#Dynamic Video Effects

[doink]

Unleashing Creative Freedom: Mastering Person Masking in Green Screen by DoInk – No Green Screen Needed

Embark on a journey of limitless creativity with our latest tutorial! In this blog post, we'll dive into the innovative world of person masking using the Green Screen by DoInk app, and the best part? No green screen required! Whether you're a teacher looking to engage students in hands-on projects or a content creator seeking dynamic video effects, this step-by-step guide is your passport to unlocking the full potential of person masking in any setting.

What you will learn:

Understanding the Person Masking Tool in Green Screen by DoInk

Utilizing person masking without the need for a green screen

Capturing and integrating subjects seamlessly into any background

Adding overlays, animations, and creative elements for a polished result

Real-world examples for inspiration and application

Empowering your projects with the flexibility of person masking

Person masking in Green Screen by DoInk just became even more accessible! Whether you're a seasoned pro or a newcomer to the world of video editing, this tool empowers you to bring your creative vision to life without the constraints of a traditional green screen setup.

Unlock the boundless possibilities of person masking without the need for a green screen. Share your creatively masked projects with us, and let your imagination take center stage!

[milkywayes]

battlefields, internal

[joelletwo]

[VD: takasugi messy journey of vengeance gintama amv set to hayloft ii, with gintama-typical flashing, violence, and eye trauma]

yes the gun is (every char around him and also) gintoki. yes i painstakingly made that utsuro lipsync on purpose

[edit: OKAY YAY! on youtube with lyrics in CC]

[fragmentedblade]

I called it, Ruan Mei is deranged and shady as hell

[bitchesgate3]

I will always be in favor of playersexuality. Until the day game designers have more nuanced understandings of sexuality.

Game designers still only understand flamboyant gay, mean lesbian, slutty bisexual, and quirky queer. Any identities not those are not even recognized. And any complex characterizations are only afforded to "normal" straight characters.

While Larian gave us a step in the right direction, they are still coming from the above framework and trying to reiterate upon that. And you have to understand that framework in order to recognize why their implementation is still somewhat shallow while still being the best offered compared to other games in the genre.

In the past, every time I encountered a woman in a romanceable video game who correctly represents my own experience of bisexual/pansexual identity, she was only romanceable by male characters.

These are women who have tough exteriors on a spectrum of "bitchy femme", a midpoint of "aloof androgynous", to "tough masc". All points that are gnc in some way, but all are women who also have a soft interior that is interpreted as conventionally feminine.

Game designers interpret these two traits (outward gnc and inner softness) as a nullification to heterosexual woman. Time and time again. Falling into the stereotype of being a woman for a man to tame.

Will they ever understand? Or do people as a whole just don't understand the many ways bisexuality can take shape?

[romantically-yours]

I wanna pick up a girl and pin her against a wall and give her lots of lil smooches while we giggle like the little gay goblin gremlins that we are

[fullscoreshenanigans]

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Title: DAYBREAK FRONTLINE -Rap arrange- Song and Lyrics: Orangestar (蜜柑星P) Vocals: Fantastic Youth — LowFat, おん湯 (Onyu) English Translation: shiguremachi (link in reblog)

Since the original YouTube video with millions of views was taken down, I figured I’d upload one of my favorite TPN AMVs with some English lyrics. This was the first AMV I saw after watching S1, and I know the song has been around for half a decade now, but it’s forever associated with this series in my mind. Words can’t describe how well it captures the series’ message of hope while giving a nice chronological recap of the season. Forever grateful to the original creator who uploaded it to niconico shortly after it aired.

[korattata]

meta videogame bullshit my beloved

[eilooxara]

Why is anime so loud

[doink]

Mastering Animation in Green Screen by DoInk Tutorial

Welcome to an exciting journey into the world of animation with Green Screen by DoInk! In this step-by-step tutorial, we'll guide you through the art of animating in the app, unlocking the creative possibilities to make your projects come alive.

[milkywayes]

garrus and his blackwatch goons from ->dreamt a cipher

[manonahmedcs]

Fire Logo Reveal.

Follow me on

Vimeo to reach me instantly.

Any Query:

www.manonahemed.com

[filtergrade]

FAST and DYNAMIC Intro After Effects Tutorial

[swampjawn]

Time to talk an unnecessary amount about floors!

Episode 6 of Dungeon Meshi was produced in collaboration with a smaller studio, Enishiya - and it went way harder than I expected, for being made up of two relatively simple and self contained stories focusing on one character each.

And you can really see how those extra resources meant the animators could give full focus to both halves of the episode. Let's take a look at one piece that stole the show.

The first half was handled primarily by episode director/storyboard artist Keita Nagahara and co-animation director Hirotoshi (or Hiroaki? [1]) Arai. It's actually kinda insane how much of this section can be attributed to these two.

But the real star of the show is the second half, Chilchuck vs the mimic, led by co-animation director Toya Ooshima in his first animation director role for TV anime!

And the biggest aspect that knocked my dang boots off was something that's very consistent with Ooshima's style: background animation!

By animating the backgrounds rather than using painted still images, Ooshima and the team of other similarly skilled animators are able to create these beautiful dynamic camera movements that wouldn't be possible otherwise. Like these cuts by Takeshi Maenami where the camera becomes an expressive part of the scene, zipping forward and backward, and tilting to emphasize the speed of this murderous hermit crab. (Maenami's style is also very recognizable here - snappy timing and quick camera movements)

Or this cut by the incredible Kaito Tomioka which cleverly combines a traditional background for the walls with a fully animated floor. The level of detail in these tiles is just completely insane, and used to great effect with this wide, diagonal angle, and the way the camera tentatively drifts forward before reversing direction, and the tiles blur out as it speeds up.

I don't think I'm the only one caught off guard by how much they full-assed this little side story, but it was a pleasant surprise!

I broke down the entire episode in this video here. A lot of research went into this one, and I think it's the best one of these videos I've made so far, so if you're at all interested in more of this type of analysis in video form, I would really appreciate it if you checked it out, or re-blogged this post! Thanks

[1] It's listed as Hirotoshi on Anime News Network, but Hiroaki on a key frame that Studio Trigger shared on Twitter, so I'm not sure which one is wrong.

[guitarbomb]

Unlock IK Multimedia's MixBox SE for Free: A Limited-Time Offer

Get your hands on the versatile MixBox SE multi-effect plugin by IK Multimedia, available at no cost for a limited time, courtesy of Audio Plugin Deals. As February unfolds, don’t miss out on this opportunity to enhance your audio toolkit with a selection of free plugins. IK Multimedia’s MixBox SE for Free IK Multimedia, in collaboration with Audio Plugin Deals, is giving away the MixBox SE…

[kruxton]

just watched the new aquaman movie and its just okay