The first Warriors Wednesday of the year comes off one of the most enthralling weeks of regular-season basketball the Warriors have played in years. This team hasn’t just re-established itself as … When the idea for Warriors Wednesday — a weekly video segment that would break down the last week of Warriors basketball — was pitched to me, I was a bit skeptical.After all, would enough happen in a week to justify anyone watching the video?That, of course, was a stupid thing to think.
The new Cinema 4D integration in Adobe After Effects CC provides a powerful, but simple, 3D workflow. We’ll show you how to get started!For video editors and power AE users who’ve been too intimidated to attempt their hand at 3D in the past, now’s the time. Cinema 4D Lite, now included with After Effects Creative Cloud, is a great introduction into powerful animation and 3D tools. These days it’s not enough to just be a video editor or motion designer. To be successful you need to have a good understanding of both.In this tutorial we’ll go over a few basics for integrating Cinema 4D into your After Effects projects. This roundtrip workflow makes it simple to include Cinema 4D files in AE. Highlights of the tutorial include:Prepping and stabilizing footage with the Warp Stabilizer in AE (see our previous tutorial for more details on stabilization in After Effects)Using the 3D Camera Tracker in After EffectsBasics of Creating Extruded Text in Cinema 4DAdding a Cinema 4D Object into After EffectsSet Ground Plane and Origin in After EffectsAre you using a Cinema4D and After Effects CC workflow?Share your thoughts and advice in the comments below![Best viewed full screen][color-box color=”gray”]This is Evan Abrams for Premiumbeat.com. I’m going to show you really quickly, how in Adobe CC you can stabilize, track, and then put in 3D geometry from Cinema 4D Light. These are brand new features and really simplify 3D work-flow. So, inside of After Effects the first thing I’m going to do is import the footage that we want to use. So here I’ve just called it “footage” and it’s footage of the patio outside of my building. So I’m going to take this and I’m going to drag it onto a new composition. It’ll create a composition of the same frame rate and frame size and duration as that original clip.Now, when I pan through here I want to find the segment that I’ve made specifically for this, and then I’m going to hit ‘B’ to set my work area, and then I’m going to move ahead for this example, hit ‘N’ to set the of the work area, and then I’m going to trim the composition to the work area. Because we’re going to be using a lot of automated processes, we don’t want to be having the software rendering and analyzing unneeded frames. So, you want to trim it off to the size you need.Now, you’ll notice here it thinks frame zero is frame 356, so I’m just going to go in here, change the composition settings, and one of the things I want to change is changing it from the start frame to being start frame zero; and it’s still 91 frames of duration. And then, instead of 23 I want to have that to be an even 24. And we’re going to find out why when we move into Cinema 4D, but it’s just because for now we’re using this because it’s a round number. You could keep it at 23.976 if you want; but then we’re going to be doing a lot of copying and pasting. So I’m just going to move it to 24 because it’s not that noticeable a difference, and hit okay.Now, this is set up to be smoothed out; even though I’ve done as good a job as I could out in the field shooting on a SLR camera using hand-held motion is going to have a lot of shaky jerky parts. So we’re going to use the warp stabilizer VFX, which is new to Adobe CC. The warp stabilizer was around in CS6, but this is an updated version. So I’m going to drag that out and it’s already going to start analyzing.While it’s doing that I’m just going to briefly describe what we’re looking at. So, we’re going to have the result here, which can either be smooth motion or no motion, which will lock it off. You can change the smoothness, and I think 50% is too much. I’m just going to have 5% smoothness, meaning it’s going to be 5% smoother than it was before. The method can be only position, position scale rotation, perspective, or the sub-space warp. And the sub-space warp changes things inside, so these are all linear, so this is just the position; this is position scale and rotation, and perspective starts to pinch and widen the top and bottom.But sub-space warp creates a much smoother look, but it’s not always the look you want. Sometimes sub-space warp makes a lot of mistakes. If you find it’s making a lot of mistakes, you just move up until you get something that looks good. Borders here, basically because it has to expand this a little bit what it’s going to be doing is, if we move to stabilize only, you can see there’s going to be a little bit of black bar, because it is having to move the comp around. So if you do a stabilizing crop, then it is cropping it down to be the aspect ratio, and then stabilize crop and auto scale is going to fit it to there. And then if you use synthesize edges it’s going to make up information to fill in those regions. But that’s only for times when you really cannot withstand scaling. For us, auto scale puts it at 104.3%, and that is within tolerable bounds for me. Basically 110 and higher is too much; 110 and lower is just fine, so that’s kind of our break-even point.And then there