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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. CMG KeyframesAfter Effects Apprentice Free Video: Rendering a 4:3 Center Cut Movie from a 16:9 CompositionAfter Effects Apprentice Free Video: Using Parenting to Animate Layers as a UnitAfter Effects Apprentice Free Video: Working with Nested 3D CompositionsAfter Effects Apprentice Free Video: Copying Paths from Illustrator to After EffectsAfter Effects CS6 Tutorial: Exporting 3D Camera Tracker Data to Cinema 4DAfter Effects CS6 Tutorial: Targeting Properties in the new Ray-Traced 3D EngineAfter Effects CS6 (P)ReviewAfter Effects Apprentice Free Video: Exploring Shape EffectsAfter Effects Apprentice Free Video: Drawing Parametric ShapesAfter Effects Apprentice Free Video: The Puppet Starch Tool
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What’s the Buzz? Curing Audio ProblemsYou don’t have to live with buzz and hum in your audio feeds. Really.
Two things drive me truly crazy: 4:3 video stretched out to fill a 16:9 screen, and hearing hum or buzz in the audio portion of a program. I remember being on a tour of the multi-million-dollar Kodak Cinesite facility when it first opened, sitting down in their private screening room…and hearing hum in the audio. Which could have been fixed for as little as $20. I’d like to share a few ways you can fix it yourself. more »Advertisement |
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Compositing in FCP X
On this week’s MacBreak Studio
On this week’s MacBreak Studio, I show Steve Martin from Ripple Training a few things I’ve discovered in my exploration of the compositing features in Final Cut Pro X.
David Atkins Enterprises and Digital Pulse use Adobe software for record-setting arena projection
Australian production studio delivers animation for the 12th Arab Games, on record-size projection space, using Adobe Premiere Pro and After Effects.
In December 2011, the 12th quadrennial Arab Games took place in Doha, Qatar at Khalifa International Stadium. As part of the planning process for the Doha games, the world-renowned event production agency, David Atkins Enterprises (DAE), was commissioned to conceive and produce the opening and closing ceremonies. Following this commission, DAE contracted Australian digital design and video production specialists, Digital Pulse, to produce the animated visuals for the opening ceremony including the athletes’ parade and cultural segments. Far from a conventional production canvas, the animated visuals that the Digital Pulse team were to produce for the event would have to play seamlessly across the stadium’s two different playback systems: a contiguous LED system installed behind all stadium seats and an 86-projector projection system that covered a world record 12,600 cubic metres of on-field projection space.
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