yourself sub-consciously rolling the mouse-over to the right place at the right time. It has a pretty standard list of advanced features including support for all major file types, MIDI support, support for FreeFrame effects and A/V mixing. The internal sequencer and the ability to assign specific audio channels to specific effects or to blends, makes it somewhat better VJamm.

As mentioned above, for Windows and Mac OSX users. Requires 512 MB RAM and QuickTime software installed prior to AVmixer Pro installation. Don’t forget to take advantage of the 30-day trial.

Resolume

For Mac as well as PC users, Resolume Avenue 3 is a great software for VJ`s, supporting up to 3 video layers. If you know to use Adobe Flash or use Flash for creating visuals then Resolume’s is for you. It can play Flash animations including AS2 and AS3 scripting. And when it comes to scripting you know how powerful it can be. It is probably a bit over-priced (€ 299.00) when compared to the VJamm Pro. But has the support for over a many external video streams and has relatively simplest user interface – overall it has a less cluttered feel. If you like to work on fewer layers, but would like far more video streams then this can be a good choice. Another important feature of this software is video mapping. If you have worked with much code based real-time graphics processing application like VVVV then you will know how hard it is to map a video on any physical object. But when it comes to Resolume with few clicks you can map the video onto any object or surface. Not only that you can even project on multiple surfaces or objects.

Although it does not have an SMS-to-Screen feature or an internal sequencer, it still comes with the ability to assign Audio input channels to effects and blends, as well as advanced LFO features – in addition to the standard LFO syncs to Audio/BPM (which available with VJamm Pro and AVmixer Pro), there is the ability to manually adjust the LFO wave and LFO assignment to mixing channels/effects.

You can watch the Resolume introduction video from Bill Holland at Gearwire. This software is available as a trial download as well as a 50% discount for an educational license. It requires at least 1GB of RAM with ATI Radeon 9600 or better OR NVIDIA GeForce FX 5200 or better.

ArkaOS Grand VJ

With an 8 Channel solution, ArkaOS Grand VJ (priced at €279) is comparable to the other heavyweights we have seen. So it is midway in terms of layering and video mixing capabilities. It does support most of the Automated Mixing and LFO capabilities, in a way similar to Resolume’s Avenue. Thus it clearly has the advantage over VJamm Pro in this regard, but falls behind in the numbers of layers (8 vs. 16). Whereas its advantage over Avenue is in these very layers (8 vs. 3) it does fall behind in the ability to support external video streams or clips (8 vs. over a hundred). So it really may boil down to your need for the additional layers at a slightly lower price.

Otherwise the feature-set is pretty standard and comparable to the other options: FreeFrame effects, MIDI support, and supports both Live Text Creation and SMS to Screen; like VJamm Pro you can save your compositions/performances.

Download and give it a try, but seriously consider paying the shipping for the boxed version because it comes with a 2.8GB DVD of clips from various VJ artists. 1 GB RAM recommended, XP/Mac OSX 10.4 or higher, NVIDIA GeForce FX 5200/ATI Radeon 9200/Intel GMA 950 or higher, and Quicktime+Flashplayer pre-installed.

VDMX

One of the most popular VJ software for the Mac platform is VDMX. Able to any number of input clips and up to 4 external video input sources, the VDMX comes fully-loaded with all the bells and whistles that are customarily expected from a professional VJ package. What makes VDMX stand out though is its insistence on a real-time paradigm, that grants access at runtime to advanced video/graphics manipulation functions. This access is provided by the user interface that displays the relevant graphs on the main screen itself – changing parameters can be done quickly on-the-fly and it’s as easy as adjusting the graphs with the mouse (which in turn will affect the internal engine; the rendering engine runs at runtime). This allows you the flexibility of trying out things spontaneously and be brilliantly creative. As the publisher’s point out “VDMX’s workflow is designed to let you treat your studio like an instrument.”

Indeed the interface, with its signal processing/video manipulation functions does give it a studio feel. The right half of the interface is completely dedicate to such “studio” functions. VDMX replaces the basic timeline paradigm that is so standard in VJ software today with their innovative take on the real-time studio feel. However, and it must be said, for the non-professional the interface can be a little over-whelming; and even for the professional there is a little bit of a cluttered feel (make sure you have a fairly large screen to make it easier for yourself) and it can take a while to get used to the new paradigm.