are a lot of additional things you can do here in the advanced, such as working out the reduction of the rolling shutter, which happens on SLR cameras. You can change its objective kind of thing here, and all sorts of advanced things. But for most of your work you’ll never have to touch those. You can just bring it on, say how smooth, and then define everything outside of the advanced. So, while I’ve been talking it’s been stabilizing and it’s done a pretty good job of smoothing things out. So now what we’re going to do is go back to our project here and change the title of this from being footage to stabilize, because this is the stabilized footage. We’re going to take that and drag it onto a new comp, and that comp we will be calling camera solve. The reason that we break these things up into multiple comps is because you can’t effectively apply a stabilization and a 3D track to the same comp, because it has to read the pixels off one to make the other; and stacking them is just not an effective way to do that. So it’s best to pre-comp it, so all of the pixel changes it’s making here to stabilize we can then make use of here in the tracking.So, we pull up the 3D camera tracker, and pull that onto the stabilized within the camera solve, and already it’s going to start working. So there are a lot of things you want to tell it to make this easier, and the first is, is this a fixed angle of view, or is it a variable zoom? I used a prime lens, so it’s a fixed angle. And within the advanced you can tell it things like what type of movement are you doing. So if it’s stuck on a tripod and you’re moving it around you should tell it that so it doesn’t assume otherwise. I’m going to say typical because this is hand-held moving around, nothing’s really set. So sometimes this will fail, and when it does fail you want to hit “reset” and just have it give another go. So it’s not that onerous for it to try again, and sometimes it makes mistakes when you start changing settings before it’s done.So, what are some other things in here? We’ve got method used; once it sorts itself out. And then it’ll tell you the average error, and that is how far off or how confident it is that it’s got this thing locked down. And then by tweaking all of your settings you’re going to improve its average error. So basically you want the average error to be as close to zero as possible, but there are areas of tolerance you can put up with just because nothing’s really perfect..So now it’s going to try to solve the camera, and it has put all of these little dots everywhere, and you can see when you mouse over it starts to make a target. And we know this is a good track, because when we put the target out there it seems to align with the ground. So when you scrub through you can see the points are very much stuck to things in the scene, and we’re looking at an average error of .23 pixels, which is pretty good. That’s going to be almost indistinguishable. Ideally you want this to be as low or as close to zero as possible. So, that’s really just the big thing.Now we’re going to add a Cinema 4D object to this scene. So what we’re going to do next is we’re going to go layer new max-on Cinema 4D file. And again, this is new in Adobe CC, but this is how easy it is to just add in a Cinema 4D project. You can import Cinema 4D projects as well if you’d like, but we’re just going to create a new one from scratch. I’m just going to call this ‘titles’, and then it’s going to open up Cinema 4D light right out of the application. So in here you can make some basic things, and I’d encourage you to learn from other tutorials how to make things in Cinema 4D Light, but I was going to show you really quick how to make text. So you go to spline, pull up some text, and then you type into its properties over here, something like Premiumbeat.com; click outside, and you’ve created these splines. And you’re going to create an extrude [nerves], put the text here inside the extrude [nerds] like this, and then it creates this extrusion. Now you’ll save your work here, and then when you go back into After Effects it’s stuck it in here. S\So we’re back in After Effects and the bulk of this tutorial is about After Effects. So the first thing you want to do is make sure that this sticks into your scene. And in order to do that you need to have a camera. And we make a camera by hitting ‘create camera off the 3D tracker’ so it creates a camera that matches the camera we already made. But one thing I’ll show you real quick is that when I hit ‘create camera’ and then we go into the Cinema 4D here and we say, use the comp’s camera, it doesn’t look correct at all; it’s kind of like our 3D thing is floating off over here where it shouldn’t be. And that’s because we have not defined where the origin of the scene is. And the origin is, if we go back into Cinema 4D here, this point here where new objects are created it’s 000 on the [Cartesian] plane; it is at the ground at .0 and that’s where things come in. So right now that’s where this is, and that’s where it expects to be, but we haven’t defined in this scene where that is. So delete that camera, because it was wrong. Go back to our 3D camera tracker and then we’re going to select a bunch of points, and then we’re going to right click. I’m going to say, set ground plane and origin. So it’s going to say, use these points to say where the ground is, and from that we are going to then put a point on there that is the