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1 |
An Introduction to Node-based Compositing
Steve Wright is a visual effects veteran with 70 broadcast television commercials and over 60 feature films credits. He's also written and taught extensively on many aspects of effects creation.
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113 |
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2 |
Smooth Cam Node
In this video tutorial, Creative Cow Contributor Michael Mench begins a series called "Shake is Money" in which he will discuss how Final Cut Pro editors can quickly learn how to integrate Shake into their workflow for added flexibilty in the studio.
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98 |
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Slow Motion
In this second video in the series, "Shake is Money", Creative Cow Contributor Michael Mench demonstrates Slow Motion in Shake.
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99 |
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Morphing in Shake
In this third video in the series, 'Shake is Money', Creative Cow Contributor Michael Mench demonstrates a brief overview of the Morpher Node in Shake.
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98 |
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5 |
Generating A Matched Reveal Source For Painting
While you won't be throwing out Photoshop any time soon, Shake's QuickPaint node does provide the ability to do a lot of those quick touch-up fixes that seem to be a part of just about every shot.
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96 |
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RotoShape: Technique to hide keyframes for a specific shape
We all know Shake rocks, but anyone who's used the RotoShape tool is left wondering why they have a keyframing toolset so basic, it cana ctually make you cry.
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65 |
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7 |
Removal of a camera reflection on a car
Removal of a reflection from a camera (on carne) and a sign on a car.
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101 |
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8 |
Build a Keyer
This is not a tutorial about how to get perfect keys and get great integration of your bluescreen/greenscreen elements. I also acknowledge that shake ships with two awesome plug-in keyers and one very dubious default chroma key.
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88 |
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Automatic Cleanplate Generation
This tutorial covers the process of generating a cleanplate for a green/bluescreen-shot in the compositing software Shake.
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119 |
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10 |
Internal Variables in a Simple Color Suppression Macro
In the service of building a trivial color suppression macro, this tutorial illustrates two really important concepts in Shake: thinking in parallel, which will influence the overall design of the macro, and variable dependencies in macros, which will come into play when we get into the implementation details.
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98 |
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11 |
UV Map Now or UV Map Later
With a little tinkering and the right movie as input, you can make a displacement node perform UV mapping within Shake, putting an ordinary still image into motion. Instead of mapping an image onto an object, map absolute UV addresses.
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100 |
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12 |
Simple Set Extension in Shake
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81 |
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13 |
Face Crack Tutorial: Part 1
Rig removal and clean plate generation in Shake
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71 |
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14 |
Compositing Ambient Occlusion and channel based lighting.
Compositing Ambient Occlusion and channel based lighting.
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72 |
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15 |
Kung Pow - Enter the Fist : A compositing confessional
Lead Compositor John Lafauce, Jr. revisits the ardous task of head replacement and shares his Shake compositing techniques on this unusual film.
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72 |
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16 |
Z composite with IFF in Shake
Utilizing the Z channel (depth information) of Maya's IFF files in Shake is a bit tricky because of the way Maya stores depth information, here's a quick tutorial to get you started.
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83 |
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Multipass Compositing
Most people know that you can get the best results from outputting multiple passes from your 3d app and then tweaking these in 2d. What I have put together is a simple breakdown of a setup which will allow you a lot of control in compositing without the need to re-render.
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69 |
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using the eLin color model in floating point apps
Much of my writing on the benefits of working linear is tied to the eLin documentation. It occurred to me that it might be helpful to describe these advantages in more general terms, and to provide equivalences of the eLin color pipeline for two popular floating point compositing apps.
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71 |
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