Another important feature of VDMX and advantage being a Mac OS X application is that it can import Quartz Composer Composition and control it in real-time using VDMX controls. It also can use Quartz Composer Patches as plug-ins. And when it comes to Quartz Composer, you how innovative and creative it can be.

At $300 it is a better deal than some of the software we have already discussed, and it has a variety of add-ons for streamlining the interface and the rendering pipeline. You can save a particular setup (i.e. interface & rendering-pipeline combination) and load whichever setup is most desirable for your current activity.

The trial version only has saving disabled. Requires 1GHz or better CPU, Mac OSX 10.5.0/QuickTime 7.0.4 up, 512 MB RAM, and PCI Express or Intel Graphics Processor with at least 64 MB VRAM and OpenGL.

Modul8

Another fairly popular Mac-only VJ solution is Modul8. Although priced in the same range as some of the software we have discussed here (@ €299; educational version @ €199), it does give you two licenses – possibly the freedom to maintain a Desktop and Laptop version at the same time. The interface does a lot by way of access to necessary functions and somehow feels a little bit better than a lot of competitors. This is partly because of the large preview screen as well as a fairly big (but not overwhelming) set of controls along the large left-pane.

Support for 10-layer video results in a rich composite output stream. Naturally each layer can be adjusted individually and in real-time, including the filters. And the rendering engine is optimized to run fairly fast – once again providing you with a flexibility that will enhance your creativity. Most features are pretty standard or are available as add-ons, such as sequencing and SMS-to-screen, the only thing that is lacking is the output options – For example there is no support DV/DMX output. Once you spend a little time bringing up the software up to your needs, you can be on your way. During that initial phase of discovery, another key thing is making the controls more flexible. Here, Modul8 easily outdoes everyone else, associating a keyboard stroke to a certain control is as easy as selecting the control (clicking) simultaneously with the desired key. In just a few minutes (or seconds, if you are one of those key-whizzes and know exactly what combinations will work for you) you can have an easy control set exactly customized to your needs.

The latest version if 2.6 and it comes with full FreeFrame and MIDI support (in fact MIDI signals can be configured to control the interface in a way similar to key-strokes) as well as for CoreImage filters; requires a 1GHz CPU, with Mac OSX 10.4.8/QuickTime 7.3.1 or higher, 1 GB RAM and AGP/PCI-Express Graphics with 64 MB VRAM; and the demo version is available here.

VVVV

A PC-based tool, VVVV is described by publisher as a “toolkit for real time video synthesis.” One of its most important features is its ability to simultaneously handle/manipulate a large number of objects. They call this feature spreading, i.e. spreading different parameter values across the large set of objects. This makes it easy for someone looking to use a large number of objects at the same time, and make behave in a certain way in real-time. VJs will appreciate the feeling of power that will inevitably strike them when they use “spreading.”

However, if you are a not so techie person, at first glance at the sheer number of options can overwhelm you. This is not to say that this is a big negative – the available functionality is certainly one of the things going for VVVV; but because of this large set of functions some time should have been spent improving interface design.

Professional VJs who like to tinker with every aspect of their A/V presentation will of course get over the interface hitches, and will love the Visual Programming Interface offered by VVVV, and the best thing is that prototyping and development takes place at runtime/real-time unlike other software that may implement these as separate modes or cycles. It is a great tool for 2D & 3D modeling and much more than VJ software, it is actually even a shoo-in for scientific applications. This makes it well-worth the €500 price tag, and best of all, VVVV is free for non-commercial use.

VVVV will handle as many as channels, layers and effects as your hardware can support, thus not applying any limitation of its own. While there is standard MIDI & FreeFrame support, VVVV does not have support for automated mixing.

MXWendler

Device+Context, the publishers, intend to offer MXWendler as a comprehensive solution for anyone looking for powerful A/V rendering and manipulation services. This naturally includes corporations in addition to artists. Apart from Stage Designer which is MXWendler’s software piece, the publishers also offer FXServer which is optimized to work well with the software. The hardware and software are pricey (hardware available at a €350 rental basis and an unquoted buying price; software is in excess of €850) and obviously the complete solution is not meant for a normal VJ. For the VJ there is the option of licensing the software on a monthly basis (@ 10% of list price) or take advantage of a 20% discount (only if you make less than 25000 €/year) to buy a Stage Designer Entropy Pack (3 options included; €850) or Stage Designer Eventdriver Pack (all options included; €2450). Go here for more pricing information.

