Rip of the VHS video tape that came with ASDG Elastic Reality for Apple Macintosh in 1994.
27 minutes, NTSC.
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27 minutes, NTSC.
#nostalgia #tvcommercials #videogamecommercials #gamingcommercials #oldvideogamecommercials #90scommercials #90sads #1990scommercials #2000scommercials #2000sads #2001commercials #1991 #1992 #blockbuster #tacobell #nintendo #nintendocommercials #mcdonalds #dailymotion #youtube #facebook #twitter #twitch #motiongraphics #deezer #tv #dlive #instagram #stream #motion #twitchstreamer #fightingmentalillness #twitchclips #twitchretweet #twitchaffiliate #twitchshare #ant #scribaland #tiktok #greece #spotify #gelio #games #vimeo #google #motionmate #youtuber #greekquotes #vhs #fullmovies #fullmovie
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TVTranscript
00:45Morphing is the process of shifting the shape and content of one image into another.
00:52Hi, I'm Dave Lauer from ASDG.
00:55You may be familiar with older morphine technologies that use cumbersome points or meshes.
00:59Elastic Reality, or ER for short, sets a new standard for Macintosh morphing software
01:05by using a shape-based system.
01:07This system employs Bezier curves to utilize very flexible and reusable individual shapes.
01:13When you draw just one shape using our system, you are actually placing the equivalent of thousands of points on
01:19your image.
01:19Let's see how we'd use ER to create a basic morph between two people.
01:25We'll first outline the primary features on both images using familiar structured drawing tools.
01:34Then we'll use Elastic Reality's AB mode to see both images at the same time.
01:39Now we can join corresponding shapes together.
01:44A special correspondence mode shows you exactly how the shapes relate to each other.
01:48For your basic morph, this is all you need to do.
01:51But, Elastic Reality doesn't stop there.
01:54Although it's very easy to use, it has enough features to satisfy the professional user.
01:59For example, any shape can be placed in its own group.
02:03This allows you to have separate motion and dissolve rates for different parts of the image.
02:08You can also set different depth levels for each group.
02:11This allows parts of the image to pass in front of, or behind, other parts.
02:16A wireframe preview function lets you see how your shapes are working together to create the full effect.
02:23Elastic Reality includes many powerful features to easily create full motion effects.
02:28Moving morphs and warps usually consist of many frames.
02:31With ER, when you draw a shape on one frame, it appears on all the other frames automatically.
02:38After you adjust your shapes on a few key frames, Elastic Reality will tween, or fill in the rest.
02:43ER can also generate soft edge still or traveling mats.
02:50These allow you to seamlessly composite a Morpher warp sequence onto a static or moving background.
02:57Professional work often requires the use of very high resolution images.
03:02Again, Elastic Reality isn't going to place limits on your work.
03:05It has the ability to create resolution independent images, from small quick time movies to feature film resolution.
03:13Elastic Reality is compatible with your existing applications.
03:17Images in quick time, PICT, and PICS file format are supported on input and output.
03:23Broadcast quality digital video input and output is achieved through the use of ASDG's Abacus driver, available separately.
03:37With our outline-based technology, you can take advantage of shapes that are already present in your images,
03:42instead of applying some mathematical abstractions.
03:49With each shape that you draw, you are placing the equivalent of thousands of points, automatically.
03:57E.R. was designed with the advice and feedback of Hollywood professionals.
04:03It has the high-end features they require to create professional results.
04:10Elastic Reality is the professional's choice for broadcast and motion picture morphing effects.
04:35The objective of this tutorial is to demonstrate some of the basics of Elastic Reality.
04:40In it, we'll perform some warps on a human face using only two squares.
04:44You'll be astonished at the variety of effects that can be created with just two shapes and a little imagination.
04:50Please follow along step by step.
04:56Start Elastic Reality by double-clicking on its icon.
05:00Our first operation is to choose the image which will be warped.
05:03Choose Import Role A Image from the File menu.
05:06Load the mail-picked image which was supplied on your tutorial disk.
05:13A miniature stamp of your image will appear on the project window.
05:17Switch to the Edit window by double-clicking on the FX roll.
05:29Choose the square drawing tool from the tool box.
05:33Draw a square completely surrounding the man's image.
05:36You can adjust the square by dragging on its corner points.
05:41This first square is our source shape.
05:44Now let's make a target shape.
05:46Choose the square tool again and draw a second square inside the first one.
05:52If it doesn't end up exactly where you like it, grab it with the pointer along one of its sides
05:57and move it around until it's nicely centered.
