This page shows you how to blur or pixelate part of a video image. This technique is commonly used to blur a face in order to protect the subject's identity.
This technique uses two video tracks, and can be used with any editing application which supports multiple tracks/layers. Our example uses Adobe Premiere.
To begin, place the video clip on the timeline. Make an exact copy of the clip and place it on a video track directly above the original clip like so :
From the effects palette, add a blur or pixelate effect to the top track. Set the amount of blur as desired. The example above uses a gaussian blur ( Video Effects > Blur & Sharpen > Gaussian Blur ) set to 27.
To blur only the face, add a crop filter (Video Effects > Transform > Crop) to the top track. Adjust the crop parameters (left, top, right, bottom) until only the blurred face remains.
The screenshot on the right shows the effects we have added : Gaussian Blur and Crop.
Note: If the face (or whatever you are blurring) moves around a lot, there are two options:
- Make the blurred area big enough to accommodate the movement.
- Use keyframes to animate the crop effect.
Adobe After Effects adalah satu dari sekian banyak software andal keluaran Adobe yang termasuk dalam kelompok digital video.Pada skala industri, after effects ini sering digunakan ebagai software olah digital video yang bertugas menambahkan efek-efek visual.
Meskipun software ini diperuntukkan sebagai penunjang pekerjaan digital video, namun pada prakteknya tidak sedikit yang menggunakan after effects ini untuk keperluan pembuatan animasi web, animasi logo, bahkan web video (vlogs).
Oke sekarang kita langsung saja pada tahap persiapan, disini akan kita bahas cara pembuatan
Teks Linear
1.1 Persiapan
Langkah pertama dari project ini adalah mempersiapkan composition sebagai wadah dari desain kita.
- Buka program Adobe After Effects CS3.
- Pada menu bar pilih composition > new composition
- Pada kotak dialog composition settings tentukan composition name = teks line comp, width = 2000, height = 50, frame rate = 29.97, dan duration = 02 : 00
Gambar 1.1 setting composition- Klik OK
- Ukuran movie nampak sangat kecil, karena After Effects otomatis men-zoom agar nampak seluruhnya dilayar monitor.
- Tekan Ctrl+= sebanyak dua kali untuk men -zoom 200% atau hingga terlihat cukup besar
- dilayar monitor.
Selanjutnya kita akan menambahkan teks tertentu pada composition yang baru saja kita buat.
- Lanjutkan desain kita
Pada toolbar klik ikon Horizontal Text Tool- Pada palette Character (terletak disebelah kanan layar monitor atau pilih window > Character untuk membukanya) tentukan font = myrad pro, type = bold, size = 20 dan fill color = putih.
Gambar 1.2 setting character- Klik pada sembarang area di dalam composition viewer dan ketik teks berikut dengan tiga spasi sebagai antara : "otakkoe video article"
- Pada timeline pilih layer teks
- Tekan P untuk membuka parameter position
- Tentukan position = 1000.0,31.0 agar teks tersebut berada tepat di tengah composition
- Pada composition viewer ubah zoom = 100%
- Klik tiga kali pada teks untuk memilih semua karakter yang sudah kita ketik
- Tekan Ctrl+C untuk meng-copy teks
- Tekan END untuk memindahkan pointer ke akhir teks
- Tambahkan spasi sebanyak tiga kali
- Tekan Ctrl+V untuk mem-paste teks
Pada tahap ini kta akan mendesain animasi pada teks yang sudah dibuat sebelumnya. Animasi yang diharapkan adalah memberikan kesan bahwa teks seolah-olah muncul dari tengah.
