Video Copilot Series One Special Edition DVD
• 1-65 Free Online Tutorials in full quality
• Includes iPod ready video files
• Basic Training Tutorials, Presets & Project files
• Over 20 minutes of never before seen footage
Filefactory
Tamaño: 3.11 GB Comprimido RAR
Password: S1SEDVD
Series_One_DVD.part01.rar
http://www.filefactory.com/file/b64785/
Series_One_DVD.part02.rar
http://www.filefactory.com/file/0d1d1f/
Series_One_DVD.part03.rar
http://www.filefactory.com/file/d5e6f4/
Series_One_DVD.part04.rar
http://www.filefactory.com/file/de7f01/
Series_One_DVD.part05.rar
http://www.filefactory.com/file/57782e/
Series_One_DVD.part06.rar
http://www.filefactory.com/file/80684e/
Series_One_DVD.part07.rar
http://www.filefactory.com/file/d48e64/
Series_One_DVD.part08.rar
http://www.filefactory.com/file/63b361/
Series_One_DVD.part09.rar
http://www.filefactory.com/file/8aafdc/
Series_One_DVD.part10.rar
http://www.filefactory.com/file/ae2eae/
Series_One_DVD.part11.rar
http://www.filefactory.com/file/27eedf/
Series_One_DVD.part12.rar
http://www.filefactory.com/file/e0837d/
Series_One_DVD.part13.rar
http://www.filefactory.com/file/cbb9f2/
Series_One_DVD.part14.rar
http://www.filefactory.com/file/e4c124/
Series_One_DVD.part15.rar
http://www.filefactory.com/file/88a567/
Series_One_DVD.part16.rar
http://www.filefactory.com/file/613ec5/
Series_One_DVD.part17.rar
http://www.filefactory.com/file/0d9c8d/
Series_One_DVD.part18.rar
http://www.filefactory.com/file/65db77/
Series_One_DVD.part19.rar
http://www.filefactory.com/file/d5e4f3/
Series_One_DVD.part20.rar
http://www.filefactory.com/file/35491c/
Series_One_DVD.part21.rar
http://www.filefactory.com/file/0e21b4/
Series_One_DVD.part22.rar
http://www.filefactory.com/file/063995/
Series_One_DVD.part23.rar
http://www.filefactory.com/file/31b39b/
Series_One_DVD.part24.rar
http://www.filefactory.com/file/094003/
Series_One_DVD.part25.rar
http://www.filefactory.com/file/ac43c3/
Series_One_DVD.part26.rar
http://www.filefactory.com/file/6bd129/
Series_One_DVD.part27.rar
http://www.filefactory.com/file/006e84/
Series_One_DVD.part28.rar
http://www.filefactory.com/file/fac303/
Series_One_DVD.part29.rar
http://www.filefactory.com/file/198c4f/
Series_One_DVD.part30.rar
http://www.filefactory.com/file/f41418/
Series_One_DVD.part31.rar
http://www.filefactory.com/file/f11ecd/
Series_One_DVD.part32.rar
http://www.filefactory.com/file/e7fe66/
Series_One_DVD.part33.rar
http://www.filefactory.com/file/124479/
Series_One_DVD.part34.rar
http://www.filefactory.com/file/673fcf/
Series_One_DVD.part01.rar
http://www.filefactory.com/file/b64785/
Wednesday, August 6, 2008
Friday, July 25, 2008
Monday, June 9, 2008
How To CHANGE After Effects CS3 Splash Screen LOGO
AE_SPLASH.PNG
Click image for bigger version.
This logo is part of a tutorial - "How to replace, change or alter the splash screen logo for Adobe After Effects CS3"
This logo is the property of Adobe and should only be used if you screwed up the original one.
The process is basically the same for photoshop and all other adobe products.
I do not have the original splash screen logo for any other adobe software.
Some people use this to replace the gay graffitti logo made by LEN M. net graffiti tk .
