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Meet Bill O'Neil: CreativeCOW.net Contributing Editor

COW Leaders : Bill O'Neil
Creative COW Web Writer, Contributing Editor


Bill O'Neil
Bill O'Neil
www.chicagospots.com
Chicago, Illinois USA
Chicago, Illinois USA

Bill O’Neil is a commercial director based in Chicago under the banner of O’Neil Productions. He spent ten years in Los Angeles working in effects and stop motion animation before setting up shop in his favorite city with his wife and daughter.

O’Neil was the last stop motion animator of The Pillsbury Doughboy before the little nerf blob found a new identity in CGI. (Although a fan of 3D, Bill thinks he never looked the same- almost like the second Darren on Bewitched.)

O’Neil also directed many episodes of the “Life in the Refrigerator” segment for Pee Wee’s Playhouse. His favorite was the Peanut Butter and jelly wedding.


Bill O

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Articles by Bill O'Neil

Adobe Premiere Pro
PluralEyes: Fast & Easy Connections for Video & Audio Clips

PluralEyes: Fast & Easy Connections for Video & Audio Clips

With the popularity of HD-DSLRs, many shooters are recording sound separately because of the camera’s limitations with audio -- but putting audio and video together in post can be a chore. Longtime spots ace Bill O'Neil has been dealing with this over the past several years , and has found PluralEyes from Red Giant to be fast, easy, and effective. Take a look to see if PluralEyes will help you, too.

Review, Editorial, Feature
Bill O'Neil
Adobe After Effects
Pushing AE - And Myself

Pushing AE - And Myself

Bill O'Neil helps celebrate 20 years of Adobe After Effects with his story. Bill reveals his secret, "I learned how to use AE by making promises to my clients I didn't know I could keep."

Editorial, Feature
Bill O'Neil
Adobe After Effects
Camera Tracker Review

Camera Tracker Review

Bill O'Neil offers his insight into The Foundry's CameraTracker, a powerful tool which allows the user to pull 3D motion tracks and matchmoves -- all inside of AE. Read as Bill dips his toes into the water and begins to experience the possibilities available. He includes three movie samples and screenshots.

Review
Bill O'Neil
Broadcast Design
Slam Dunk! AE, PS, 3D...and BasketballSlam Dunk! AE, PS, 3D...and Basketball

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.

Feature
Bill Oneil
Adobe After Effects
Building a 3D World in After Effects

Building a 3D World in After Effects

When a project requires a photo-realistic 3D world, After Effects isnt 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.

Tutorial
Bill O'Neil
particle Illusion
Professional Emitter Libraries: Pyro and HeartsProfessional Emitter Libraries: Pyro and Hearts

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.

Review
Bill O'Neil
particle Illusion
wondertouch particleIllusion Professional Emitter Libraries

wondertouch particleIllusion Professional Emitter Libraries

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.''

Review
Bill O'Neil
Adobe After Effects
More Lighting and Shadows

More Lighting and Shadows

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. As an added bonus, Bill includes his project files for snow and smoke.

Tutorial
Bill O'Neil
Adobe After Effects
Dressing Up a Scene With Shadows

Dressing Up a Scene With Shadows

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.

Tutorial
Bill O'Neil
Adobe After Effects
Using Depth of Field to Create Flythroughs

Using Depth of Field to Create Flythroughs

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.

Tutorial
Bill O'Neil
Adobe After Effects
Shooting for 3D post

Shooting for 3D post

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...

Tutorial
Bill O'Neil
Adobe After Effects
Rotoscoping with Vector Paint

Rotoscoping with Vector Paint

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.

Tutorial
Bill O'Neil
Adobe After Effects
Light Storm EffectLight Storm Effect

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.

Tutorial
Bill O'Neil
Adobe After Effects
Motion Blur with Shutter Angle and Phase SettingsMotion Blur with Shutter Angle and Phase Settings

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

Tutorial
Bill O'Neil
Adobe After Effects
BENDING LIGHT WITH BEZIER WARPBENDING LIGHT WITH BEZIER WARP

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

Tutorial
Bill O'Neil
Adobe After Effects
Using Vector Paint to create a color wall of splotchesUsing Vector Paint to create a color wall of splotches

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.

Tutorial
Bill O'Neil
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