3D Stereoscopic

The Centrica Carnivale part 3

The final of the three-part video series on advanced 3D animation using After Effects

By ChrisZwar | August 20, 2009

 

In part 2 we looked at the creation and animation of the "racing waiters" scene... one award done but five more to go!

In the final of the three-part series we look at all the other scenes in the animation and then conclude with a few notes on delivery. Read More

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The Centrica Carnivale part 2

Part two of the three-part series looking at advanced 3D animation using After Effects

By ChrisZwar | August 20, 2009

 

In Part 1 we looked at the initial client brief, the pitch animation, and ended up creating some flashing lights in After Effects.

In Part 2 we dive right into advanced 3D - beginning with an examination of the "magic star", then a comprehensive demonstration of the Knoll Light Factory, before concluding with a complete analysis of the "racing waiters" scene. Read More

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Introducing the Centrica Carnivale

A 3-part video tutorial looking at advanced 3D animation in After Effects

By ChrisZwar | August 19, 2009

 

3D or AE? How about 3D using AE!

At the beginning of 2006 I created a conference opener for Centrica that looked like it had been made with a 3D animation package, however practically everything was created using only After Effects. This is part one of a three-part series that looks back at the Centrica Carnivale animation and demonstrates the techniques that were used to create the distinctive 3D look. While not intended to be a detailed step-by-step tutorial, the series looks at all aspects of the project- from the initial client brief through to final delivery and gives insight into the "real life" stages of an After Effects project. Read More

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Making It Look Great 6 Review

Training for Cinema 4D and After Effects is "Cool Stuff" Indeed!

By Chris and Trish Meyer | July 07, 2009

Unless you've spent the past few years hiking the Appalachian Trail, you'll be aware how much 3D animation has infiltrated the broadcast motion graphics world. Not so long ago, being an accomplished After Effects artist was enough to land a good job, but now employers and clients are also looking for good 3D skills (and in this economy, anything that increases the chances of landing a plum job can't be ignored). Surveys by us and others indicate that Maxon's Cinema 4D is the 3D program of choice for After Effects motion graphic artists. In case there was any doubt, Cinema's MoGraph module sealed the deal. In our report from NAB, we blogged how small studios are successfully integrating Cinema and After Effects, so how fortuitous for us that Cinema master Tim Clapham has released a fabulous training series on just this subject. Making It Look Great 6: Design and Production Techniques for Cinema 4D and After Effects is the latest release from John Dickinson's company Motionworks. As Company Director of LUXX (and before that, HYPA), Tim Clapham' credentials are impeccable - so you know that this will be the best $89 you've spent in a long time... Read More

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After Effects Apprentice Video Tutorial #7

Manipulating 3D cameras as well as views.

By Chris and Trish Meyer | July 04, 2009

We've recently released After Effects Apprentice (2nd Edition). The DVD-ROM that comes with the book includes an hour and a half of video tutorials that provide gentle introductions to major features inside After Effects. We are releasing these videos one per month here on PVC; they are also being made available on Focal Press' web site - make sure you visit their After Effects micro-site for more related freebies.Learning how to navigate 3D space can be one of the more daunting features to tackle in After Effects. In this seventh video, we demonstrate how to use the Camera Tools in After Effects both to move 3D cameras, and how they affect the Position versus Point of Interest parameters. We also show how these same tools allow you to customize the additional 3D views the user has access to, making it easier to view your scene from alternate perspectives. Tips include how to quickly switch between the different tools, plus how to use a 3-button mouse in conjunction with the new Unified Camera Tool introduced in After Effects CS4. And it will all take only 4 minutes of your time. Click on the Play Video link below, and enjoy!(Note: For those who are hearing-impaired, lynda.com has added Closed Captioning to these tutorials. They are available here. We are also in the process of creating video training for all of the After Effects Apprentice lessons; they will also appear on lynda.com. If you do not have a lynda.com subscription, click here for a free 7-day pass.)After Effects Apprentice was designed for students looking to learn After Effects from scratch, as well as those who do not use AE full time (such as editors or web designers). It starts gently with an introduction to keyframing, and progresses through the important features (such as masks, mattes, effects, text, audio, 3D space, shape layers, expressions, parenting, and building advanced hierarchies of compositions) until you end up keying, stabilizing, and compositing a shot in high def. The second edition has been fully revamped for After Effects CS4, and includes integration with Photoshop CS4 Extended and Flash Professional CS4.The content contained in After Effects Apprentice - as well as the CMG Blogs and CMG Keyframes posts on ProVideoCoalition - are copyright Crish Design, except where otherwise attributed. Read More

