In a followup to his previous After Effects Workflow video, Josh Kimmis from CV explains in-depth Skybox Studio V2’s latest feature — Skybox Composer. With SkyBox Composer > 2D Edit, you can quickly add text and graphics onto 360 footage. The SkyBox Composer > 3D Edit option lets you adjust all the elements (text, graphics, shapes, 2D video) in 3D space, integrating them more completely into your 360 video. Josh shows some of the differences between working with the two Edit features, while showing you the advantages of each. Proving that it’s even easier to achieve the builds you need using view-based editing!
Watch the previous video: How to Create 2D Text + Graphics + Video Pop-outs + Overlays for 360 Video. Check out more videos from CV’s 360 Video Tutorial playlists to learn more about their 360 workflows!
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Watch BBW HD Porn 1080p HD porn videos for free on Eporner.com. We have 171 full length hd movies with BBW HD Porn 1080p in our database available for free streaming. Elite MILF Rayveness stopped. Within the familiar drag-and-drop Composer interface, you can now route video, assign end points, control video walls and take advantage of live previews for confidence monitoring. Composer™ also has direct support of audio and video endpoints from Shure®, Audio-Technica,® Powersoft™, and Clockaudio™, Flexible and Robust Remote Control. Text processing and document manipulation THE BRITISH COMPUTER SOCIETY WORKSHOP SERIES Editor: P. HAMMERSLEY The BCS Workshop Series aims to report developments of an advanced technical standard undertaken by members of The British Computer Society through the Society's study groups and conference organisation. Graphix Advantage, free graphix advantage software downloads, Page 3.
1. Add 2D Edit. Make sure to select the size of your equirectangular footage for the correct view.
2. Creates View-based Edit Comp. So you can work in the same view as the rendered 360 video.
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1. Select 3D Edit. The comp size does not have to match the equirectangular footage size.
2. Move text and graphics in 3D space in your comp window.
Joshua Kimmis is a Content Specialist at CV North America. You can reach him on LinkedIn and by email.
About CV
Lord Edmiston, a successful Christian businessman in the UK, founded Christian Vision (CV) as an international charity in 1988. We are a global Christian ministry with a strategic goal to reach a billion people with the Gospel. Our staff love Jesus and are dedicated to using their creative gifts and talents to help connect people to Him. The internet and social media has allowed CV to provide international online evangelism resources such as yesHEis and CV Outreach, alongside multiple other activities that are focused on sharing the Gospel in the online mission field.
Mettle Skybox Suite has joined Adobe.
Mettle Skybox Suite of plugins will be exclusively available as part of your Creative Cloud membership through deep, native integration with Premiere Pro CC and After Effects CC. Adobe Creative Cloud will offer an end to end experience for crafting rich and compelling VR/360 experiences.
Learn more – Adobe and Mettle VR: 360 degrees better
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When digital cinematography first hit the scene, most pro DPs wouldn’t go near it — and for good reason. It wasn’t until recently that digital cinema cameras not only offered a viable alternative to film cameras, but in some cases an even stronger option. Let’s look at some of the advantages of digital over film.
Top image from Blackmagic Design. Images below from Shutterstock.
There’s no question that film is still the gold standard to which all digital formats are held to. It still delivers a type of character that is beautifully flawed and organic in a way that digital never will be. But even still, there are some instances where digital is simply the better choice. Here are just a handful of examples of when that’s the case.
1. Low Light
Filmmakers that came up during the digital revolution very much take for granted the low-light capabilities of digital cameras. Standard film stocks often are rated anywhere from ISO 100 to ISO 800, with 1600 and 3200 being options as well (although less common). That said, just about any professional digital cinema camera (or DSLR for that matter) can shoot at much higher settings with far cleaner results.
There is simply no film equivalent to cameras like the a7S II or the C300. There is no film stock that will allow you to shoot without any lights and still get noise-free results. Naturally, shooters that need to work with limited lighting are going to be drawn to digital formats.
2. Cost and Time On Set
Even if you’ve never shot on film, chances are you’re well aware of the costs associated with going down that path. While film cameras are cheaper than ever to buy (or rent), film stocks and processing are still quite expensive and very prohibitive for low-budget filmmakers.
And even in cases where an indie production is able to scrape together enough budget to shoot on film, there can be other ramifications while on set. More specifically, productions will be need to shoot at a lower ratio (perhaps only getting two or three takes per shot) in order to conserve their film stock.
3. Turnaround Time
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Many of us have taken for granted the fact that there is virtually no turnaround time when processing your digital dailies. In some cases, productions now will even opt to have an editor working on set who will create assembly cuts of scenes as the rest of the crew is still shooting.
It goes without saying that this certainly isn’t the case with film. When shooting on film, it will take several days (or weeks) to get your processing/scanning done, and only then will you be able to move ahead on the edit. Not to mention, if there are any issues with the footage, you will need to schedule a pickup day. Unlike digital, you wouldn’t have been able to know on set.
4. Longer Takes
Many directors today have come around to the digital format simply because it allows for long (or virtually unlimited) record times. Again, this is something that digital shooters without film experience very much take for granted. Veteran filmmakers, however, can’t deny the fact that having the ability to record indefinitely opens up a lot of creative possibilities.
A standard 1000 foot roll of 35mm motion picture film will only give you about 11 minutes, which isn’t a whole lot. This isn’t always going to be an issue, considering that the vast amount of takes on any given productions will run less than 11 minutes. But for directors will a specific type of approach on set, this can be a negative.
Final Thoughts
Despite all of these points, I still believe film is the most beautiful-looking format out there and an ideal choice for so many higher-end productions. It will exist for many years to come, if only to service some of the top filmmakers on the planet who refuse to shoot digitally.
But even still, there is no denying that digital can trump film in certain regards — especially from a practicality standpoint, and the quality level of digital cinema is now stronger than ever. While shooting digitally was once considered taboo by professional filmmakers, it’s now officially the status quo and will inevitably only improve more with time.
What do you think? Is digital better than traditional film? Share in the comments below.