MXWendler supports 10 layer video editing, 4 external video streams, with a maximum of 24 clips loadable simultaneously: each individually controllable. Its sleek interface makes it a joy to work with, and there is never any sense of clutter or incomprehension while working with it. Most features that come in other packages are standard on MXWendler and this is not surprising given how expensive it is (exceptions: no automated mixing, no SMS-to-Screen, no DV output, and most importantly NO FREEFRAME SUPPORT). The design philosophy is similar to VVVV, with a single real-time system and an output correction engine ensures that real-time multi-screen output is seamlessly achieved. You can view “555 KUBIK” installation to get a glimpse of its power.

The software is optimized for NVIDIA graphics cards (ATI is also supported). It works with 1 GB RAM (4GB recommended), 512 MB VRAM, and Mac OS X 10.4/Windows XP or later. There is no trial version.

Salvation

Harrison Digital Media’s Salvation is a Mac and PC based video processing and visual programming tool. It allows you to mix and manipulate as many video layers and effect as your hardware will allow. It comes with a GLSL pixel programming interface that can be used to create a host of unique effects – along with the multiple layers and individual manipulation of each, this promises practically limitless creativity on the part of the VJ. However, strangely, the output capabilities of that VJ will be somewhat limited because Salvation neither comes with DV output nor DMX. This is a severe limitation for software priced at $500.

The multiple windowing approach to the user interface, in turn, makes the software little confusing and cumbersome to use. But simplicity lies in its visual programming environment. Everything else is what you would expect from a professional software in this price bracket – FreeFrame & MIDI support, full LFO and automated mixing options, and SMS-to-Screen+Live-Text-Creation, among others.

They also have a video mixer called Salvation MX and it has 2 video channels (A and B; each can be manipulated) with the output being a composite. Salvation MX is available for an additional $49.99.

Salvation requires a 1GHz CPU, 256 MB RAM, OpenGL 2.0 Graphics card, and at least Windows XP. Trial version is available for 60 days.

Aestesis Electronika

The above mentioned options are great, but there are those of us out there who would just like to be able to do things for fun, as an enthusiast, without shelling out $ (or €). For their consideration there is the free Aestesis Electronika (for PC only) – although not in the big league by any means, it still offers a pretty decent set of features, including FreeFrame & MIDI support, the ability to select from up to 30 clips at a time, along with customization options. A rear view offers up the reverse side of your console/deck and there you can connect a number of A/V virtual wires to get the effects that you desire. If you’re a beginner, start here and work your way up. Check out the basic documentation and tips on the wiki.

Using only the tools available in After Effects, you will learn how to create a audio reactive seismograph. Also you will learn to sync it to rhythm of music using a free After Effects preset. There are lots of ways to do this, some requiring lot of scripting. This is the one of the easiest way to do it in After Effects without any third-party plug-ins. But we would like suggest you to use 3D software, if you have one to do such complex motion graphics. It will give you more control and you will finish it much faster than creating it in After Effects. But for now let us start with After Effects.

Preview

Step 1

Create a new composition “Time” of time equal to your audio track. Create a new solid and add two slider controls to it. Name the first one “Time Multiplier” and the second “Output Time”.

Step 2

Add this little expression to the “Output Time”. Set the value of Time Multiplier to 20, only for this tutorial. You can adjust it later according to your requirement. To get expression input box hold ALT key and click on the stopwatch icon. You can use pick whip tool instead of typing it.

effect("Time Multiplier")("Slider")*time

Step 3

Create a new composition with the name “Paper” and of size 2000*1000.

Step 4

Create a white solid “paper” of composition size. Add grid and fractal noise effect to it. Set the values as shown in the screenshot to give it a look of a graph paper. Or you can skip this step by using premade paper texture. Using premade graph paper texture (JPEG, PSD, PNG) you can render it much faster. Fractal noise effect uses lot of CPU power. And you will be duplicating the paper layer many times and to render it, will take lot of time. So it’s better to use premade texture. Just import your image file and add the expression and that’s it. Only see that edges blend with each other. But the best option would be to use a looped video composition of graph paper moving.

Step 5

Create a new camera and place it below the layer.  Layer->New->Camera

Step 6

Select the solid layer “paper” and press P to get the position parameters. Now add this expression to the position.  

temp = (index-1)*2000;

value+(0,0,temp)

Now every time you duplicate the layer, the next layer will automatically will be positioned at +2000. 2000 is value of width of this composition. Thinking why duplicate layer and why not create a layer of size you need. Doing it this way gives you flexibility. The length of “paper” depends on the speed at which it is moving and the total time of the audio track. So in case you replace the audio track, you just need to duplicate the “paper” layer to fill the blank space. You will understand it more once we animate the camera. Make sure that the camera layer is placed under the paper layer.