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NAB Monday: Best of Times; Worst of Times

Catching up with friends, seeing practical applications, and some sad news.

By Chris and Trish Meyer | April 21, 2009

Loitering at the Plug-in Pavilion were (left-to-right) Aharon Rabinowitz (All Bets Are Off Productions), John Dickinson (Motionworks), Zax Dow (Zaxwerks), Brian Maffitt (Total Training), and Chris Meyer.

NAB this year is certainly a cross between the best of times (catching up with friends and seeing cool new toys) and the worst of times (the horrendous economy casting a pall around the halls). We've been in Las Vegas since Friday night, and teaching a few sessions at the Post Production World conference in the North Hall. So it was nice to finish up our sessions Monday morning and hit the show floor. Word has it that attendance is down from 107,000 last year to just 80,000 this year. You can tell its down because you don't need binoculars to see Peder Norbby demo Particular 2 at the Red Giant booth in the Plug-in Pavilion (more on that, and other plug-ins, tomorrow). But first, what we saw and heard on Monday: Read More

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Unlearning by Example

Sometimes it's just as important to learn what NOT to do.

By Chris and Trish Meyer | March 24, 2009

Just stumbled across a fun blog about bad logo design: Your Logo Makes Me Barf. It's not just about poking fun at bad design; quite often the critiques contain useful advice and explanation (note: they prefer simplicity...). Experienced designers will get a laugh; newcomers will get a useful education and potentially learn to avoid common mistakes.As long as we're talking about bad examples, I have to mention the classic Gallerie Abominate: a collection of truly horrendous 3D modeling and animation with matching lowbrow sense of humor. It hasn't been updated for years, but it doesn't matter: Unlike some flavor-of-the-month "good" designs, bad design seems to always endure. Read More

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Syntheyes 101

3D Motion Tracking

By David Torno | January 04, 2009

Learn Syntheyes, a 3D motion tracking application. I'll show you step by step how to import, track, solve and export the track data as well as a few other pointers.

This is an oldie, but a goodie. I've received numerous emails about this tutorial from all over the world since I originally released it in early 2008. I'm actually quite shocked as to how well it was received considering it was my first ever attempt at a video tutorial. I've been wanting to bring this tutorial over to share with my PVC readers for awhile and have now been able to do so as of today. Please continue to spread the word, I'm glad it has helped so many people already and I hope it continues to to do so here.I am in the works on an updated version of this tutorial for the current version of Syntheyes 2008, but can't really say when I plan on having it done. I will say that nearly everything I talk about in this tutorial is still completely valid for Syntheyes 2008.The "Syntheyes 101" tutorial is a basic start to finish look at how to motion track a video clip and export the track data.I cover the following topics:- The UI (user interface)- Opening a video clip- Properties panels- Spotting and adjusting troublesome trackers- Solving the shot- Color coding solved trackers for your own sanity- Using the Coordinate System- Adding a 3D reference object- Tips on checking overall track for accuracy- Exporting the track- Also various hotkeys are mentioned throughout the videoEnjoy and happy tracking.

