http://library.creativecow.net/articles/oneil_bill/ Bill Oneil's library of tutorials, articles, reviews and more for media professionals world wide. en-us http://library.creativecow.net/articles/oneil_bill/SlamDunk.php Fix it in post? This article shows how to BUILD it in post. Here in April, as March Madness ends and the NBA Playoffs begin, the Cows Bill ONeill shows how he combined greenscreen, 2D graphics and 3D compositing in a remarkable promo for Big Ten basketball. This Web Extra from Bills article in the Cow Magazines Commercials issue shows you rough edits along the way, and shares some of the production secrets for building an entire world in post. Wed, 31 Dec 1969 16:33:28 GMT http://library.creativecow.net/articles/oneil_bill/3d_world.php When a project requires a photo-realistic 3D world, After Effects isn't usually the first program that comes to mind. Typically a 3D modeling/animation program is necessary to create virtual 3D worlds, but in this article CreativeCOW contributing editor Bill O'Neil demonstrates creating a 3D world for a TV spot he was hired to direct and post for the Big Ten Basketball Conference. Wed, 31 Dec 1969 16:33:27 GMT http://library.creativecow.net/articles/oneil_bill/pro_emitters2.php In this article, CreativeCOW's Bill O'Neil takes a look at the new wondertouch Professional Emitter Libraries. In this set are two Pyro libraries and one Heart set which is a collection of beautiful heart themed designs and backgrounds. Wed, 31 Dec 1969 16:33:27 GMT http://library.creativecow.net/articles/oneil_bill/pro_emitters_rev.php In this article, CreativeCOW's Bill O'Neil takes a look at the new wondertouch Professional Emitter Libraries. Bill says he's never been a fan of of 'presets' because he feels like he's stealing someone else's work, but in this case, he finds that ''...Tom's work is inspiring. Dive into the settings of his emitters and learn. It is obvious that he has spent a lot of time in creating these deep, complex images. If nothing else, this collection can replace a few stock background libraries you might have. They are that good.'' Wed, 31 Dec 1969 16:33:27 GMT http://library.creativecow.net/articles/oneil_bill/shadows2.php In part two of our Shadows tutorial, Bill O'Neil continues with an explanation of an effect that he's constantly asked how it was done. He doesn't use 3D -- it's done entirely in After Effects and the coolness of the scene is mostly from the lighting and shadows. Wed, 31 Dec 1969 16:33:25 GMT http://library.creativecow.net/articles/oneil_bill/shadows.php Bill O'Neil has learned a lot from his gaffers over his years of live action shooting. Simply putting a tree branch in front of a light can create interesting and beautiful shadows on an otherwise plain wall. The trade name for this light obstruction material is cucoloris or ''cookies''. These same practical techniques can be applied in the After Effects 3D world. All we need are lights, obstruction layers (cucoloris) and surfaces to shadow. This tutorial is broken into two parts that highlight two examples of dressing up a scene with shadows. This is part 1. Wed, 31 Dec 1969 16:33:25 GMT http://library.creativecow.net/articles/oneil_bill/DOF.php Depth of field refers to the distance from camera where things will be in focus.This tutorial from Bill O'Neil offers tips for assembling 2D flat objects in 3D space with the most realism using depth of field in After Effects. Wed, 31 Dec 1969 16:33:25 GMT http://library.creativecow.net/articles/oneil_bill/shooting_3d.php This tutorial from Bill O'Neil will focus on media acquisition for creating a 3D world in After Effects as well as offer tips for assembling 2D flat objects in 3D space with the most realism. Alright, how about realism in a surreal world? Read on... Wed, 31 Dec 1969 16:33:25 GMT http://library.creativecow.net/articles/oneil_bill/as_matte.php Vector paint, introduced in Adobe After Effects 5.0 has many uses but most people don't think of it as a rotoscoping tool. In this tutorial, Bill O'Neil demonstrates how to rotoscope with Vector Paint to create a ''supercharged'' sports spot. Wed, 31 Dec 1969 16:33:22 GMT http://library.creativecow.net/articles/oneil_bill/vector_paint.php In part one of this three part series, Bill O'Neil demonstrates using Vector Paint to create a color wall of splotches and paint blips that we will smear across the screen. Part two will be a description of Shutter Angle and Motion Blur. In part three, Bill will spice up his favorite effect with Bezier Warp to distort the light storm to conform to the scene. Wed, 31 Dec 1969 16:33:22 GMT http://library.creativecow.net/articles/oneil_bill/bezier_warp.php Bill O'Neil demonstrates the use of After Effects 5.5's Motion Blur with shutter angle and phase settings to create a 'smear' of color that will become one of the most useful clips in your digital spice rack Wed, 31 Dec 1969 16:33:22 GMT http://library.creativecow.net/articles/oneil_bill/motion_blur.php Bill O'Neil demonstrates the use of After Effects 5.5's Motion Blur with shutter angle and phase settings to create a 'smear' of color that will become one of the most useful clips in your digital spice rack Wed, 31 Dec 1969 16:33:22 GMT http://library.creativecow.net/articles/oneil_bill/light_storm.php Bill O'Neil demonstrates the use of After Effects 5.5's Motion Blur with shutter angle and phase settings to create a 'smear' of color that will become one of the most useful clips in your digital spice rack. This tutorial also uses AE 5.5's Vector Paint, Bezier Warp, Transfer Modes and Trapcode's Shine to create this very cool effect. Wed, 31 Dec 1969 16:33:22 GMT