Graphic Design Blog > Elie El Khoury » Abstract Shine Animation with Photoshop and ...

[Elie El Khoury] You also must unlink the image and the mask (the chain in between the two in the layers menu). Then while making sure the mask is selected you have to use the paintbrush and paint a white squiggly line on the left of the mask (which actually will make that part visable during the animation).

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[Picnic Books] Picnic Books » Blog Archive » Enemy Within by Roger Cottrell:           This symbiosis between TV and film making in the UK also explains why the closing down of English Regional Drama at BBC Pebble Mill in Birmingham was such a blow - I’ve already slammed the axing of PLAY FOR TODAY on previous blogs.  Without Philip Martin’s GANGSTERS (which launched the careers of Paul Barber and Saaed Jaffrey and was the first generic series in Britain to have a predominantly non-white cast) Stephen Frears would not have been able to adapt MY BEUTIFUL LAUNDERETTE in 1986 in quite the way he did.  Along with THE LONG GOOD FRIDAY and DEFENCE OF THE REALM this was one of the best British movies of the 1980s.  But by the late 1980s the cultural depository that generated these great works was gone.  To my knowledge, BOYS FROM THE BLACK STUFF was one of the last things to be made by English Regional Drama and Trevor Griffiths (who gave us MADE IN BRITAIN, by Alan Clarke, and OI FOR ENGLAND) was working for the Open University as an academic by the end of the decade.   In the 1990s, the best British movie was FACE by Antonia Bird, which had similar roots in her excellent TV work, including CRACKER.  But was it the best movie of the 1990s, when the Americans were bringing us stuff like NARC - probably my favourite 1990s film?   In TV, too, HBO often steal the march on what is best on British TV, e.g. with THE SHIELD and THE WIRE - a point well made by Irvine Welsh in The Guardian recently.  This saddens me in no small measure when the best film director working in Hollywood (Paul Greengrass) is actually British.

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