![]() ![]() (This means the icon will lose its vector quality and act more like a. From there, we will isolate the icon we want to export, and we will change the scale, adjust various colors, then split the icon into multiple layers (if necessary).Īn important aspect of vector icons in Premiere Pro is that they will get rasterized upon import. We’ll start by importing our vector icon set into Adobe Illustrator. However, with just a little work in Adobe Illustrator, we can optimize any vector icon we want for use in Premiere Pro or After Effects. If you’ve ever purchased a set of vector icons to use in a video, you may have quickly realized that just dragging and dropping the vector files into Premiere Pro or After Effects is not the best workflow. And now there’s Carol Kane, too.In this tutorial, we’ll take a look at the workflow to export an icon from Adobe Illustrator for use in Premiere Pro and After Effects. No real suspense there either, but still. I found myself missing Christina Chong, as who wouldn’t, and actually worried about La’an getting back aboard the Enterprise. That’s what SNW seems to be going for in general, and it’s nice to get away from forced drama in favor of something relatable.Įvery member of the cast seems happy and alive. Similarly, no real suspense about whether the Enterprise was going to fail to stop the war, but the way that the situation got resolved, and the way it made the Klingons more three dimensional, was a nice touch. Ethan Peck absolutely sold that, and Spock’s confusion about what he was feeling. But Spock didn’t know that, and he had to make the decision to possibly kill the woman he loved in order to avert a war. ![]() No, they weren’t going to kill off two of their main characters that way, and we knew Nurse Chapel survived in any case. Terrific episode, and the discussion is about what the Klingons looked like? It was a more classic Klingon, and a little bit truer to what we use as our basis for picking things.” “We take and we kind of extrapolate into this imagined version of that. Our transporter room doesn’t look like Discovery’s transporter room, and our bridge doesn’t really look like Discovery’s bridge,” Goldsman explains. “We have our own aesthetic Discovery has its own aesthetic. It just made our lives slightly easier to do that because we wanted to have them come back in some ways and see them a bit more.”Ĭo-showrunner Akiva Goldsman, who also executive-produced Discovery, boils the Klingon differences down to both shows having their own unique vibes. With the Klingons’ finalized look in Strange New Worlds, Myers says they “wanted them to feel like Klingons.” Additionally, the slight redesign was due to “some things that made it easier for producing. This is just what they look like right now.” ![]() “As we were starting our season - we’re working with a lot of folks in our production who are from Discovery - we were trying to find something that spoke to the old-school Klingons from, from the movies, but that also didn’t speak against the ones that happened on Discov ery. They bent the Klingons a bit,” Myers tells TVLine. Strange New Worlds co-showrunner Henry Alonso Myers acknowledges that the Discovery team took a big swing with their version of the Klingons, also noting that Strange New Worlds opted for a more classic look. Secret Invasion Director on Finding the ‘Emotional Truth’ in Episode 1’s Shocking Climax - Grade the Premiere ![]()
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