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3D Features - Photoshop CS4 Sneak

Check out this video on improvements to 3D models and 3D transform in Photoshop CS4

By Richard Harrington | October 06, 2008

Richard Harrington shows you how to use 3D layers and 3D models in Photoshop CS4 .Want the videos in HD?  Then check out our iTunes version. Read More

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3D Objects from Photoshop in After Effects CS4

A short overview of what to expect with After Effects' implementation of Photoshop 3D

By Mark Christiansen | September 23, 2008

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Spotlight: Fox Sports HD

Flowing ribbons in 3D space tie together this sports ID.

By Chris and Trish Meyer | August 27, 2008

For our next project spotlight, we're going to look at a Fox Sports HD promo animated by Joost Korngold of Renascent. This spot fuses organic movement with the high-impact 3D Fox Sports is known for. Joost, as well as Fox Sports Creative Directors Josh Nichols and Mark Denyer-Simmons plus Senior Vice President and Creative Director Robert Gottlieb, were kind enough to spend some time answering questions and revealing how this spot unfolded. Read More

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TED Talk: Using Biology to Make Better Animation

Torsten Reil talks about how the study of biology can help make natural-looking animated people.

By Chris and Trish Meyer | August 24, 2008

The annual TED (Technology, Entertainment, and Design) conference is a place where Big Thinkers gather annually to inspire and be inspired. I've been going through their online archive of talks for my own amusement and education, and sharing with you ones I found to be particularly interesting.This week I'd like to share a talk by Torsten Reil, originally of Oxford University and now of NaturalMotion. He and his team started from the point of view that most animation in computer games that were based on motion capture or manual keyframing were too simplistic, repetitive, and predictable. So rather than try to guess ahead of time what actions would be needed, and creating or capturing those actions, they went about simulating a human nervous system, wired it up to control a skeleton and muscles, and then gave it artificial intelligence. They used a form of simulated genetic evolution and mutation to teach it how to at first walk, and then react to external forces (such as being tripped or shoved). This system is now being used not only in computer games such as Grand Theft Auto IV, but also in movies for virtual stuntmen - or perhaps most famously, in battle sequences in Lord of the Rings: Return of the King.This movie from TED - originally recorded five years ago - was the first public demonstration of the technology. Watching how their creations learned and then reacted was initially humorous, then breathtaking, and then actually somewhat disturbing; I highly recommend watching it (if you're impatient, start around the 3 minute mark or so). If you want to see where the technology is now, visit the NaturalMotion to learn more about their endorphin Dynamic Motion Synthesis simulator which can bake animations, and their euphoria real-time AI engine, including a good demo movie the gives you an overview of the technology. Read More

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3-D Objects in Photoshop Part 2 - Photoshop for Video #86

By Richard Harrington | July 28, 2008

Instructor Richard Harrington how to work with 3-D objects in Photoshop CS3. Part 2 of 2. Read More

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3-D Objects in Photoshop Part 1 - Photoshop for Video #85

By Richard Harrington | July 27, 2008

Instructor Richard Harrington how to work with 3-D objects in Photoshop CS3. Part 1 of 2. Read More

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Animator vs. Animation

A fun animation that shows what can happen when you tease your art a little too much...

By Chris and Trish Meyer | April 02, 2008

Steve Kilisky recently wrote a thought-provoking blog about how video (and now, the web) has traditionally been initially driven by technical folks, with the artists following along. To this day, there is still often a distinction between an "artist" and an "operator," "animator" or "developer."In that light, Trish recently found (on a calligraphy list, of all things) a pointer to this excellent cartoon that shows what can happen when an animator provokes his animation to revolt. It's well worth a few minutes from your day. (Be patient through the first minute; it keeps picking up pace from there...) Read More

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Motion 3 = 3D

This significant update to Apple Motion includes a slick 3D implementation.