06:07To specify that one shape will transform into another, we need to create a link between them.
06:13This is done with the Join command.
06:16Click on the larger square to select it.
06:18Hold down the Shift key and click on the smaller square.
06:22Now choose Join from the Shapes menu.
06:25If we choose the Correspondence tool, we can see exactly how the shapes are joined together.
06:31Use the plus and minus keys to increase and decrease the rendering precision.
06:37Or go to the Option menu and choose Shape.
06:41Now you can change the rendering precision with this dialog slider instead.
06:47Notice that the slider is actually labeled Edge Density.
06:51When you increase the number of lines, you are also increasing the precision of how well the yellow edge connecting
06:57the lines follows the actual edge of the shape you drew.
07:00I'm going to draw a circle to make this point more clear.
07:05Choose the Circle tool and drag out a circle shape.
07:11Now when we go into Correspondence mode and lower the edge density down to its minimum setting, we can see
07:19that the yellow edge barely approximates our circle shape.
07:22But when we increase the edge density, the yellow edge follows the shape's contours much more closely.
07:28This edge is what the computer will use to render your warp or morph.
07:33We can delete our circle by selecting it and hitting the delete key.
07:40Now let's close the shape options window by clicking on its close box.
07:51We can preview a single frame of the output to see if our settings produce what we intended.
07:56This is a very useful function which reduces the amount of guesswork involved and rendering time required to produce the
08:02desired effect.
08:04Choose Render Preview from the Morph menu.
08:07In just a couple of seconds you'll see your warped image.
08:11You can hide your shapes by clicking on the A button.
08:14Click on the Preview button a few times to toggle the two images back and forth.
08:22You've just performed your first single image warp.
08:24It only took two simple shapes to warp the image.
08:27Elastic Reality made all the calculations for you based solely on the first square, which described the whole image,
08:33and the second square, which described a smaller target area to warp the image to.
08:43We're going to change the position and size of our two squares so instead of shrinking his entire head,
08:48part of it will balloon out.
08:51Make sure the A button is on so you can see your shapes.
08:55Now select your join shapes and choose Unjoin from the Shape menu.
09:02Drag the larger square down to a smaller size and place it inside the other square.
09:10Now we'll join this small square to the larger square.
09:19Choose Render Preview to see our results.
09:28Notice how the new preview image replaced the previous one.
09:32Switch from the Preview view to the Normal view again.
09:43Let's try a warp exactly the opposite of the one we just made.
09:46Shrink the face instead of expanding it.
09:49Select the join pair of squares and select Unjoin from the Shapes menu again.
09:55Now let's join the larger square to the smaller square using the Command plus J key sequence.
10:02Render another preview.
10:08The shapes are in the same positions as they were before.
10:12All you've done is reverse their source and target relationship.
10:18Let's stop and consider exactly what you've seen happen so far.
10:22Two square shapes surround and describe different parts of an image.
10:26One shape is defined as the source, the other as the target.
10:30You're telling Elastic Reality to take what imagery you find inside the source shape
10:34and warp it so it fits entirely inside the target shape.
10:37You can also see that areas of the image that are outside of the shapes get dragged along in the
10:42process.
10:48We can control this effect by adding another shape to keep his hair tacked down in place while his face
10:53changes.
10:54This new shape acts as a barrier.
10:57Use a circle tool to draw a circle around the joined shapes.
11:01The outer circle is a barrier that will prevent any distortion from happening to the surrounding parts of his head.
11:08Render another preview picture and observe how the barrier shape does its job.
11:13Notice that all imagery outside of the circle did not get modified.
11:19Explore the possibilities that just two squares or two circles offer for warp effects.
11:23Move them around, resize them, or try overlapping one on top of the other, or move one entirely outside of
11:30the other.
11:30For another variation, you could rotate one or both shapes.
11:35Select the shape you wish to rotate, hold down the control key, and click and drag on one of the
11:41corner points.
11:49Now for a look at what we've learned.
11:51It takes at least two joined shapes to create a warp.
11:54The order in which two shapes are joined is of paramount importance, as this is what controls the directionality of
12:00the effect.
12:03When you join two shapes together, you are saying,
12:06I want the part of the image enclosed in the first shape to move and warp into the location, size,
12:11and orientation of the second shape.
12:15A shape can act as a barrier to prevent unwanted image distortion.
12:20You can manipulate shapes in various ways.
12:36This tutorial expands on what you learned in tutorial one, by letting you see the same kinds of simple warp
12:42effects happen over time, animated in a quicktime movie, instead of just in a single still image.
