Tutorial:
The Cinema 4D R17 Lens Distortion Tool
The Cinema 4D R17 Lens Distortion Tool
Maxon introduced a number of new features in Cinema 4D R17 when it was released last year. While the Motion Tracker is a fantastic tool to track footage and composite 3D elements, often wide angle footage introduces perspective errors in the final rendered image. Unless the user knows what camera was used to capture the source footage, the focal length of the lens, and the field of view, correcting that footage, or adding the lens distortion to the 3D elements is a tricky and sometimes frustrating experience. Read More

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Content Insider #443 - HDR, 4K
Content Insider #443 - HDR, 4K
There wasn't a filmmaker at Sundance that hadn't shot in 4K. The stuff that got scooped up the quickest was done in HDR too. The differences in films, shows, content is obvious. And because it's so good some of the best indie filmmakers are coming into their own...really shining. The creative talent is outstanding. The garbage is still...garbage. It takes talent, expertise, experience. You're going to see the difference everywhere you turn and no matter what device you use to watch it on. Nothing sucks you in more than a good story well told by a great storyteller. Read More
Project Profile:
Perfecting Produce
Perfecting Produce
There is nothing quite like the challenge of color correcting a food commercial. All of those beautiful food spots you see every day take a skilled hand and a huge amount of work to look that good. And Florida's Indie Atlantic are experts at it. Which is why the foodstore giant Publix used Indie Atlantic Films for its new "At Season's Peak" ad campaign. And to get the look that Publix wanted, Indie Atlantic used DaVinci Resolve. Read More
Project Profile:
Parachute Creates a Legendary Ballgame in an Empty Stadium for Chrysler with Blackmagic Fusion Studio
Parachute Creates a Legendary Ballgame in an Empty Stadium for Chrysler with Blackmagic Fusion Studio
When Miguel Cabrera swings the bat, there's usually a stadium full of screaming fans around him. However, for Chrysler's "Miggy at the Bat" commercial, the stands were empty. The commercial celebrating the 2015 Chrysler 200 centered on Cabrera in an updated "Casey at the Bat" tale and featured the legendary showdown between batter and pitcher. In reality, Cabrera and the pitcher were worlds apart, in Detroit and Los Angeles, surrounded by green screens and needed NYC's Parachute to create the scenery and game around the players. The Parachute team, led by founder Sam O'Hare, created the spot by building a stadium and providing the setting for the infamous strike out (and later, added comeback.) Using different software for various components to build the stadium, Parachute relied on Blackmagic Design's advanced visual effects (VFX) and motion graphics solution, Fusion Studio, to bring everything together. Read More
Project Profile:
Red Flight Pictures Capture Poetry in Motion with Blackmagic Design Cameras and DaVinci Resolve
Red Flight Pictures Capture Poetry in Motion with Blackmagic Design Cameras and DaVinci Resolve
Poetry in motion has a different meaning when it comes to Red Flight Pictures. The independent film production company recently teamed up with poet Tyler Knott Gregson to translate his poetry into a short film. Lead by Kyle Thompson, executive producer, the Red Flight Pictures team wanted to provide a visual format for Gregson's poems to support some of the poet's charity work. Red Flight Pictures interpreted Gregson's poem to tell the story of a young girl in a coma who's trying to escape her own state of mind. Isolated from others' help, she must be her own savior. Yet to do that she has call up her courageousness and ferocity, and let go of self doubt. To best capture the poem's sentiment and visually depict the internal struggle and solitude, Red Flight Pictures turned to the Blackmagic Cinema Camera and Blackmagic Pocket Cinema Camera. Read More
Feature:
Drones and the Future of Filmmaking
Drones and the Future of Filmmaking
America's Federal Aviation Administration (FAA) first allowed film and television production companies to film footage with drones in 2014. Prior to the FAA providing this authorisation, American filmmakers had to travel to Europe, Canada, or elsewhere to fulfil their drone filming requirements. Since 2014, the FAA has approved the use of drones for more than 200 companies and individuals. The decision to allow drones to be used for filmmaking purposes in the Unites States is great news for the movie and television industry for a number of reasons. Read More

iPi Motion Capture brings history to life
History buffs who have wondered about witnessing great moments in time are one step closer thanks to Toronto-based mobile content developer AWE , tRead More
 
iOgrapher before Holidays
It's this time of year that we usually start to think about what to get each other for a holiday gift. This year, with all of the different sizRead More
 
Trapcode Suite 13 Powerhouse includes new Trapcod...
Out now: Trapcode Suite 13, an upgrade to the industrys most essential tools for creating motion graphics and visual effects in Adobe After Effects.Read More
 
Autodesk Subscriptions & Mac OS
This is great news for the ebb and flow of work that moves through a studio. Autodesk is offering subscription models for Flame software. MoreoverRead More
 
El Capitan if you dare... Digital Anarchy updates
Digital Anarchy has updated their plugins for the intrepid who have decided to upgrade to El Capitan in production. (yecch) Check out the DIGITAL Read More
 

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Sarah Adina Smith's Sarah Adina Smith's "Midnight Swim" - Going From Faux Documentary to Cinematic Thriller With Blackmagic Cameras and DaVinci Resolve
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