scholarly journals PELATIHAN AFTER EFECTS UNTUK MENINGKATKAN KREATIFITAS SISWA JURUSAN MULTIMEDIA SMK MUHAMMADIYAH 2 PEKANBARU

2022 ◽  
Vol 2 (1) ◽  
pp. 39-45
Author(s):  
Yoyonefendi ◽  
Lusiana ◽  
Rometdo Muzawi ◽  
Karpen ◽  
Wirta Agustin
Keyword(s):  
Production Process ◽  
Motion Graphics ◽  
Visual Effects ◽  
Training Activity ◽  
After Effects ◽  
Television Production ◽  
Multimedia Development ◽  
Post Production

Abstrak: After Effects salah satu software efek digital visual, grafis gerak, dan aplikasi compositing yang dikembangkan oleh Adobe Systems dan digunakan dalam proses pasca produksi pembuatan film dan produksi televisi. After Effects dapat digunakan untuk memasukkan, melacak, rotoscoping, compositing dan animasi. Kegiatan pelatihan ini ditujukan pada siswa –siswi SMK Muhammadiyah 2 Pekanbaru jurusan Multimedia. Siswa diberikan materi dari konsep pengembangan multimedia, pengenalan after effects, pengenalan tool, project opening, animasi teks dan mini kompetisi multimedia. Dengan adanya pelatihan ini akan meningkatkan kreatifitas multimedia untuk menjadi bekal siswa dalam menghadapi magang dan Ujian Keahlian Kompetensi (UKK).   Kata Kunci: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru   Abstract: After Effects is a digital visual effects software, motion graphics, and compositing application developed by Adobe Systems and used in the post-production process of filmmaking and television production. After Effects can be used for inserting, tracing, rotoscoping, compositing and animation. This training activity is aimed at students of SMK Muhammadiyah 2 Pekanbaru majoring in Multimedia. Students are given material from the concept of multimedia development, introduction to after effects, introduction to tools, project opening, text animation and multimedia mini competition. With this training, it will increase multimedia creativity to equip students to face internships and the Competency Skills Exam (UKK).   Keywords: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru

scholarly journals El reto tecnológico en la gestión de los procesos productivos cinematográficos; el director de postproducción como eje para la implementación de efectos visuales en España (finales de los 90 - mayo del 2012)

2013 ◽  
Author(s):  
Oswaldo García Crespo ◽  
Diana Ramahí García
Keyword(s):  
Production Process ◽  
Digital Technology ◽  
Visual Effects ◽  
Palabras Clave ◽  
Key Factor ◽  
Image Creation ◽  
Post Production

Este trabajo sobre la industria cinematográfica española se enmarca dentro de los estudios dedicados a analizar las consecuencias de la digitalización sobre la configuración de los procesos productivos y las competencias de los profesionales implicados. La postproducción cinematográfica en España es ya digital en la mayoría de los casos, culminando un proceso que se inicia a finales de los 90. Este hecho ha facilitado la digitalización de todos los flujos de trabajo y un proceso de traslación de parte de la creación de la imagen cinematográfica del rodaje a la postproducción.  En este contexto estudiamos las implicaciones que se derivan de la normalización de los efectos visuales digitales como herramienta de producción para películas de alto y bajo presupuesto. Así, unido a las necesidades de producción de estos efectos, la volatilidad de la tecnología digital demanda una actualización constante en la dirección de producción del film y nos lleva a evaluar la importancia del director de postproducción como eje para la implementación de las nuevas rutinas productivas.Abstract: This paper deals with Spanish cinematographic industry and it belongs to the field of studies focused on the workflows digitalization configuration and the changes in the professional competences involved. Cinematographic postproduction in Spain is now digital in most of the cases, completing a process which begins at the end of the 90´s. This fact has contributed to the digitalization of the whole production process and the translation of cinematographic image creation from the shooting to the postproduction. In this framework we approach the implications caused by the normalization of digital visual effects as production tool for high and low budget movies. Therefore, visual effects production needs together with ongoing evolution of digital technology require continuous updating for producers and lead us to assess the relevance of the director of postproduction as a key factor for the implementation of new workflows. Palabras clave: Digitalización; Postproducción; Efectos visuales; Director de postproducción. Keywords: Digitalization; Post production; Visual effects; Director of post production

Space-time visual effects as a post-production process

2010 ◽  
Author(s):  
Christian Linz ◽  
Christian Lipski ◽  
Lorenz Rogge ◽  
Christian Theobalt ◽  
Marcus Magnor
Keyword(s):  
Production Process ◽  
Space Time ◽  
Visual Effects ◽  
Post Production

Deepfaking Keanu: YouTube deepfakes, platform visual effects, and the complexity of reception

2021 ◽  
pp. 135485652110304
Author(s):  
Lisa Bode
Keyword(s):  
Film Studies ◽  
Media Theory ◽  
Digital Rhetoric ◽  
Visual Effects ◽  
After Effects ◽  
Starting Point ◽  
Media Creation ◽  
Media Practices

On July 14, 2019, a 3-minute 36-second video titled “Keanu Reeves Stops A ROBBERY!” was released on YouTube visual effects (VFX) channel, Corridor. The video’s click-bait title ensured it was quickly shared by users across platforms such as Facebook, Twitter, and Reddit. Comments on the video suggest that the vast majority of viewers categorised it as fiction. What seemed less universally recognised, though, was that the performer in the clip was not Keanu Reeves himself. It was voice actor and stuntman Reuben Langdon, and his face was digitally replaced with that of Reeves, through the use of an AI generated deepfake, an open access application, Faceswap, and compositing in Adobe After Effects. This article uses Corridor’s deepfake Keanu video (hereafter shorted to CDFK) as a case study which allows the fleshing out of an, as yet, under-researched area of deepfakes: the role of framing contexts in shaping how viewers evaluate, categorise, make sense of and discuss these images. This research draws on visual effects scholarship, celebrity studies, cognitive film studies, social media theory, digital rhetoric, and discourse analysis. It is intended to serve as a starting point of a larger study that will eventually map types of online manipulated media creation on a continuum from the professional to the vernacular, across different platforms, and attending to their aesthetic, ethical, cultural and reception dimensions. The focus on context (platform, creator channel, and comments) also reveals the emergence of an industrial and aesthetic category of visual effects, which I call here “platform VFX,” a key term that provides us with more nuanced frames for illuminating and analysing a range of manipulated media practices as VFX software becomes ever more accessible and lends itself to more vernacular uses, such as we see with various face swap apps

Comparative response to post‐production process of two Anastrepha ludens strains: Application in the sterile insect technique

2021 ◽  
Author(s):  
José Arredondo ◽  
Juan F. Aguirre‐Medina ◽  
José S. Meza ◽  
Jorge Cancino ◽  
Francisco Díaz‐Fleischer
Keyword(s):  
Production Process ◽  
Sterile Insect Technique ◽  
Anastrepha Ludens ◽  
Comparative Response ◽  
Post Production

Creating Motion Graphics with After Effects

2013 ◽  
Author(s):  
Chris Meyer ◽  
Trish Meyer
Keyword(s):  
Motion Graphics ◽  
After Effects
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