- Lanjutkan desain kita
- Pada timeline pilih layer teks
- Pada menu bar pilih animate > animate teks > tracking
- Pastikan kita berada pada timecode 00 : 00
- Pada timeline tentukan tracking amount = -8
- klik ikon stopwatch pada parameter tracking amount untuk menambahkan keyframe
- Beralih ke timecode 01 : 29
- Pada timeline tentukan tracking amount = 6
- tekan spacebar untuk melihat preview
- Pada timeline pilih (klik) keyframe yang ke - 2 (01 : 29)
- Pada menu bar pilih animation > keyframe assistance > easy ease in
- Tekan spacebar untuk melihat preview
- Perhatikan perubahannya
- Tekan T untuk membuka parameter opacity
- Beralih ke timecode 00 : 00
- Klik ikon stopwatch pada parameter opacity untuk menambahkan keyframe
- Tentukan opacity = 0
- Beralih ke timecode 00 : 04
- Tentukan opacity = 100
- Tekan spacebar untuk melihat preview
- Perhatikan pengaruhnya, pemunculan teks nampak lebih natural
- Beralih ke timecode 01 : 16
- Pada menu bar pilih animate > add opacity keyframe
- Beralih ke timecode 01 : 29
- Tentukan opacity = 0
- Kita baru saja menambahkan efek fade-out pada objek teks
- Sebagai sentuhan akhir pada animasi teks ini, kita akan menambahkan efek motion blur untuk lebih memperkuat kesan gerakan yang natural
- Pada timeline aktifkan mode motion blur (sayang sekali efek motion blur ini tidak akan nampak pada viewer, tetapi hanya akan mempengaruhi hasil render
Gambar 1.3 mode motion blur1.2.1 Animasi Teks
Kita sudah selesai membua animasi teks, langkah berikutnya adalah melakukan proses render untuk menghasilkan final movie
Gambar 1.4 palette render queue
Kita sudah selesai membua animasi teks, langkah berikutnya adalah melakukan proses render untuk menghasilkan final movie
- Lanjutkan desain kita
- Pada menu bar pilih composition > make movie
- Pada palette render queue > output module, klik teks lossless
Gambar 1.4 palette render queue- Pada kotak dialog output module settings > tab main options > area based on "lossless" tentukan format =quicktime movie
- Pada kotak dialog output module settings > tab main option > are video output klik tombol format options
- Pada kotak dialog compression settings tentukan compression type = sorenson video dan quality = best
- Klik OK
- Pada palette render queue > output to, klik teks berwarna biru untuk memberi nama file
- Pada kotak dialog output movie to tentukan nama file dan di folder mana file hsil render akan disimpan
- Klik SAVE
- Pada palette render queue klik tombol render
- Tunggu hasil dari render file kita tadi sambil ngopi & makan pisang goreng... NIKMAT
Itu tadi pembahasan kita tentang bagaimana cara membuat animasi teks linear menggunakan program Adobe After Effects, sampai ketemu di pembahasan berikutnya dan S'lamat Mencoba & Pantang menyerah.
Sony’s PD150 camcorder is an acknowledged favourite among DV filmmakers. Stylish, well featured and ruggedly built, it was always suited to video journalism and event videography, but it has also become more and more acceptable for use in broadcast programming and independent filmmaking. Now the company has launched its successor, the upgraded PD170.Those familiar with the PD150 will instantly recognise the new family member. Sony has kept the look and many of the features of the PD150, but has improved several of the features. So how significant are these improvements? And how does the new camera fare against recent launches from competitors, such as the 24P-touting Panasonic DVX100 and the consumer HD JVC HD10?
Improved lowlight recording
First enhancement is improved lowlight recording. Sony has advanced the minimum illumination from 2 lux (PD150) to 1 lux (PD170) due to improved noise
reduction and enhanced signal processing. Improving the lowlight capabilities for the PD170 is indeed a good thing, and considering the PD150’s unrivalled performance in low light anyway (compared to say the Canon XL1), this has raised the bar to an even greater level. There is a noticeable improvement (comparable to perhaps just under a quarter of a stop on the iris), but not an Earth-shattering difference. Still, if you’re shooting in a nightclub, say, it is always preferable to keep your images as defined as possible, without adding shed-loads of gain (which can result in a nasty grainy image – more noticeable on DV than any other higher-end format). The other option of course is to learn to light a scene properly or invest in a decent lightweight on-board video light.Better iris adjustment
Improved iris adjustment from 12 to 24 stops gives smoother iris control. As the PD150 has gradually become a staple ‘one-man band’ camera on factual/entertainment programmes and fly-on-the-wall documentaries, this often means the operator has to move around in changeable levels of brightness (both indoor and outdoor). The ability to manually adjust the iris dial ‘on the fly’, with a less visible trademark jump between f-stop numbers, is a welcome new feature.
Screen and viewfinder
On the PD150 it was only possible to view the LCD screen and the viewfinder image independently. On the upgraded PD170 it is possible (via a setting on the camera menu) to use both the LCD and the viewfinder at the same time – good for quick monitoring of both focus (in the b/w viewfinder) and as quick reference for checking white balance and composition of shot when on the move (colour LCD screen). From the tests I conducted it appears that the LCD screen for the PD170 has been improved in terms of colour saturation (probably the result of the new LCD’s increased resolution). The PD150’s LCD screen tends to give a slightly over-saturated colour representation (mainly with reds and greens), whereas the PD170’s LCD screen gives a truer representation of what you are actually committing to tape (always useful).
Wideangle conversion lens
A wideangle conversion lens (x0.7) is included with the PD170 as standard. I have rarely used the PD150 without a wideangle lens, simply because I prefer the look and appreciate the benefits of having more options in a frame when shooting; without the wideangle lens, the PD150 image can appear flat and uninteresting, even on its widest setting. Though wider lenses are available for this camera, the 0.7x bundled with this kit (usually retailing around £200) gives about 30 per cent more field of vision, which is ample for this kind of camera.
The wide lens sits in its own hood when attached to the PD170. This protects the glass lens surface as well as preventing lens flare, which was always a problem using a wide conversion lens on the PD150 (when not using a matte-box). The lens hood/housing is plastic and lightweight; however, the camera still feels slightly front-heavy when the wideangle is attached.