How To CHANGE After Effects CS3 Splash Screen LOGO Tutorial - Click here for more home videos
--------------------------------------------------------------------------------
You will need to save the above AE_SPLASH.png file to your computer.
In order to edit the necessary file you will need a program called Resource Hacker.
angusj.com/resourcehacker
Next you need to find the AfterFX.dll file. Its C:\Program Files\Adobe After Effects CS3\Support Files
MAKE A BACKUP OF THIS FILE before you begin.
Open Reshacker.
Drag AfterFX.dll into the window of ResHacker
You will see PNG and XML and 24.
Actually it might not say 24.
Click on PNG and look for AE_SPLASH.
Right click on the flower thing and choose Replace Resource.
It will ask you for the file (open file with new recourse). This is the logo at the top of this blog or one you created yourself.
Recourse type enter this - PNG
Recourse name enter this - AE_Spalsh
Resource Language is - 1033
After that go to File/save and click save or just hit Ctrl S and your done!
Reopen After Effects and you will see original splash screen.
If it didnt work then you should smoke more joint and try again.
Friday, June 6, 2008
Some Use full Information
Some Use full Information
Find postal pincode in India
http://www.indiapost.gov.in/test/Pinsearch.aspx
Find STD Codes in India
http://www.bsnl.co.in/viewstatecode.php
Find postal pincode in India
http://www.indiapost.gov.in/test/Pinsearch.aspx
Find STD Codes in India
http://www.bsnl.co.in/viewstatecode.php
Tuesday, June 3, 2008
Salman Khan’s Veer is a copy of Hollywood hit Taras Bulba (1962) starring Yul Brynner and Tony Curtis which is originally based on a short story by Nikolai Gogol. Though producer Vijay Galani says that Sallu has written the script of the film, director Anil Sharma says that other writers were involved in the project.
Says an industry insider, “Adapting the story to a Bollywood context is Salman’s only contribution to the script. The screenplay has been jointly penned by Shaktimaan and Anil Sharma.”
Shaktimaan who has previously worked with Anil Sharma in Gadar - A Love Story has written the dialogues of Veer. Anil Sharma says, “The story idea is Salman’s but several writers contributed to the script including Shaktiman.”
When asked if the film is inspired by J Lee Thompson’s Taras Bulba, Sharma maintained that the story idea was Salman’s. It is left to us to see whether Salman shares his father’s genes but as far as his earlier efforts at writing go, they haven’t garnered great reviews. His film for Somy Ali, which was to be directed by him was inspired by Hollywood film Blind Fury while his film Chandramukhi co-starring Sridevi was a copy of Tom Hank’s Big.
Taras Bulba, often termed as the Romeo Juliet story of the 16th century, is the story of the Cossacks of Eastern Europe who join the Poles to drive out the Turks from the Steps of Europe. In return for their help, the Poles agree to give control of the Steps to the Cossacks. After the battle however, the Poles do not keep their word and force the Cossacks into the hills. Taras Bulba, a Cossack Colonel, raises his son Andrei Bulba to learn the ways of the Poles so he can defeat them in battle. During his learning process, Andrei falls in love with the daughter of a Polish nobleman and he has to choose between the love for his community and the love of a woman while Taras Bulba has to choose between his son and the Cossacks.
Friday, May 30, 2008
The Collaborative Art of Storytelling in Film By Emma Rogers
Watching a film is an investment. Each time we go to the cinema we part with our fifteen dollars, sit in a darkened space and engage in a personal relationship with the screen. In the space of two hours we open up and allow ourselves to laugh, cry, even scream. We invest in a film in the hope that it will engage us from beginning to end, taking us on a journey. Whether a film saddens, excites or angers, it is the intention of the filmmaker to affect the audience by spinning a tale, determining that journey. Filmmakers are modern-day storytellers. When they weave their stories well they flow effortlessly and seamlessly from the moment the lights dim to when the credits roll. The art of storytelling in film is the deliberate layering of complimentary elements designed to mask the craft of filmmaking and give supremacy to character and story.