By Chris and Trish Meyer | July 08, 2007

Motion 3 - part of Apple's Final Cut Studio 2 suite - has experienced a major update, including the addition of motion tracking and stabilization, optical flow (smooth slow motion) technology, a gorgeous particle-based paint system, enhancements to their Keyframe Editor, and interesting new Audio Parameter and Retiming behaviors. But the big headliner is the addition of 3D space - including 3D animation for 2D layers, 3D cameras and lights, and 3D enhancements for their particle and text animation systems. Read More

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Camera Control, Part 2: Graph Editor & Dolly Rigs

Using parenting, expressions, and the new After Effects 7.0 Graph Editor to better control a 3D camera.

By Chris and Trish Meyer | January 28, 2006

In the previous column, we discussed a handful of tricks and techniques which can be used in different situations to make it easier to animate the 3D camera in After Effects, including one node cameras, two node cameras, auto-orientation, and building a special orbiting camera rig using parenting and null objects. In this column we'll show how to build a "dolly" rig for the camera in older versions of After Effects as well as the new version 7.0, plus give a quick introduction to the new Graph Editor also introduced in After Effects 7.0. Read More

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Camera Control, Part 1: Auto-Orient & Orbit

Some basic 3D camera control tricks in Adobe After Effects.

By Chris and Trish Meyer | January 09, 2006

One of the most daunting obstacles for motion graphics artists making the transition from 2D to 3D is animating the camera. In this month's column, we'll give a quick review of the two basic camera types you can animate in After Effects, plus reveal the easy-to-miss Auto-Orient Along Path option. Then we'll show you how to build a simple "camera rig" for performing perfect camera orbit and spiral moves. In the next column, we will discuss approaches to building a more complex rig that allows the user to animate each axis independently, and show how this has been made much easier in After Effects 7.0 with a special Animation Preset plus the introduction of a new Graph Editor. Read More

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Enter a New Dimension: Moving Into 3D

Learning a 3D program can be an important career move for an editor or graphic artist.

By Chris and Trish Meyer | October 18, 2000

In this redesign of PAX TV's on-air look, the primetime promotional end caps are filled with light and translucent shapes. Simple flat characters and shapes were exploded and hit from a number angles with different-colored lights. Multicolored light rays add dimension and energy. (creative director: John LePrevost of LePrevost Corporation; art director/designer: Wendy Vanguard of Manna-Design; realization: Chris Meyer of CyberMotion)

Because of either lack of time, or simple Fear of the Complex and the Unknown, many editors and 2D graphic artists resist learning how to use a 3D program. And that may be unwise. More graphic design is incorporating 3D elements - from the ubiquitous extruded flying logo, to cool lighting effects, to wireframes of simple geometric shapes added as visual spice. Your clients may not even know this is "3D", but they know it's a look they want...and if you can't supply it, they'll look for an artist who can. Don't worry - you don't have to create Toy Story 3 single-handedly - but some basic skills will more than pay back the moderate effort invested. Read More

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2D Texture Mapping

Recreating 3D texture mapping and aging techniques in a 2D compositing program.

By Chris and Trish Meyer | April 05, 2000

Plain solid-colored text is not convincing when composited on top of another surface (top). Applying it with blending modes (above) can help it blend into the layer behind it. Displacement mapping (below) further distresses it with the background, making the text appear as if it was physically applied to it. Finally, using a copy of the background as a luminance matte (bottom) makes part of the text transparent, which ages it.

We find it useful to employ both 2D and 3D programs in our work - not just to create different looks, but also because techniques learned in one can provide inspiration for a new approach in the other. One example of this is in the area of texture mapping - making a computer-generated object or surface appear to have a physical texture, with real paint or decals applied to it. In 3D, advanced users wouldn't dream of leaving a surface untextured; they would apply treatments to make it appear more realistic (or surrealistic, if that's what the scene calls for). Then why do so many 2D artists settle for plain, solid-colored text? Sometimes, this is the best approach to clearly convey a message - but it can be interesting to consider texturing our 2D objects as well.There are a series of three tricks we employ to add texture to our text - especially if it is supposed to look like it has been applied to another object in our composite. Let's take the challenge of making some text appear painted onto a the side of a building to see how we would apply these techniques. Read More

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