Audio quality
Audio quality in manual mode is improved by 6db (s/n ratio) due to enhancements to the audio processing circuit. Though I did test the audio quality on the camera (using both the on-board mic and radio mics), I was unable to detect any significant improvement on the PD170’s audio quality (tested against a PD150). It is possible that with longer time to review the camera the audio improvements would have demonstrated themselves but, on the plus side, there was none of the audio hiss that delayed production of the PD170 when it was first announced (which was reported to happen only when the flip-out LCD screen was in use). This potential problem has now been fixed by the company.
Larger eyecup
The large rubber eyecup that comes as standard on the camera is a nice feature for when shooting in bright daylight and when you want to concentrate on the image in your viewfinder. It’s a bit of an oversight that there wasn’t a standard small eyepiece (as on the PD150) also included in the bundle, as a large rubber eyepiece can become uncomfortable when using for long periods of time (in which case you can easily fit on a standard protective chamois eyepiece over the rubber one). Following on from this, the new hybrid LCD screen has been modified (it is now both transmissive – meaning the LCD can be monitored safely in dark conditions – and reflective, meaning it is also fairly reliable in bright conditions), so monitoring the LCD while in bright sunlight means you can actually see a more true-to-tape image than you would on the PD150 LCD, when sun reflection and shadows made it hard to judge. The flip-open lens cap (fitted on the standard hood) is another nice feature – I have lost quite a few lens caps in the past.
PD170 vs PD150 Overall image quality is the same as the PD150 – the same 3 1/3” CCD imaging device remains (except for its improved low-light capabilities). It’s interesting that Sony has kept the cost of the PD170 the same as the PD150 (and added the wide adaptor for the price), but saying that, most of the developments are primarily ergonomic or operational. What Sony has done is improve a camera that has already made its name as a standard piece of kit in many areas of video production and broadcast.
ExposureSemua kamera video dilengkapi dengan sistem exposure serta white balance otomatis. Seperti mata kita, iris kamera akan menutup atau membuka secara otomatis untuk memasukkan jumlah cahaya yang sesuai. Kamera perekam secara otomatis akan membuka iris atau menambah aperture (bukaan yang sesuai) untuk mendapatkan lebih banyak cahaya atau menutupnya untuk membatasi jumlah cahaya yang masuk. Dalam intensitas cahaya yang rendah, kamera akan meningkatkan kemampuan penyerapan cahaya yang mungkin akan mengakibatkan gambar akan terlihat berbintik-bintik atau banyak butiran (grainy). Meski tak terlalu bagus, gambar seperti ini masih dapat digunakan.
Kita dapat menguasi fungsi hal ini dengan menghidupkan tombol iris manual atau menyesuaikan masukan cahaya secara manual. Tetapi kita harus terus-menerus menyesuaikan sendiri iris dari kamera. Kalau kita baru mulai belajar membuat video atau film, disarankan untuk menyalakan fungsi-fungsi kamera ini dalam kondisi otomatis. Dan harus kita ketahui, bahwa ketajaman layar dari LCD tidak ada hubungannya dengan setting dari exposure itu sendiri.
White Balance
Sumber cahaya yang berbeda akan menghasilkan "temperatur warna" yang berbeda pula. Pencahayaan tidak alami, seperti lampu pijar menghasilkan rona warna orange, cahaya matahari memberikan warna kebiruan. Kebanyakan kamera perekam memiliki fasilitas white balance otomatis, yang akan mengenali dan menyesuaikan suhu warna dari sumber cahaya yang didapatkan. Beberapa kamera juga memiliki fasilitas penempatan white balance yang berfungsi untuk mengantipasi sumber cahaya yang berbeda-beda. Jika kita memiliki kamera seperti ini, jangan lupa untuk senantiasa mengubah setting kondisi pencahaan. Kita juga dapat mengubah setting white balance secara manual dilokasi manapun dengan cara zoom in sebuah kertas putih atau obyek lainnya, sehingga kertas putih tersebut akan mengisi ruang di layar kamera. Kemudian tekan tombol white balance secara manual, menyetel video exposure & white balance secara manual merupakan tindakan yang sangat bagus dalam proses rekaman (produksi).
Video clips are short clips of video, usually part of a longer piece. Video clips in digital format are often found on the internet where the massive influx of new video clips during 2006 was hailed as a new phenomenon having a profound impact on both the internet and other forms of media.Sources for video clips include news and sporting events, historical videos, music videos, television programmes, film trailers and vlogs. Webvideo in its current form distinguishes itself from what is mostly known as video on demand mainly in terms of technology, interface and cost for the user. The current hype in online video viewing only arose when sites were introduced that offered free hosting for the high-bandwidth content and the possibility to easily integrate these into personal Blogs or websites.
This enabled online videos to cross over into the mainstream. The arrival of these sites also gave rise to more widespread use of the name webvideo. Video on demand however, is more closely associated with paid content of film studios, online video stores and cable providers. Video on demand also specifically references videos that start at a moment of the user's choice, as opposed to streaming, multicast and webcams in which the data is sent to the user live by a server.
