Chris & Trish Meyer

Creating Motion Graphics is the blog for award-winning motion graphic designers Chris and Trish Meyer of Crish Design (formerly CyberMotion). Here is where they share not just their latest tips, tricks, and gotchas for the tools they use, but also discoveries that help them run their business, sources that inspire their designs, and musings on the future of the motion graphics industry.

Chris & Trish Meyer founded Crish Design (formerly known as CyberMotion) in the very earliest days of the desktop motion graphics industry. Their design and animation work has appeared on shows and promos for CBS, NBC, ABC, Fox, HBO, PBS, and TLC; in opening titles for several movies including Cold Mountain and The Talented Mr. Ripley; at trade shows and press events for corporate clients ranging from Apple to Xerox; and in special venues encompassing IMAX, CircleVision, the NBC AstroVision sign in Times Square, and the four-block-long Fremont Street Experience in Las Vegas. They were among the original users of CoSA (now Adobe) After Effects, and have written the numerous books including "Creating Motion Graphics with After Effects" and "After Effects Apprentice" both published by Focal Press.

Both Chris and Trish have backgrounds as musicians, and are currently fascinated with exploring fine art and mixed media in addition to their normal commercial design work. They have recently relocated from Los Angeles to the mountains near Albuquerque and Santa Fe, New Mexico.


Monday, January 17, 2011

2010 Motion Graphics Design Census

Parsing the results of the latest survey of who makes how much in our field.

The unofficial, web-based Motion Graphics Design Census for 2010 is now available from their web site. It compiles over 5500 responses - distributed roughly evenly between the US and non-US - into a series of responses about age, software, and - primarily - income. Of course, it’s only a survey of those who responded rather than the industry as a whole. Also, not everyone responded to every question - for example, only 219 self-employed artists offered how much they charged per hour, and most of the charts are based just on US respondents. With those caveats, here’s what stuck out for us:

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Thursday, April 09, 2009

Runaway Production

A combination of financial incentives and the convenience of digital media is making it easier to film outside of Los Angeles.

One of the reasons we were happy to live in Los Angeles for so long is because it was where “it” was Happening - there was a critical mass of talent and infrastructure that made it one of the best places to create a film or television show. We also got started just when desktop production was becoming viable, which drastically reduced costs in many cases.

These are different times now. The cost savings of desktop production has already been fully priced in. Throw in an economic crisis, and producers are looking for other ways to save money - including filming in states that provide deep financial incentives (such as our new home state New Mexico’s 25% rebate).

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Budgeting
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Saturday, February 09, 2008

The Second Revolution in Desktop Video

It’s harder to make money this time around.

If you’re reading this blog hoping to learn - with post-humus apologies to Douglas Adams - The Answer to Life, The Universe, and Everything (view on Amazon), I’m afraid we may disappoint you from time to time: We don’t know all of the answers. But sometimes just asking questions is important, because it starts the discussions which eventually lead to the answers.

One question that’s floating around these days is “How the heck do I make money creating video content for the web, such as podcasts?” Indeed, it seems there is more money in teaching podcasting than in podcasting itself!

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Wednesday, January 30, 2008

Free 7-day Passes for lynda.com

We’ve been dipping a toe in the online training world…

Sorry for the blatant plug, but there’s a payoff: A free week of as much online video training as you can watch!

We’ve been getting into creating online video training, focusing on specific topics and techniques rather than creating long-form courses (that’s what our books are for). Our current titles are available either pay-as-you-go through Toolfarm or to subscribers of the lynda.com Online Training Library.

If you’re not currently a lynda.com subscriber, and are curious to check them out before signing up, you can try them out for free for seven days by clicking here. Feel free to pass this link around. In addition to After Effects, they offer training on a variety of 3D, DVD authoring, NLE, and business applications - even tutorials on operating systems.

For those who are considering creating their own tutorials that they’d like to make money off of, we’ve been testing the waters for the past year trying out a couple pay-as-you-go services in addition to lynda.com’s subscription model, and - with all due respect to the excellent folks at Toolfarm and other places - lynda.com has been the hands-down winner from the content creator side. We’ve found them to be a great company to work with, and we plan to be doing a lot more with them in the future. We’ll keep you apprised as we release more titles, or if our opinion changes.



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2D Footage with a Stereo 3D Rig in After Effects CS5.5

Jeff Foster | 02/10- 06:09 PM

Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5

Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.

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How to get the “24p” look for your live-switched multicam shoot

Allan Tépper | 02/10- 04:23 PM

A contracted article, sponsored by Datavideo Corporation.

Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.

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