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Fxphd After Effects Broadcast Design DVD | 1.25GB

This course is one of the most popular ones we’ve ever run at fxphd, and we’re excited to be presenting an encore presentation of the offering. Tim Clapham, one of our most popular profs at fxphd, will be running the course.

Class 1: Taking a client storyboard through to the design stages and then building the project in After Effects, creating an infinite type zoom with vector artwork, incorporating client changes and then preparing the file for output
Class 2: A look into Particle systems available in After Effects, their features and some examples. Creation of a 5 second animation using some of the particle systems discussed, and a look at creating fake 3D reflections and building a simple camera rig
Class 3: An exploration of some of the features of Trapcode Particular. This is a project based class where we look at using animated custom particles, attaching particles to lights, using expressions and creating motion paths for the particles
Class 4: This lesson looks at techniques for cutting up bitmap images and animating them, including using expressions to make a walk cycle
Class 5: Exploring 3D multipass rendering, and how to use them in After Effects. First a brief explanation of the types of passes that can be output from most 3D applications. Then a look at some real world examples. Finally a look at using 3D passes with Trapcode Form and Particular
Class 6: Part 1 of 2. In this class we will build a 5 second bumper/ promo for a TV show. We’ll track some camera motion to add a handheld feel to the AE camera. Then we’ll take this and animate some moves in 3D, adding in copy and some extra elements
Class 7: Part 2 of 2. In this class we finish building a 5 second bumper/ promo for a TV show
Class 8: Part 1 of 3. We will look at some methods of using 3D renders and exported data in our After Effects comps. Taking multipass renders and enhancing them. Using the camera data from the 3D application to match our AE 3D layers to the 3D render. Also, pasting multiple paths into shape layers, animating shape layers and adding effects
Class 9: Part 2 of 3. In this class we continue building the project we started last week. We look at using mattes combined with continually rasterising layers and shape layers to draw on a logo
Class 10: Part 3 of 3. In this class we finish building the no logo project. We composite a 3D render onto After Effects 3D layers. Add in some extra details and finally prepare the animation for final output, looking at correcting unsafe colours

http://rapidshare.com/files/381408556/FXPHDAEBD.part01.rar
http://rapidshare.com/files/381408798/FXPHDAEBD.part02.rar
http://rapidshare.com/files/381408813/FXPHDAEBD.part03.rar
http://rapidshare.com/files/381408974/FXPHDAEBD.part04.rar
http://rapidshare.com/files/381408770/FXPHDAEBD.part05.rar
http://rapidshare.com/files/381408484/FXPHDAEBD.part06.rar
http://rapidshare.com/files/381408905/FXPHDAEBD.part07.rar
http://rapidshare.com/files/381408335/FXPHDAEBD.part08.rar
http://rapidshare.com/files/381409107/FXPHDAEBD.part09.rar
http://rapidshare.com/files/381408681/FXPHDAEBD.part10.rar
http://rapidshare.com/files/381408477/FXPHDAEBD.part11.rar
http://rapidshare.com/files/381408842/FXPHDAEBD.part12.rar
http://rapidshare.com/files/381408482/FXPHDAEBD.part13.rar

fxphd - SYN101: Introduction to SynthEyes
English | AVC1 1152x720 | MP3 128 Kbps | 3.07 GB
Genre: eLearning

SynthEyes offers a complete high-end feature set, including tracking, stabilization, motion capture, and mesh building. It handles camera tracking, object tracking, object tracking from reference meshes, camera+object tracking, multiple-shot tracking, tripod (nodal, 2.5-D) tracking, mixed tripod and translating shots, stereoscopic shots, nodal stereoscopic shots, zooms, lens distortion, light solving. It can handle shots of any resolution—DV, HD, film, IMAX, with 8-bit, 16-bit, or 32-bit float data, and can be used on shots with thousands of frames. A nifty feature simplifies and speeds tracking for green-screen shots. The image preprocessor can help remove grain, compression artifacts, off-centering, or varying lighting; improve low-contrast shots; or shoe-horn shots into available RAM for quicker handling.

SynthEyes offers complete control over the tracking process for challenging shots, including an efficient workflow for supervised trackers, combined automated/supervised tracking, incremental solving, a hard and soft path locking system, and cross-camera constraints for stereo. You can set up a coordinate system with tracker constraints, camera constraints, a line-based single-frame alignment system, or manually.

SynthEyes exports to about 25 different 2-D and 3-D programs. The Sizzle scripting language lets you customize the standard exports, or add your own imports, exports, or tools. You can customize the color scheme, keyboard mapping, and viewport configurations.

Our fxphd tracking specialist, Victor Wolansky, takes members through the economical but incredibly powerful Syntheyes 3D tracking application. The course will be using the recent release of Syntheyes 2008. This course will give you the base knowledge you need in order to solve various types of shot.

Professor: Victor Wolansky

Class 1: Tracking, solving, and using meshes in Syntheyes. Uses helicopter shot in desert.
Class 2: A bit of 3D tracking theory and a look at the manual tracker.
Class 4: A look at tracking stationary cameras on tripods with and without zooms. Also, a look at orientating the camera on a still or locked off shot.
Class 5: Stabilization and more tricks on orienting the 3D world with the footage.
Class 6: Tracking a DV shot and dealing with interlacing, compression artifacts, and an intro to masking.
Class 7: Brief on importing interlaced footage in a 3D app. A difficult handheld shot using manual tracking.
Class 8: Tracking a steadycam shot through the lab. Cleaning up trackers and prepping a shot for use in 3D.
Class 9: Tracking a shot with a lot of lens distortion. Adding distortion to CGI elements for use in compositing applications.
Class 10: Getting started with a very challenging shot. Instead of achieving a perfect track in one class, overall techniques are discussed that are useful when approaching more difficult shots.

Screenshot