Adobe has announced today a groundbreaking addition to After Effects: content-aware fill for video. The feature is powered by Adobe Sensei, the company’s AI platform which helps to remove various visual elements automatically. This feature has been available in Photoshop, and it makes it much easier for photographers to remove unwanted objects from images. But now, the same feature is coming to After Effects, making life easier for video editors, too.
When I look at photos and videos of Iceland, they often remind me of another planet. In his short film Anomaly, German filmmaker Jacco Kliesch made Iceland look like another dimension. While this beautiful country sure looks incredible in photos and videos, this video brought it to a whole new level.
Computer generated graphics has been in our lives for quite a while now. We can’t accurately predict what it will bring in 35 years, but we can go that far into the past and see where it all began.
This video from BBC’s show Tomorrow’s World demonstrates the beginnings of CGI in 1982. The witty presenter Michael Rodd explains and illustrates what it looks like to transform a 2D image into a 3D model on the television screen. And it’s pretty impressive to watch the very beginning of what’s so common nowadays.
Timing is a huge component of successful filmmaking. So is framing. And director David Fincher has a good handle on both.
There are a variety of reasons to use invisible split-screen composites in filmmaking, from honing the timing of shots to multiplying your actors on small-budget projects. When properly applied, this technique can be used as a tool to craft a dynamically powerful scene and is a trick that Fincher admits to implementing countless times throughout each of his films.
In this tutorial, Ben Gill gives us a breakdown of the technique, how masters like Fincher apply it, and how you can create it yourself.
So, what if you have to create an Aurora Borealis right the middle of anywhere but the North Pole? Usually it means that you’re done (unless you actually go to the north pole). But Joey Shanks really needed some Borealis for his movie production – SPECTRUM.
What he did was quite clever, he used pieces of colored fabric and pieces of lit fabric dancing in the wind as a base and then he composed them into the final movie.