origin. So we say, define that; good. That’s done; now create a camera; perfect. And now Premiumbeat.com is stuck down there on the ground. So that works out pretty well.And it’s actually done a good job of sticking it in there. So it’s pretty firmly where it ought to be. There are a few things that you’ll want to do just to improve how this looks. And one of those is going to be to go into your titles here, go to project, the thing you’ve created, and make sure that its frame rate matches the frame rate of your composition. So go to interpret footage main, and you’re going to want to conform its frame rate to, we said, 24 and then hit return. So now this 24 frames a second comp is matching the number of frames here. And if we go into Cinema 4D again, or Cinema 4D Light, you can see that it’s 0 to 90 frames by default, but if you go edit project settings, you can see it thinks it’s 30 frames a second, so change that to be 24. And then we’ll just change its frames to be 91, just like the comp. Hit save, and we go back here and everything is now lining up, so if you animate something you can count out the frames in the Cinema 4D file and then if you change some things in this project it’llline up for that number of frames.So that’s basically it for the basics of putting Cinema 4D things into After Effects using the new Adobe CC tools. We’ve stabilized footage; we’ve [solved] for the camera, and then we’ve brought in the Cinema 4D file. If you want to get deeper into Cinema 4D though I would totally recommend that you check out other tips and tutorials on Premiumbeat.com. It’s a great resource for all sorts of applications; Cinema 4D included. This is really just the basic overview about how to get things into Adobe After Effects, and to work with them in there. The big thing though, and I’m going to just stress this again, is make sure you’re frame rates and durations match, and also make sure that you’re using the correct cameras and that you set the origin and told the computer where the things are. A lot of frustration in the 3D integration comes from not setting the origin, because the computer can’t know until you tell it.Anyway, I’m Evan Abrams. Thank you so much for watching. Hopefully this has been helpful with getting you started into the Adobe CC and some of the new tools. If you want to learn more about Adobe After Effects and other applications stop by Premiumbeat.com and check out the blog for those. And of course, come to Premiumbeat for all of your royalty-free music and sound effects needs. I’m Evan Abrams; thanks again for watching, and I’ll see you around the Internet. [/color-box]
Novak Djokovic reinvented himself as a player who could lunge and volley, run and hit and stay as cool as a cucumber as he outfought Jo-Wilfried Tsonga 7-6 (7/4), 6-2, 6-7 (9/11), 6-3 for his maiden entry into the men’s singles final at Wimbledon.With each passing match in the 125th edition of The Championships at the well-manicured lawns in the southwest suburb of London, Djokovic has grown in stature.Arguably the most consistent player in the last seven months on the tennis circuit, this was a test of character and nerves for the Serbian who, by virtue of Friday’s win, became the new World No. 1.The man he displaced from that position will be his opponent in Sunday’s final.Rafael Nadal celebrates after defeating Andy Murray in the men’s semi-final at Wimbledon on Friday. APTop-seeded Spaniard Rafael Nadal overcame an early hiccup to beat fourth seeded home favourite Andy Murray 5-7, 6-2, 6-2, 6-4.There were highs and lows, oohs and aahs, as Tsonga, who had dumped favourite Roger Federer, produced a brand of tennis which only he could have.The serve was spluttering and not as consistent as he wanted, but despite his huge frame the way he threw himself at the tennis ball was a revelation.The packed Centre Court included former champions Bjorn Borg and Goran Ivanisevic, as well as the humorous Mansour Behrami, who watched the action with rapt interest.This was a match to be viewed not for its statistical bits of information but the variety of tennis which the two players unleashed. Tsonga had set the pace with some classy stuff early on.advertisementBut the ice-cool Serbian, who has beaten all the top guns regularly this year, was unmoved. His monk-like serenity was there for all to see as he slowly caught up.It was not the routine Djokovic on view – the one with a staple diet of heavy artillery stuff from the baseline.His new avatar was ready to take his chances at the net as well as he outmatched Tsonga in the volleying duels.To be sure, in this new age grass court tennis, where serve-and- volley sultans have become extinct, Djokovic and Tsonga whipped up the tempo with some incredible play.If you had looked at the two men compete from the mid-court and the baseline, there were bazooka shots. Running from flank to flank and then front and back, the six-feet-two-inches tall Tsonga looked menacing.But Djokovic was not to be left behind, and his speed and footwork were indeed a treat to watch.Djokovic won the first set tiebreak in such a slick manner that it was as if Tsonga’s pocket had been picked.Djokovic again won the second set very quickly before making a hash of the third, when he had chances to close out the match.Tsonga played a good tie-break and pushed the match into the fourth set. However, as one who relies so much on the juice in his serve, Tsonga came up short.Novak Djokovic beat