Step 7

Select the camera layer and add this expression to the anchor point and position.

x = comp("Time").layer("White Solid 2").effect("Output Time")("Slider");

value+[x, 0,0]

Camera will now move from left to right.

Step 8

Create a new composition “Graph”. Add the audio track to this composition. You can view the waveform by pressing “LL” on keyboard.  Convert audio to keyframe. This automatically creates a new layer with keyframes of all the audio channels in it.

Choose “both channels” and add this little expression to slider control. The values depend upon your audio track. Add this expression to the slider

linear(value,5,70,0,150)

It will map the values from 5 to 70 to 0 to 150. You can choose the value according to the amplitude of your audio track. Use graphical keyframe editor to see the values.

Step 9

Create a new solid with name “Diagram”. The width of the solid should be more than or equal to that of x position of camera in the “paper” composition at the last frame. After that adjust the position so that left side of the solid layer is aligned with left side of composition.

Step 10

Add an expression to the position of the layer diagram.

p = comp("Time").layer("White Solid 2").effect("Output Time")("Slider")*(-1);

value+[p, 0]

Step 11

Add write-on effect to the diagram layer. Set the values as shown in screenshot.

Step 12

Add this expression to the brush position of write-on effect.

x = comp("Time").layer("White Solid 2").effect("Output Time")("Slider");

y = thisComp.layer("Audio Amplitude").effect("Both Channels")("Slider");

value+[x, y]

Basically this takes time value from the “Output Time” layer and assigns it to X position, while Y position is driven by the audio keyframes. Turn off write-on effect for temporary as it slows down previews.

Step 13

Create a new composition “Needle”. Enable grid from view->Show Grid. Create a solid “needle” of the composition size and draw the needle using pen tool. You can also draw a traditional seismograph needle.

Step 14

Add this expression to position of the layer. Needle will move along Y axis with the write-on brush.

temp = comp("Graph").layer("Diagram").effect("Write-on")("Brush Position")[1];
value+[0, temp]

                  OR

Add this expression to rotation of the layer. It calculates the angle by which the needle has to turn when the write-on brush moves. Though x value changes with respect to time, when you consider x position of all three points at any time, it’s basically same as at time 0. Since only the Y position of brush is changing and not x position and therefore you will have to compensate for the error. In simple needle is performing a circular motion whereas the motion of the brush point is in straight line. It’s totally up to you to use it.

point1=comp("Graph").layer("Diagram").effect("Write-on")("Brush Position")[0],comp("Graph").layer("Diagram").effect("Write-on")("Brush Position")[1];

p2x=comp("Graph").layer("Diagram").effect("Write-on")("Brush Position")[0]-transform.anchorPoint[0];

point2=p2x,transform.anchorPoint[1];

q=396;

l=comp("Graph").layer("Diagram").effect("Write-on")("Brush Position")[1]-q;

pi=Math.PI;

r=length(point1,point2);

c=2*pi*r;

theta=(360*l)/c;

value+(theta)

Step 15

Create a new composition with same settings as the previous one. Create a new solid and draw a pointed end of the needle using pen tool.

Step 16

Give your needle a nice metallic look using a gradient. Do the same for the tip.

Step 17

Create a new composition and add “Paper”, “Graph”, “Needle”, and “Tip” to it. Create a new camera and turn on the 3D switch for all the layers.

Step 18

Position the camera and all the layers as shown in the screenshot. Arrange all the composites in 3D space. Place "Tip" below and at end point of the needle. Do not change the size of the needle composition layer from the final composition. Instead change it through “Needle” composition. If you do not you could be out of sync to the moving brush as we have used the expression in that composition.

Step 19

After positioning the tip properly in the 3D space, add this expression to its position.

y = comp("Graph").layer("Diagram").effect("Write-on")("Brush Position")[1];

value+[0,y,0]

Step 20

Position your camera to get a nice view.  Don’t forget to turn on depth of field of the camera. Add a light source, a background layer and a shadow. Turn on the motion blur switch for “tip” and “needle” layer.

