Description

Assigning a Coverage Alpha Matte to the Control Source

Some of our products work from image data rendered from a 3D renderer. Here are notes about Motion Vectors but they apply as well to exporting surface normals or UV maps…

Description

Description:This tutorial covers the basic concepts and use for RE:Match Stereo

Credits:We would like to thank the following for providing footage:
Jaime Fernández Miranda - jim-box.com.

Some material was licensed from Mammoth HD - mammothhd-3d.com/

Thank you to Werner Bloos  info@digi-dat.de for providingFootage 

OriginalMusic by Bob Bralove, bobbralove.comAlso, thanks to Anthony Magliocco additional footage. 

Description

This tutorial covers the basic concepts and use for RE:Match Color.

Credits:We would like to thank the following for providing footage:Some material was licensed from Mammoth HD - mammothhd-3d.com/

The horses are from Trey Ratcliff of stuckincustoms.com

Also, thanks to Ami Sun for additional footage. 

Description

This tutorial shows how how to set up a project in Cinema 4D to get the best results for use with RE:Map UV and RSMB Pro Vectors in After Effects (although you can use other host applications for compositing and some of this will apply to other plugins). A Sample project is included using After Effects.

Special Thanks to Patrick Goski at Maxon.net for creating & providing the C4D sample project and for his support 24/7.

Description

Joren  Kandel (http://www.thepixellab.net/blog) has provided a Cinema 4D and After Effects tutorial where he shows you how to use  RE:Map UV to replace a C4D UV pass with a 2D texture in After Effects. 

Description

In this tutorial you will learn how to utilise a motion vector pass from Cinema 4D to introduce motion blur in to your final comp, with RE: Vision Effects Reel Smart Motion Blur Vectors Plugin.

If Play link does not work, try this external link

http://vimeo.com/33243611/

Description

This Tutorial shows how to get better results using Tracking Points for more complex shots and to help get rid of warping or ghosting. Tracking Points are available in Twixtor Pro for AE, FCP (pre-FCPX), Premiere Pro, Nuke & OFX hosts such as Scratch & Composite.

Description

This Tutorial shows how to get better tracking using a matte to separate your footage into  multiple layers.  Multiple layers are available in Twixtor Pro for AE, FCP, Premiere Pro, and Twixtor for Smoke, Flame, Fusion, Nuke & OFX hosts such as Scratch & Composite.

Description

This tutorial shows how to use DE:Noise. It continues where the "Essentials" tutorial left off. This tutorial covers some of the more advanced settings to remove unwanted noise from your footage and gives examples so you can easily apply them to similar scenarios. The controls are the same in all supported applications except where I note differences.

Special Thanks to (in order of appearance) for providing and/or allowing us to use their footage for this tutorial: (1) Mark Tekushan for the Noisy Blue screen footage www.markfx.com (2) Sean Wheeler & Zander Schloss for allowing us to use the footage I shot of them playing www.facebook.com/SeanWheelerandZanderSchloss (3) Grant Davis www.vjculture.com (4) Jim Tierney for his whale footage www.whalewatcher.net (5) Michael Sayag for his black & white footage (6) AlFredo from BLT in Italy for the Italian Car footage www.blt.itt

Description

This is a four-part tutorial about adding motion blur to a Maya render by first creating a 2D motion vector sequence and then using it with ReelSmart Motion Blur in post production. I’ll be covering Maya 2009’s 2D motion vector pass as well as installation and use of the lm_2DMV shader for earlier Maya versions. Once this technique is part of your pipeline, it can be a tremendous time saver compared with creating (and waiting for) motion blur from within Maya. It also provides the flexibility of applying any amount of motion blur without having to re-render.