12:48If you're satisfied with the results of your first project, you need change nothing.
12:52If you'd prefer to start fresh, drag box select your existing shapes and hit the delete key.
12:58Now you can create a couple of new joined shapes.
13:07We first need to tell Elastic Reality how long we want the animation to be.
13:12Go to the project window by selecting project from the window menu.
13:18Next, click on the frame number bar in the FX row.
13:21Enter the number 20 for frame duration.
13:24This sets us up a 20 frame animation.
13:28Choose morph options from the morph menu.
13:30This menu only affects rendered output, not previews.
13:34Turn on anti-aliasing and click OK to accept the other default settings.
13:40Now choose output options from the morph menu.
13:45We want to reduce the size of our output so that our movie plays faster.
13:49With the aspect set to original, type in 160 in the first field and this will automatically change our height
13:56to 200.
13:57Our start and end frames are set correctly, so click on OK.
14:09Let's look at an animated wireframe of the morph first.
14:12Click on the edit window to bring it back to the front.
14:15Now choose render wireframe from the morph menu.
14:19We want to use our defined edge density, so click on OK.
14:25Use the VCR style controls at the bottom of the window to play your wireframe animation.
14:30You can click on the frame number indicator to jump to any specific frame number of the wireframe animation.
14:36This project isn't much to look at in wireframe mode, but as you create more sophisticated projects in the future,
14:43you'll use this mode often to check your shape's motion.
14:46Exit the wireframe preview mode by clicking on its button.
14:54We're almost ready to render a QuickTime movie.
14:57Just a few more settings to check or change.
15:00Choose output compression at the bottom of the morph menu.
15:04In this dialog there are many options to control final QuickTime output.
15:08For your first movie, we'll set the compressor to animation and the control just below it to millions of colors.
15:16Click on OK to accept these settings.
15:20Now choose the output file settings from the morph menu.
15:27QuickTime output is already selected, so just find a spot on your system to save the movie to and enter
15:32a name for your movie.
15:40Choose render morph from the morph menu.
15:48When you render larger projects in the future, you may want to output numbered picked files instead.
15:54You could then use them for single-frame recording purposes.
16:03When rendering is finished, your movie is saved to disk.
16:10It is also still in memory and available for you to view.
16:18From the window menu, choose movie clip morph.
16:22A standard QuickTime movie viewing window will open.
16:25Use the controls in the window's bottom border to view your creation.
16:41Here's what we've learned.
16:44How to animate a warp.
16:46How to change the image size for a movie or other final output and still maintain the original aspect ratio.
16:54How to render a wireframe version of a movie to preview its shape's movement.
17:00How the various output options work.
17:03How to render a movie.
17:04How to view a finished movie.
17:18This tutorial will teach you how to create a morph.
17:21Similar to those you've probably seen in any number of motion pictures, television shows, or music videos.
17:33Start a new project by selecting new under the file menu.
17:37If you don't want to save your last project, select no from this requester.
17:42Load in the female picked into role A and the male picked image into role B.
17:48These images were included on your tutorial disc.
17:56Click on the gray area in the FX role to display the frame duration dialog.
18:01Change this value to 10 and hit return.
18:05Now double click on the FX role to go to the edit window.
18:16The first step is to create the shapes for the woman, our A-roll image, then similar ones for the
18:21man, our B-roll image.
18:22We will then join the corresponding shapes together.
18:26Elastic Reality uses a pen tool with bezier curves to outline your shapes.
18:30If you've had experience with structured drawing programs, you'll feel right at home with Elastic Reality.
18:35If you aren't familiar with structured drawing tools, you'll need to spend some time getting comfortable with them.
18:40However, after a little practice, you'll find that you can outline even complicated shapes very quickly.
18:47Let's zoom into the woman's right eye using the magnify tool.
18:52Now select the pen tool.
18:55Click and hold down the mouse button to pull out the first point's tangent.
18:59Now click on the top of the eye to pull out this curve.
19:04When we get to a corner point, hold down the control key to change the angle of the tangent.
19:11Remember to always pull out your tangents on long curves.
19:14When we click on the first point again to close the shape, we are automatically placed in reshape mode.
19:21So go ahead and reshape the eye if necessary.
19:24We can move the control points or drag out the tangents.
19:31After this shape is finished, let's create a second shape for the eye's iris.
19:36This is a very good use for the circle tool.
19:40Drag out a circle to approximate the iris and then reshape if necessary.
19:46Now that we've created these shapes for the woman, we need to create similar shapes for the man.