For Rhythmic Seismograph

The above animation is driven by the sound amplitude much like the real seismograph that captures amplitude of seismic waves (that is you get exact representation of audio waveform). After all seismograph are used to measure the ground vibration and not for sound. But the working principle is the same. Instead of ground vibration we have sound as for the input. If you like to make it react to rhythm or beat then you will need free Spectrum Analysis Preset from Satya Meka or Trapecode Sound Keys Plug-in.

Step 1

For this create a new solid “audio spectrum” and add Audio spectrum preset to it. Set the values as show in the screenshot. The technique is the same even if you use Trapcode sound keys. For this create new solid layer "Audio Spectrum" inside graph composition and the audio spectrum to it. Increase the height and adjust the frequency bands. See the screenshot.

Step 2

Create new layer "keyframes" and add the spectrum analysis preset to it. Choose the spectrum layer and watch the spectrum while you can hear the audio (hit NUM 0 key on keyboard). You will see that specific sound have specific frequencies which you can easily choose by moving the box. You will see that the range value changes as there is change in the frequency. And hence you can convert it to keyframes and utilize it for animation.

Step 3

After choosing the sounds convert the range value to keyframes. For this select the Final Range value slider and go to Animation->Keyframe Assistant->Covert Expression to Keyframe

Step 4

Now all you have to do is use these keyframes instead of previous one to drive your animation. Also linearize the keyframe value to your range, same way as we did before. Once that is done add this expression to the position of write-on effect.

x = comp("Time").layer("White Solid 2").effect("Output Time")("Slider");
y = thisComp.layer("keyframes").effect("Final Range Value")("Slider")
value+[x, y]

And with few minor adjustments you are done. And in case you do not want go through all these steps or do not want to waste your time then use the After Effects CS4 Project file.

Project Files

Project file will be up soon.

Matchmoving is becoming more and more popular in visual effects world and is also quite interesting to know how to use, and to be able to utilize it within your studio or in your freelance work. In this new digital era where almost every single thing you see on the television or in a movie has CG elements placed into real world footage and you cannot afford not to have a working knowledge in a matchmoving software package. This article features a useful rundown of all the matchmoving software available for purchase and download, and perhaps to give you enough knowledge as to where to take your business as well as your workflow.

Boujou

One of the more popular 3D camera trackers, as well as one of the more expensive ($10,000 per full license), 2D3’s Boujou is an Emmy Award-winning product that continues to pump out amazing looking visuals for the movies, commercials and productions that choose to utilize its capabilities. Now in its 5th version and offering new features such as a new automatic sequential solver, which looks at single frames instead of the old way, looking at the entire shot and this allows the user to interrupt the process and tweak when needed, and overall makes the whole solve faster. V5 also has a fully functional Graph Editor which lets you look at your solves, lock the correct parts, resolve or manually tweak camera data. Reference Frames is also new allowing you to import reference still imagery to assist the solve, and there is also the new Target Tracker which can now specify a pattern on a single frame as well as tracking multiple patterns simultaneously. Boujou has been around a long time and continues to prove that it is worth the money you put into it… with ease and massive reliability, this software is able to export to almost any compositing or 3D application that you may use.

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Syntheyes

With a single license of Andersson Technologies’ Syntheyes running for only $399-$599 (various versions – 32-bit, 64-bit, and Mac) you can see why this is such popular matchmoving software. There are lot of free tutorials across the web utilizing Syntheyes in various other workflow environments. So why is Syntheyes so cheap? Well it probably doesn’t offer as many options as Boujou, but it is geared more towards the freelancing and small shop community of businesses. Although it is used on high end movies such as The Fantastic Mr. Fox and 2012, it really depends on what you are working in, how precise and how well you work with the product. Awesome thing is, you can download a trial version to make sure that this is the right matchmover for you, crank through a few of the tutorials, and see if it works well with the other apps in your studio arsenal. You can check out the feature list, compatibility and more over at their official website.

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3D Equalizer

3D Equalizer is a product that lies a little under the radar in the fact that most people probably haven’t heard about it, but Science.D.Visions has been around for well over twelve year pioneering the matchmoving business and you have probably seen them in action without even knowing. Not convinced? Well if you have seen any of the Harry Potter, Chronicles of Narnia, Lord of the Rings, or King Kong movies, then yes you have seen what this program can do. With clients like Weta Digital and Cinesite swearing by the product, it has to be worth a look… now in its fourth edition, it offers a wide range of tools that most camera trackers and matchmovers posess, along with a price $10 cheaper than Boujou – $9,990, it seems to be one of the more under-the-hood tools used in big time visual effect post houses. If you have ever messed around with version 3 of this software, you are going to want to take a look at the new version, because it has been completely re-written from its predecessor, with an entire new look, obsolete function removed and tons more features added such as a new calculation core for extreme precision of points, new lens distortion features, improved 2D tracking engines, and a comprehensive list of tools for working with survey data.

