We'll take a look in detail of virtually all these tools. There's the toolkit here and the tools are all very valuable. There are eight video and five audio adjustments. There are ways for correcting color, correcting audio problems, taking some of the shake out of your video. So let's select this clip and we'll go over here to the top of the bar, and we'll look at all these things available on the Toolbar in greater detail later in the course, but for now let's just do an overview. If you don't have a clip selected and you try to open one of the tools on the Toolbar, you'll see it says please select a clip. Also note that for a lot of these tools you need to have a clip selected on the timeline. So let's work in Expert view so we can see the Toolbar in all its glory. Now it's available in both Quick view and Expert view, although as we've seen earlier in this course, Quick view has kind of a limited number of effects and transitions available. Then you can go to town on things like fast vs slow motion and any accompanying sound or music.- Along the right-hand side of the program is the Toolbar and Adobe has pretty much taken all the programs - Tools, Effects, and other features - and tucked them neatly into this Toolbar, sort of your one-stop shop for pretty much every tool in the program. Move images into a sequencer and edit on the fly or dump the whole lot at the end of the shoot. How long do you want to keep a single image in shot? At 24 frames per second, you’ll need 24 images - whether that’s fewer different images during slow moments or up to 24 different frames to illustrate faster movements. Use a remote or a timer to snap each frame of the sequence, before resetting for a new angle or scene.
Once your camera is set up, if at all possible, don’t touch it again until your sequence is finished. Changes to lighting over time will create an inconsistency to your levels as the shoot goes on on. Shoot where the light is completely under your control - for example, under a desk light if you’re shooting two-dimensional objects. Objects wandering in or around the edge of a shot will affect the final product. Make sure you’re shooting at an angle that fits your subjects without letting in anything you don’t want to include. Aardman was also the effects team behind Peter Gabriel’s Sledgehammer - a whirlwind of stop motion effects encapsulated into the video for one pop song and a touchstone of 1980s nostalgia. They created the claymation character Morph, first seen interacting with British broadcasting legend Tony Hart on our screens each week before getting his own series. Aardman Animations was responsible for globe-gripping examples of both.
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Later work on The Golden Voyage of Sinbad and Clash of the Titans (1981) is absolutely essential viewing.Īs the medium evolved it spread further into the mainstream, including TV and music videos. Ray Harryhausen was a one-man machine whose work on the likes of The Beast from 20,000 Fathoms and 20 Million Miles to Earth propelled 1950s cinema into a pulpy golden age. O’Brien mentored a man whose work would go on to define this era of special effects in cinema. Based on the Arthur Conan Doyle novel of the same name, the film depicts a cast of explorers in search of a band of dinosaurs which still roam the earth, mixing mind-blowing effects and some clever film editing. Willis O’Brien was the mastermind behind the animation for the cinematic icon King Kong in his 1933 big screen adventure - but O’Brien mastered the trade for a film released in 1925 called The Lost World. The results shocked audiences into thinking the animator had trained them to wander about on hind legs, carrying household objects around as these characters do. The title, from the Latin for ‘stag beetle’, used a variety of wee beasties which Starewicz had taxidermised into an all-star cast.
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Wladyslaw Starewicz was another pioneer of the form, producing a series of works throughout the 1910s and 1920s, most notably Lucanas Cervus. Smith used a variety of children’s toys - long before Woody and Buzz arrived on the animated scene - to depict the hidden lives of circus performers. The proliferation of ‘snap-it-and-forget-it’ via digital cameras and smartphones has brought the potential for stop motion into households across the world, but as the 20th century dawned the art form was reserved for those with the budget and time to painstakingly produce it.īeginning with what’s thought to be the very first entry in the genre, The Humpty Dumpty Circus was released in 1898.
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