Jo-Wilfried Tsonga 7-6 (7/4), 6-2, 6-7 (9/11), 6-3As Djokovic sealed victory, he hit the deck and kissed it. He was again up and jumping so wildy and waving to people, it was as if he had already won the title.”It is difficult to put it into words, but it is one of the best feelings I have ever had on a tennis court,” said Djokovic.”My dreams are coming true as it is my first Wimbledon final. Hopefully there will be more celebrations to come.”Tsonga took the defeat in his stride. “I played good but my opponent played better.I took my chances, and there was a lot of running,” he said.Praising Djokovic further, Tsonga said: “Today, I could have beaten anyone other than Djokovic. His returns were unbelievable.”Asked to predict Djokovic’s chances in the final, Tsonga was circumspect.”Every day is different and in sport, you don’t know what happens tomorrow. Yes, since the beginning of year, he has beaten every player. And he is the best player in the world now,” he said.Nadal, the defending champion, showed no signs of the injury that has bothered him since the fourth round, capitalising on Murray’s mistakes. He later admitted: “The final will be tough for me.”ResultsMen’s singles semi-finals: Novak Djokovic (SRB x2) bt Jo-Wilfried Tsonga (FRA x12) 7-6 (7/4), 6-2, 6-7 (9/11), 6-3Men’s doubles semi-finals: Bob Bryan/Mike Bryan (US x1) beat Michael Llodra/Nenad Zimonjic (FRA/SRB x6) 6-4, 6-4, 6-7 (8/10), 6-7 (4/7), 9-7advertisementWomen’s Doubles Semi-Finals: Katarina Srebotnik/Kveta Peschke (SLO/CZE x2) bt Sania Mirza/Elena Vesnina (IND/RUS x4) 6-3, 6-1
Dipa Karmakar on Sunday clinched the gold medal in the vault event of FIG Artistic Gymnastics World Challenge Cup at Mersin, Turkey.The athlete, who is returning to action after a lay-off of nearly two years due to an injury, created history by becoming the first Indian gymnast to clinch a gold at a global event.The 24-year-old from Tripura, who had finished fourth in vault event in the 2016 Rio Olympics, scored 14.150 to win the top prize. She had topped the qualification with a score of 13.400.In her first attempt, Dipa had a difficulty score of 5.400 while collecting 8.700 in execution for a total of 14.100. She improved the score in her second attempt to 14.200 (5.600+8.600), giving her a total average of 14.150.Rifda Irfanaluthfi of Indonesia clinched the silver with 13.400 points while local woman Goksu Uctas Sanli took the bronze with a score of 13.200.Dipa, who is being accompanied by her coach Bisheshwar Nandi, has also qualified in balance beam finals by finishing third in the qualification with a score of 11.850.Dipa had suffered an Anetrior Cruciate Ligament (ACL) injury after the Rio Olympics and had undergone a surgery. She was initially confident of making a comeback at the Commonwealth Games but rehabilitation took more time than expected and she missed the Gold Coast event.Meanwhile, Rakesh Patra missed out on a medal in men’s rungs event finals as he finished fourth with a score of 13.650. Ibrahim Colak of the host country won the gold with a total score of 15.100 while Romanian Andrei Vasile (14.600) and Dutchman Yuri van Gelder (14.300) took the silver and bronze respectively.advertisementWorld Challenge Cup series is an important competition in the calendar of International Gymnastics Federation. There are six events in the World Challenge Cup series this year and this is the fourth leg of the season.Both Dipa and Rakesh have been included in the 10-member Indian gymnastics team for the upcoming Asian Games.(With PTI inputs)
David Warner had a horrific 2018 but by the end of the year, he had something to cheer about. Warner’s wife Candice revealed in a social media post that the family is all set to welcome another member in 2019. Warner, whose ball-tampering ban will end in March this year, has been playing cricket in various leagues in the world but can only return to Australian cricket after the end of the ban.Candice Warner posted a collage of photographs with her family thanking everyone for the love and support shown throughout the year and announced they are going to become a “family of 5”.The various photographs posted by Candice shows the happy family of four. Their daughters Ivy and Indi smiling and enjoying with their parents in all the pictures make for an adorable viewing.The Warner would have already been a family of five if not for the unfortunate miscarriage that Candice had after the unsavoury ball-tampering incident in Cape Town.advertisementAfter coming back to Australia post the incident that shook Australian cricket, Candice had revealed that they had lost the baby because of stress and an arduous flight home.David Warner and his family went through a tumultous time after the ball-tampering incident, where Warner came out as the chief conspirator. Warner and the then-captain Steve Smith were handed a one-year ban by Cricket Australia while Cameron Bancroft, the player who carried out the tampering with a sandpaper, was banned for nine months. Bancroft ban recently came to an end and he made a three-ball appearance for Perth Scorchers in the Big Bash League (BBL).Recently in a TV interview with Fox Cricket, Bancroft confirmed that David Warner had suggested him to carry out ball tampering while Smith, in another interview with Fox Cricket, said that his failure of leadership was not stopping something he saw happening in the dressing room during lunch.Warner has chosen to stay quiet and away from media glare.
