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Mac Industry News:
• Mac Going X-Only in '03
Classic will still run under OS X
• Media 100 Adds OMF, AAF Compatibility to Mac and Windows Editing Systems
Media 100 i OMF option coming in fourth quarter
• Extensis Launches PrintReady Preflight System
Company also to be acquired by Celartem
• Profound Effects Updates Useful Things for After Effects
Suite gets new scripts, enhanced functionality
• RealViz Shows ImageModeler 3.5
Commercial release coming in Q4
• Maxtor To Ship 15,000 RPM SCSI Drives
Company also announces high-capacity ATA drives
• Reindeer Releases Optipix 1.0.2 for Photoshop
Free update offers enhanced functions, bug fixes
• HP To Release New Wide-Format Printers
5500-series includes 40 GB storage
• Kodak Recalls 75,000 DC5000 Digital Cameras
Models could cause electric shock
• Electric Image Universe 5 in Preorder
3D suite to gain radiosity support, performance enhancements
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How the latest Mac OS fares in a creative production environment
The latest release of Mac OS X--version 10.2, or "Jaguar"--boasts something like 150 new features and applications. A huge number of these new features are really consumer bait, designed to hook your average Joe McDuh into buying a shiny new iMac or iBook for the kids. But there are also some less-publicized, yet critical improvements for the professional market as well. What kinds of improvements? Is it faster? Is it more stable? Does it have better workflow and functionality? Is it compatible with current Mac OS X apps? And will it make you feel, as Apple claims, that you're getting a whole new computer for $130? Yes, yes, yes, yes and yes.
Using vector masks to animate a layer in a Photoshop composite
Earlier this week we explored a way to create a layer-based animation in Adobe ImageReady using a layered Photoshop file as our basis. Now we'll see how to do it in Adobe After Effects---not using a layer mask this time, but a vector mask.
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Software-based streaming server and broadcast studio environment
The first time I ever heard of Channel Storm's Live Channel Pro, I had been sitting around sifting through the average day's load of press releases. In between the usual dribble about such and such company being "very excited" about striking some deal with such and such another company, I chanced upon a press release about a new Web streaming product that sold itself as a complete broadcast studio in software only. And I thought, Oh yeah? We'll see about that.
Keying explained
When doing postproduction, it seems every producer/director wants to, or needs to, include a shot or two that was shot against a blue or green screen wall. Your job is to blend it in with the rest of shots. First thought might be to jump over to a great program like Adobe After Effects to pull off the composite, but Final Cut Pro 3, does a pretty good job if you stay right inside the application.
Putting our stream in motion using a layer mask
A couple weeks ago we explored one way to composite a shallow water effect over an existing photograph. As with a number of techniques we've covered this year, the shallow water effect was created with editability in mind, especially for those of you who might want to animate the composite in a program like Adobe ImageReady or After Effects. Today we'll take a look at just how to create this animation in ImageReady, and, later this week, we'll see how this process differs in After Effects.
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