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PFTrack

The mid-ranged priced ($5,500), but high-end tool, PFTrack came out last year with their newest version, PFTrack 5.0 and it couldn’t be sweeter. This is rather well known matchmover, up there in popularity with boujou, but actually costs half the price of its competitors. It is loaded with features like full stereoscopic 3D support, true geometry tracking system, and Motion Capture feature right out of the box! There is a quote from Sam Schwier of Double Negative, the matchmove supervisor on Cloverfield who explained that, even though they had a lot of newbies in their team, after a few hours, all of them had their hands the software and started blasting through tracks. Cloverfield, was nothing but blurry, dark, handicam-shot movie that and you can imagine how much of a nightmare that could be.

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Voodoo Camera Tracker

The best part about this little bit of camera tracking software is that it is absolutely and utterly free. Although free also comes the drawbacks, such as that it doesn’t export to Modo, Cinema4D, or any compositing packages, but it does export to Maya, 3D Max, Lightwave, Blender and Softimage. You don’t get all the bells, whistles and sweet features that Boujou, Syntheyes and the rest of the list comes with, but if you are in need of 3D camera solve, and don’t have between $$$$ to drop on software, then this is for you . You never know, this might just be what you need to match that tiny little 3D element into your scene.

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Now, 2.5D motion tracking might not be an interesting technique as matchmoving is, but knowing how to use it in a workflow is an essential part of a motion graphic and visual effects artist’s toolset. There really are not too many alternative to the motion trackers built into your compositing application, but the few which are available can really handy if you know how to use them correctly.

Imagineer’s Mocha

Whether you use After Effects, Final Cut or any other application, there is a version waiting for you. Mocha has proprietary plug-in for Final Cut and After Effects that are significantly cheaper than its robust full version. If you just need some basic planar tracking done, hit up the plug-in versions first. If you need more than just planar tracking done, look into the full version, especially if you work in applications like Combustion or any 3D program. The newest version of Mocha actually includes all the features of Motor, which is a rotoscoping tool that works in conjunction with Mocha’s planar tracker, making rotoscoping and tracking duties a breeze. This is definitely one of the must-see solutions if you need some 2.5D tracking done.

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Photomatch Plug-in for Cinema 4D

Photomatch works a little different when it comes to 2.5D tracking in the fact that it really isn’t that much of a robust of a tracker, rather than it is a tool used to match CG elements into a scene. You can definitely use it to place objects in a scene but it might prove to be a little difficult if you don’t have a locked down shot, or a shot that has a lot of perspective movement. Photomatch calibrates itself using vanishing points, or perspectives such as corners of buildings, interiors of houses, lines on the ground, edges or roads, or anything else that you can draw lines to create perspective in a shot. From there, you can integrate your objects and composite together what you need to complete your shot. Now, the bad thing about Photomatch, is you need a copy of Cinema 4D to use it, but if you choose to use your calibration data inside of a program like Maya (among others) you can export the data from C4D and bring it all into another app of your choice.

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So there you have it, pretty much every option you have when it comes to 3D matchmoving and 2.5D tracking. If you didn’t know about these… and well even if you did, I hope you learned a little something that you can take with you when it comes time to purchase an app or find a solution for your studio.

Skin retouching is mostly used for photographs, but rarely used with videos. Doing it with photographs is much easier than with a video. A photograph is a single image whereas a video is made up of many such images called frames and each frame is dissimilar to each other. There could be 15 to 30 frames in a one-second video. Thus making the task of skin re-touching in a video near to impossible. In this tutorial, we will see how to re-touch skin of an actor to remove blemishes and scars with the help of Autodesk Combustion 2008.

Step 1

Create a new composition. File->New

Step 2

You will see black composition screen. Now add footage File->Import Footage. You can change video format, resolution, etc by clicking on Source Option button.

Step 3

You will now see your footage in your composition. You need to do little adjustment to your workspace. You can use the toolbox buttons to add, change, zoom and switch the views. Use two or more view port layout by clicking the “view port layout button”. Change first view port to schematic view.