Screenwriting: Constructing a Story
Every story starts with an idea. At the heart of every great film you will find that idea. Whether it be ‘"love conquers all" or ‘"evil never dies", the characters and events encapsulate that idea and express it in a unique way. This is no coincidence. Each action, character trait and line of dialogue has been carefully selected by the screenwriter and woven into the story.
While there is no definitive structure for a successful film, many mainstream films follow a three-act structure. The first act sets the scene, introduces the characters and relevant backstories, and provides the audience with the information required to not only understand the story, but also identify with the main character (protagonist). The first act culminates in an ‘"inciting incident" which Robert McKee describes as an event that “"radically upsets the balance of forces in the protagonist's life” (p.189). The inciting incident becomes the catalyst for the events of the film. The second act follows the protagonist's attempts to restore balance in their newly imbalanced world. In the second act the protagonist experiences ups and downs, overcoming obstacle after obstacle until the point of crisis –- the ultimate obstacle and climax of the film. The final act resolves the story and restores balance to the protagonist's life.
Great films have interesting protagonists, usually with emotional depth. While actors contribute to the development of the characters they portray, each character usually has 3-5 basic traits incorporated into the script by the screenwriter. Each action and line of dialogue is then tailored to illustrate one or more of the character's traits. When a character is written well, each line of dialogue is revealing –- not only by what the character says, but what they choose not to say.
Direction: Telling The Story
The director takes a well-developed story, interprets it and organises its realisation through the production design, score and performances. Directing entails overseeing the layering of elements, such as casting, locations, and the use of color, and combines these elements to best tell the story. It is a collaborative process involving numerous departments and people. Together they create the film's mise-en-scene.
Mise-en-scene is everything that you see when you watch a film. Make no mistake, in film every object and colour has been deliberately placed to amplify the power of storytelling. A certificate on a wall illustrates education. One chair at a table indicates loneliness and isolation. The predominant use of the color red incites passion. As an audience, we absorb this information, more often than not, subconsciously. We cannot help but feel comfortable in a warmly lit kitchen or scared in a dimly lit alley. Mise-en-scene, used effectively, enhances the storytelling by manipulating emotions and results in a more fulfilling journey for the audience.
The director can also control the audience's emotional involvement with the film by shot selection. Steven Katz notes that “"[w]e can be made to feel detachment or an emotional involvement with events and subjects on the screen largely through the manipulation of space with the lens of the camera"”.
...
• Close-Up: Used to communicate the intricacies of emotion expressed by the human face. Usually, the higher the level of emotion in a scene, the closer the close-up.
• Mid-Shot: Often used as an alternative to the wide-shot, the mid-shot can convey movement while remaining close enough to communicate emotion.
• Wide-Shot: Used to establish scenes and indicate movement, the wide-shot has been used less frequently in recent years because emotion is more difficult to convey from a distance.
In general terms, the closer the shot, the greater the level of emotion communicated to the audience. A wide-shot of a girl crying may incite reserved feelings of sympathy. An extreme close-up of the same scene forces the audience into an intimate relationship with the girl and is therefore more likely to incite feelings of sadness, perhaps even empathetic tears. The human face is powerfully suggestive. A close-up, like a still picture, is worth a thousand words.
Editing: Re-Telling The Story
The editor takes the director's footage and the screenwriter's original script and combining them, re-tells the story to best communicate the idea of the film and give the audience the most rewarding journey. Shots are carefully selected to increase tension, to enhance emotion, to evoke laughter, tears or screams, or to make the audience squirm in their seats.
Poor editing can jolt the audience, jar the storytelling and interrupt the journey the audience takes. Disruptive editing can prevent emotional involvement in the story and leave the audience dissatisfied. Great editing seamlessly communicates the story and enhances the audience's journey through subtle rhythm.