The National Youth Championships had some very special guests today, with the guys from Blue Care coming down to Sunshine Coast Stadium to participate in a Super Clinic with the TFA Staff and a number of representatives from the ACT, Tasmanian and Victorian NYC sides. With plenty of games, skills and drills, the guys from Blue Care had a great time, learning plenty about the game of Touch Football and loved the chance to meet some of the stars of the NYC.The group made up of adults and young adults with intellectual disabilities, were looking forward to seeing some games of Touch Football over the weekend, particularly the State of Origin series. The state pride started early with a couple of the group being from NSW, the cross border rivalry brought out the competitive instincts throughout the clinic.Clinic Participants Grant and Leigh were particularly patriotic which was great to see, both said how much the loved the games and wanted to play more and more, whilst carer Coral was extremely grateful to TFA for the holding of the clinic and the inclusive nature of the sport.Alissa, sister of former NRL Star, Chris Flannery, had plenty of previous experience with Touch Football and loved the chance to show off her skills, and to take on some of the NYC players.With the clinic drawing plenty of interest from spectators and teams preparing for games later in the day, it was particularly special to see the joy the event brought to not only the participants, carers and players but also those who were watching on.Leaving with a couple of special gifts from TFA, the guys are sure to continue to working on the skills, and are looking forward to next year’s event already.Related LinksNYC Special Guests
Auburn defensive coordinator Will Muschamp is known for his sideline intensity. That intensity boiled over and got him in trouble just now during the Iron Bowl showdown with Alabama. After Auburn defender Jonathan Ford was penalized 15 yards for a late hit, Muschamp lost his mind on the official and was docked an additional 15 yards. Muschamp wasn’t done either. After the drive ended in an Adam Griffith field goal to give the Tide a 22-13 lead, Muschamp sought out the ref he previously blasted and gave him another earful. WATCH: Auburn DC Will Muschamp goes ballistic, has to be held back as he tells the ref: “I want a fair game.” pic.twitter.com/LE8VdhY3zj— Alex Byington (@abyingtonTD) November 28, 2015He’s clearly very unhappy.
Federation of Sovereign Indigenous Nations in Saskatoon says ‘business continues as usual.’Dennis WardKathleen MartensAPTN NewsAfter a number of back and forth emails, the Saskatoon Police Service has confirmed that it is investigating an individual – or individuals – at the Federation of Sovereign Indigenous Nations (FSIN) but the focus of the investigation is not known.The information was confirmed in an email response to questions posed to police by APTN News starting Wednesday night.“I can tell you that the Saskatoon Police Service is investigating an allegation which was reported to us, but as it is a file that is still being investigated, we will not be commenting further,” said Kelsie Fraser, senior public affairs consultant for Saskatoon Police Service.But on Thursday Fraser contacted APTN to clarify her original statement.“I need to clarify that it is not the FSIN that is under investigation, but an individual(s),” Fraser said.The news caps a strange period at the FSIN where an election is currently underway for a new chief, first vice-chief and third vice-chief on Oct. 25.On Monday Sept. 24, police were called to FSIN headquarters because of a disturbance.No charges were laid.When informed late Wednesday night that the police were investigating the FSIN, APTN was sent a short statement.The FSIN executive “Has become aware of a report of an alleged police investigation against the organization from the Aboriginal Peoples Television Network,” the statement said.“The FSIN has retained legal counsel to address these false allegations. The FSIN also cannot comment further on any matters pertaining to issues that are now under litigation.”No one at the FSIN has spoken to APTN after this correspondence.Last Friday, the FSIN had a similar response when contact by APTN about a different story.“We want to clarify and confirm that the FSIN is not under criminal investigation and business continues as usual,” Vice Chief David Pratt said in a statement.https://aptnnews.ca/2018/09/27/bullying-leads-to-legal-action-fsin-lawyer/Incumbent FSIN chief Bobby Cameron is seeking another three-year term.The FSIN says “until the election on October 25th and the position of Chief is filled, no Interim Chief will be appointed at this time. The administration will continue under the Executive Operating Officer, Dawn Walker.”