Step 4

Create new composition with the name “Upper Layer” and attach this composition node to previous one.

Now add discrete keyer and attach the node to “upper layer composition node”

Step 5

Before we do any visual enhancement, we shall create a new composition to see changes done to the final output. Otherwise, every time you will have to shift each composition node to view port to view the changes. Create new composition File->New. Name this composition “Final Composition”. Link it to previous node. Now to view this composition in the view port, select composition layer from the workspace area and drag it to view port. You can now view the final output.

Step 6

Double click on Discreet Keyer node to get its controls. Use the color dropper to select the skin area. Use tolerance offset, softness offset (important for later steps) to cover as much of skin area you can. See that you don`t over do this.

Step 7

Create a new composition and name it “lower layer”. Link lower layer composition node to first composition node.

Step 8

Now add compound blur Operators->Blur/Sharpen->Compound Blur. Link the nodes as shown in the screenshot.

Step 9

Double click on compound Blur Node. Go to compound blur control panel and change the value of blur until the blemishes and pimples disappear.

Step 10

Add Discreet Color Corrector Operator (Operators->Color Correction->Discreet Color Correcter) and add its node between compound blur and the final composition node. This will allow you to change the skin tones. Double click on Discreet Color Corrector node to get the control options. Values will depend totally on the video of the actor that is used. Also don`t over do this. In addition, we will again do this step for entire footage later on. If you are new to this, it is better not to change the values for now. You can come back to this later once color correction for entire picture is completed. Make sure that the layer are properly organised. “Lower layer” should be below “upper layer”.

Step 11

Add sharpen between Discreet color corrector and final composition node. Sharpen just a little bit.

Step 12

Create a new composition and drag it to view port. Add “add Noise” (Operators->Noise->Add Noise) and “Discreet Color Corrector” (Operators->Color Correction->Discreet Color Corrector) Operators and link the node as shown in the screenshot. You can use other color correction tools also.

Step 13

Double click on Discreet Color Corrector to get the control options. Adjust the curves and Histogram for midtones, shadows, higlights and RGB channels. This adjustment totally depends upon your video footage. I used the following vales that work for me with this footage.

Step 14

Double click on Add noise and slightly increase the noise. This gives your video more natural look.

With few minute adjustments you are done. Render the output composition.

Quartz Composer is a powerful tool for processing and rendering graphical data. You can use it easily for manipulating any type of graphics in real time. It uses node based visual programming language and can be easily adopted by non-programmer due to it simplicity. It uses OpenGL, OpenCL in new Mac OS X, Core Image, Core Video, JavaScript, and other technologies. You can drag and drop, link nodes and play with values to create amazing graphics. Using Quartz Composer you can create Screen Savers, iTunes Visualizers, UI for applications, by conjunction with Cocoa. To use Quartz Composer, install Xcode developer tools from your Mac OS X disc.

In this round-up we present best Quartz Composer tutorials for Developers, Visual Effects Artists, Motion Graphics Designers and VJ`s. And Before you begin with any of these tutorials, please read Quartz Composer Programming Guide.

Basic Tutorial on Images and Directories in Quartz Composer

Particle Effects Following Mouse Input

Gradient Image Reflection

Light Ray Text Effect

Double Helix
How to create a rotating double helix in 3D with Quartz Composer.

Turn Quartz Composition into a Standalone Application.

Dashboard Widget

Tutorial to create Mac OS X dashboard widget with Quartz Composer.

Screen Saver
Tutorial shows how to create your own screensavers using Quartz Composer.

Lightning and Audio Reactive Movements

Lighting the 3D Cubes and use audio to make it interactive.

Bouncing Ball
This video tutorial shows the basic steps of how to make a ball bounce to the beat of the music.

Webcam Audio Visualizer Art

Music Visualizer
Tutorial for creating music visualizer.

AdPSD to HTML/CSS Conversion starting at just $29  – Prelanté

Bleach Bypass is a processing technique used for color film to obtain low-saturated and high contrast images. It involves total or partial omission of the bleaching function when processing a color film. Thus, the silver in the emulsion remains with the color dyes.

Last time we had released free Cross-processed preset and yet again we have come up with Bleach Bypass Preset. Yes we love old film effects. Do forget to subscribe our feed to get the future releases.

Download

Installation

As shown in the screenshot above, place the folder in your After Effects Preset folder. Once you restart After Effects it will be shown in the effects -> Animation Preset

Control Amount of Silver