19:53Select both shapes and choose copy from the edit menu.
20:00Go to the B mode, then issue a paste command.
20:05Move these shapes to match the man's eye as close as possible.
20:12Now we can rescale the shape to match it even better.
20:19Once you get it close enough, we can move to reshape mode and modify the shape's control points and tangents.
20:26In some cases, it is often easier to just draw a new shape from scratch instead of cutting and pasting.
20:32Just don't forget that you have these tools at your disposal, as they often do save you quite a bit
20:37of time.
20:38Switch to A-B mode so that we can see both images at the same time.
20:43Now we can join corresponding shapes together.
20:47Once we have this feature completed, you can go ahead and do the left eye, nose, and mouth.
20:55If you've never used structure drawing tools before, take your time.
21:00Don't forget that we can always readjust the shapes later.
21:07Remember that after you've finished a shape, you have actually placed the equivalent of thousands of points on your image.
21:18After you have drawn all your shapes, make sure that all your shapes are properly joined.
21:26Select the correspondence tool to switch to correspondence mode.
21:32Remember in tutorial 1 we showed you that you could increase the precision by hitting the plus key.
21:37We can also adjust the correspondence points themselves to make certain areas of the image line up correctly.
21:45I'm adjusting these points so that the underside of each nose lines up perfectly.
21:50We can add a correspondence point by clicking on the shape with the Alt key held down.
21:56Notice that this increased the precision between our points.
22:01Go ahead and adjust the correspondence points on your other shapes.
22:08Remember to increase the edge density if necessary.
22:13After you have finished your shapes, go to Preview Options from the Morph menu.
22:21Choose Morph from the Preview Type and turn on Anti-Aliasing.
22:27Now click on the Preview button to render our preview.
22:32This will give us a good idea if our shapes lined up correctly.
22:42Everything looks good so far.
22:44Go to Save As from the File menu to save your progress.
22:51Type in a name for your project and hit Return.
23:00To save time, let's import the remaining shapes from disk.
23:04Select from the File menu Import Role A Shapes.
23:08Now select the file called Female Shapes, which was included on your tutorial disk.
23:14We want to add the imported shapes to our current shapes.
23:19Now load the male shapes into the B-Row.
23:24Also select Add.
23:29When you switch to each image, you'll see that the imported shapes now combined with your previous shapes.
23:34Go to AB mode and join corresponding shapes together.
23:42Remember that you can use the Ctrl plus J key sequence to join these shapes.
23:48It would be a good idea to learn the keyboard equivalents as they do save quite a bit of time.
23:55Choose the Correspondence tool from the Toolbox.
23:58Your imported shapes already have the correspondence points adjusted correctly for you to study.
24:04I'm going to zoom in on an important area of this morph.
24:09Notice that I added two correspondence points to make sure that the ears and the necks lined up correctly.
24:21Before we actually render the morph, let's do a quick wireframe preview to check our shapes in motion.
24:27Choose Render Wireframe from the Morph menu and click on OK to accept our defined edge density.
24:33In just a few seconds you'll see our wireframe animation.
24:38If we noticed any problems here, we could change things now rather than waiting for the full rendered morph.
24:44Everything looks good so let's go ahead and set up our morph options.
24:48Click on the wireframe preview button to exit this mode.
24:52Go to the Morph options under the Morph menu.
24:58For now let's just turn on anti-aliasing and leave the other default settings.
25:03Click on OK.
25:07Now we'll specify where the output will be placed.
25:10Choose Output Options under the Morph menu.
25:13Change the size from 320x400 to 160x200.
25:20Our start and end frames are already set correctly so click on OK.
25:26Now let's select the output file settings.
25:29The type is already set to QuickTime movie so just type in a name for your movie and click on
25:37OK.
25:40Let's go to Output Compression to change our compression settings.
25:45I'm going to set mine to animation with millions of colors.
25:50I'm also going to change the quality to High.
25:53Now click on OK.
25:56To initiate the rendering, select Render Morph under the Morph menu.
26:03In a few minutes, you'll be able to view your movie.
26:13To view your movie, select Movie Clip Morph from the window menu.
26:17Use the controls at the bottom of the window to play your movie.
26:22Here's a full screen version of R Morph.
26:36Here's what we've learned.
26:39How to use the pen tool.
26:41How to use the reshape tool.
26:44How to use the magnify tool.
26:47How to edit correspondence points.
26:50How two images combine to create a morph.
26:53Then number ranging from 2.
27:02als a
27:05You
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