Conclusion
Storytelling in film is a collaborative process that begins with the screenwriter and ends when we as an audience respond to the story. How we respond to a film is largely determined by how well a film is crafted. When the story of a film is crafted well, the elements combine to successfully spin a tale, taking the audience on an emotional journey.
Screenwriting: Constructing a Story
Every story starts with an idea. At the heart of every great film you will find that idea. Whether it be ‘"love conquers all" or ‘"evil never dies", the characters and events encapsulate that idea and express it in a unique way. This is no coincidence. Each action, character trait and line of dialogue has been carefully selected by the screenwriter and woven into the story.
While there is no definitive structure for a successful film, many mainstream films follow a three-act structure. The first act sets the scene, introduces the characters and relevant backstories, and provides the audience with the information required to not only understand the story, but also identify with the main character (protagonist). The first act culminates in an ‘"inciting incident" which Robert McKee describes as an event that “"radically upsets the balance of forces in the protagonist's life” (p.189). The inciting incident becomes the catalyst for the events of the film. The second act follows the protagonist's attempts to restore balance in their newly imbalanced world. In the second act the protagonist experiences ups and downs, overcoming obstacle after obstacle until the point of crisis –- the ultimate obstacle and climax of the film. The final act resolves the story and restores balance to the protagonist's life.
Great films have interesting protagonists, usually with emotional depth. While actors contribute to the development of the characters they portray, each character usually has 3-5 basic traits incorporated into the script by the screenwriter. Each action and line of dialogue is then tailored to illustrate one or more of the character's traits. When a character is written well, each line of dialogue is revealing –- not only by what the character says, but what they choose not to say.
Direction: Telling The Story
The director takes a well-developed story, interprets it and organises its realisation through the production design, score and performances. Directing entails overseeing the layering of elements, such as casting, locations, and the use of color, and combines these elements to best tell the story. It is a collaborative process involving numerous departments and people. Together they create the film's mise-en-scene.
Mise-en-scene is everything that you see when you watch a film. Make no mistake, in film every object and colour has been deliberately placed to amplify the power of storytelling. A certificate on a wall illustrates education. One chair at a table indicates loneliness and isolation. The predominant use of the color red incites passion. As an audience, we absorb this information, more often than not, subconsciously. We cannot help but feel comfortable in a warmly lit kitchen or scared in a dimly lit alley. Mise-en-scene, used effectively, enhances the storytelling by manipulating emotions and results in a more fulfilling journey for the audience.
The director can also control the audience's emotional involvement with the film by shot selection. Steven Katz notes that “"[w]e can be made to feel detachment or an emotional involvement with events and subjects on the screen largely through the manipulation of space with the lens of the camera"”.
...
• Close-Up: Used to communicate the intricacies of emotion expressed by the human face. Usually, the higher the level of emotion in a scene, the closer the close-up.
• Mid-Shot: Often used as an alternative to the wide-shot, the mid-shot can convey movement while remaining close enough to communicate emotion.
• Wide-Shot: Used to establish scenes and indicate movement, the wide-shot has been used less frequently in recent years because emotion is more difficult to convey from a distance.
In general terms, the closer the shot, the greater the level of emotion communicated to the audience. A wide-shot of a girl crying may incite reserved feelings of sympathy. An extreme close-up of the same scene forces the audience into an intimate relationship with the girl and is therefore more likely to incite feelings of sadness, perhaps even empathetic tears. The human face is powerfully suggestive. A close-up, like a still picture, is worth a thousand words.
Editing: Re-Telling The Story
The editor takes the director's footage and the screenwriter's original script and combining them, re-tells the story to best communicate the idea of the film and give the audience the most rewarding journey. Shots are carefully selected to increase tension, to enhance emotion, to evoke laughter, tears or screams, or to make the audience squirm in their seats.
Poor editing can jolt the audience, jar the storytelling and interrupt the journey the audience takes. Disruptive editing can prevent emotional involvement in the story and leave the audience dissatisfied. Great editing seamlessly communicates the story and enhances the audience's journey through subtle rhythm.
