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.


Saturday, December 17, 2011

Made with After Effects

Join us for a live webcast Tuesday December 20 where we celebrate and critique some excellent work in our favorite application.

In what is become an annual tradition, the good folks over at motion.tv run a Made with After Effects competition. We participate in critiquing the entries, including pointing out the strong points as well as sharing our years of experience in suggesting ways to improve the work even further. The resulting discussion - as well as viewing the winners - is something we think is educational for all users looking to raise their game.

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Monday, October 17, 2011

Adobe MAX 2011 Technology Sneak Peeks

What’s cooking in the lab (and apparently close enough to tease us with).

Adobe’s big annual MAX conference finished a couple of weeks ago, and as part of it they included a series of technology sneak peeks. I’ve gone through the videos posted on AdobeTV and pulled out the ones of most interest to us video folks:

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Tuesday, August 09, 2011

NVIDIA Optix

A joint Adobe-NVIDIA research project demonstrating accelerated ray-traced 3D.

At this week’s SIGGRAPH convention in Vancouver, Adobe and NVIDIA are giving a technology presentation of ray-traced extruded text and shapes inside a “motion graphics environment” (you can read for yourself what the menu bar says; before getting too excited, note this is a technology prototype and not an announced or released product). Obviously, there are a lot of questions left unanswered at this point in time - but as we’ve seen in the past, a lot of other Adobe technology demos eventually become products; fingers crossed that this is the case here.


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Friday, July 29, 2011

After Effects Apprentice: Expressions

Our latest video training course on lynda.com is a gentle introduction to one of the most powerful yet underused features in After Effects

As we mentioned earlier, we’re in the process of recording our book After Effects Apprentice as a series of training videos, where you get to look over our shoulders and hear what we’re thinking as we work through each lesson. Our latest installment is on the subject of Expressions: The ability to define how a parameter animates using instructions such as “wiggle” compared to explicitly keyframing every value.

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Monday, May 30, 2011

After Effects Apprentice: Parenting

Our latest video training course on lynda.com demonstrates how to group and coordinate layers. Plus, we rescue a bonus movie from the cutting room floor…

As we mentioned earlier, we’re in the process of recording our book After Effects Apprentice as a series of training videos, where you get to look over our shoulders and hear what we’re thinking as we work through each lesson. Our latest installment is on the subject of Parenting.

Parenting is a way to group multiple layers within the same composition inside After Effects. In this lesson, Chris shows how to set up a parenting chain, discusses what makes a good parent, and demonstrates several techniques using Parenting such as creating a title animation with a minimum number of keyframes, building a geometric construct, and bringing an anthropomorphic robot arm to life. Sidebar topics include avoiding a scaling gotcha with parenting, and creating abstract backgrounds using the Fractal Noise effect.

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Thursday, April 28, 2011

After Effects Apprentice: Type and Music

Our latest video training course on lynda.com dives deep into text animation.

As we mentioned earlier, we’re in the process of recording our book After Effects Apprentice as a series of training videos, where you get to look over our shoulders and hear what we’re thinking as we work through each lesson. Our latest installment is the lesson on Type and Music.

One of the cornerstones of motion graphics is creating and animating type. In this course, Trish will show you how to typeset titles professionally and create your own custom animations, as well as apply and modify the hundreds of text animation presets that After Effects ships with. Additionally, Chris will show you how to add audio to your projects, including spotting “hit points” to align your keyframes and video action.

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Training • (2) Comments • Most recent comments by: Chris Meyer, Beats by dr dre, • Permalink


Wednesday, April 20, 2011

Stereoscopic 3D in After Effects CS5.5

The new release (with some judicious adjustments) makes it easier to create easier-to-watch stereo scenes from 3D compositions.

You may remember our blog post on the “inherent” problems with stereoscopic 3D that famed film editor Walter Murch pointed out in an open letter to film critic Roger Ebert. We took Murch’s comments as inspiration to explore workflows in the latest release of After Effects that might work around some of Murch’s concerns: Namely, getting the eyes and brain to converge and focus on the same object (preferably one the same distance from the viewer as the screen).

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Thursday, April 07, 2011

Updated: Adobe Warp Stabilizer (P)Review

Personal experience with a new toy from Adobe’s Advanced Product Development labs

As noted earlier this week, Adobe TV posted a video - attached to the top of this post - that previews a new technology called the Warp Stabilizer. I’ve had a chance to work with a pre-release version of the Warp Stabilizer, and Adobe kindly gave me permission to pass along some of my experiences.

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Visual Effects • (8) Comments • Most recent comments by: Simon Wyndham, Ivan Oliveira, Karl Soule, Karl Soule, Karl Soule, Tom Daigon, Chris Meyer, Tom Daigon, • Permalink


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

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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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