Conclusion
Storytelling in film is a collaborative process that begins with the screenwriter and ends when we as an audience respond to the story. How we respond to a film is largely determined by how well a film is crafted. When the story of a film is crafted well, the elements combine to successfully spin a tale, taking the audience on an emotional journey.
Canon-XL-H1 Series Camcorder
Canon has announced the launch of two new high-definition camcorders at NAB 2008. The XLH1S and XL H1A HD camcorders feature Genuine Canon XL interchangeable lens system, three 1/3 inch, 1.67 megapixel CCD Image Sensors, an external LCD Monitorl and the company’s proprietary DIGIC DVII HD Image Processor along with a durable six-pin IEEE 1394 terminal for robust connection to external hardware.
Incorporated with Canon 20x HD Video lens, both the camcorders come with three independent manual adjustment rings such as focus, zoom and iris. Users can access manual focus and zoom control. An expanded array of controls enables personalized image, display and operation.
Both the XL line-up of camcorders are compatible with HD tapes to meet the requirements of long-form production applications like wedding and event videography, digital filmmaking, documentary production and media education. They also support HD-SDI (SMPTE 299M)/SD-SDI (SMPTE272M) output with embedded audio and time code, providing a raw, uncompressed 1.485 Gbps signal for demanding live production environments, SMPTE Time Code input and output terminals and a Genlock output terminal for multi-camera shooting situations.
Consumers can switch in all frame rates between 1080-line 16:9 aspect ratio HD video and 480-line 4:3 aspect ratio SD video (or 576 lines in 50i or 25F mode). The XL H1S and XL H1A feature 23 custom presets for image-quality adjustment, ranging from +/-9 to +/-50 steps. They are compliant with an onboard SD/SDHC Memory Card.
The latest XL H1S and XL H1A HD camcorders include two-channel audio performance, two built-in XLR terminals with separate audio-input sensitivity settings, line output level switching, an audio (manual) limiter, a new metal headphone jack for reliable connectivity. You have the freedom to record sound from an external microphone and the supplied internal microphones at one go.
Canon will roll out XL H1S HD camcorder in early June for $8,999 (approx. Rs. 359,960), whereas the XL H1A will be available for $5,999 (approx. Rs. 239,960) in mid-July.
Incorporated with Canon 20x HD Video lens, both the camcorders come with three independent manual adjustment rings such as focus, zoom and iris. Users can access manual focus and zoom control. An expanded array of controls enables personalized image, display and operation.
Both the XL line-up of camcorders are compatible with HD tapes to meet the requirements of long-form production applications like wedding and event videography, digital filmmaking, documentary production and media education. They also support HD-SDI (SMPTE 299M)/SD-SDI (SMPTE272M) output with embedded audio and time code, providing a raw, uncompressed 1.485 Gbps signal for demanding live production environments, SMPTE Time Code input and output terminals and a Genlock output terminal for multi-camera shooting situations.
Consumers can switch in all frame rates between 1080-line 16:9 aspect ratio HD video and 480-line 4:3 aspect ratio SD video (or 576 lines in 50i or 25F mode). The XL H1S and XL H1A feature 23 custom presets for image-quality adjustment, ranging from +/-9 to +/-50 steps. They are compliant with an onboard SD/SDHC Memory Card.
The latest XL H1S and XL H1A HD camcorders include two-channel audio performance, two built-in XLR terminals with separate audio-input sensitivity settings, line output level switching, an audio (manual) limiter, a new metal headphone jack for reliable connectivity. You have the freedom to record sound from an external microphone and the supplied internal microphones at one go.
Canon will roll out XL H1S HD camcorder in early June for $8,999 (approx. Rs. 359,960), whereas the XL H1A will be available for $5,999 (approx. Rs. 239,960) in mid-July.
Subscribe to:
Posts (Atom)
