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Chris & Trish Meyer
Chris & Trish Meyer are the founders of CyberMotion, an award-winning Los Angeles motion graphic design studio. Their design and animation work has appeared on shows and promos for CBS, NBC, ABC, Fox, The Learning Channel, HBO, and PBS. CyberMotion was one of the first studios to create major release film opening titles using desktop tools (including major films such as The Taleneted Mr. Ripley), and they have also created promotional and trade show videos for corporate clients from Apple Computer to Xerox. They specialize in unusual format videos, having animated for IMAX, CircleVision, the NBC AstroVision sign in Times Square, and the four-block-long Fremont Street Experience in Las Vegas. In addition to their motion graphics work, Trish and Chris have written the books "Creating Motion Graphics with After Effects" and "After Effects Apprentice" (both published by Focal Press). They have written numerous articles on motion graphics for DV magazine, Artbeats.com, and others, and have spoken at AFI, MacWorld, BDA, NAB, and other conferences. Trish founded CyberMotion after an extensive career in print as a magazine art director for music technology magazines. Her partner Chris, a refugee from the music industry, specializes in sound design and 3D work as well as dealing with multi-format technical issues. Both Trish and Chris have backgrounds as musicians, and a close relationship between sound and picture informs much of their work. They were one of the original beta sites for CoSA (now Adobe) After Effects, and continue to work with that team as well as others to this day. 
September 2008August 2008July 2008June 2008May 2008April 2008March 2008February 2008January 2008July 1999Complete ArchivesCategory Archives
The Art of the Opening Title09-23-08 = CS4?TED Talk: The Power and Beauty of Organic DesignMigrating After Effects Between MacsSpotlight: Fox Sports HDTED Talk: Using Biology to Make Better AnimationAdobe MAX, motion 08 Awards Shows20% off Artbeats FootageTED Talk: How creativity is being strangled by the lawAfter Effects CS4 Will Be Intel-OnlyXScriptorium: New AE Script/Expression ResourceTED Talk: Where does creativity hide?Spotlight: Promos for FOX’s “Fringe”Spotlight: Nordisk Panorama Filmfestival 2008Adobe will support REDMobile Animation for ComicsFocus On DesignLeaving Los AngelesTwo Pieces of Eye CandyMainstream Media’s new correspondent: YouTubeAFI Digital Content Lab SessionsAt Last - Someone Who Gets Web AdvertisingA Retro View of the FutureCompression Artifacts & PulldownWho Will Rule The New Internet?KeyframesAfter Effects Tips - Installment 2After Effects Tips - Installment 1Fractal Noise TutorialLayer Styles in After EffectsOn Artbeats.com: Article on Editing to SoundOn Artbeats.com: Article on Frame RatesQ&A: Audio QueriesPasting Paths from Illustrator to After EffectsOn Artbeats.com: Article on Color Management in After EffectsNon-Square Strategies |
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Wednesday, June 11, 2008Compression Artifacts & PulldownA question about a ghost leads to discourses on 3:2 pulldown and the QuickTime codec dialog.
This started as a quick post about how to gain finer control over the compression settings in the QuickTime dialog. But before we can get there, we first need to talk talk about how 3:2 pulldown works. (Trust me; it all ties together; it was also a good little mystery.)
I recently gave a training session at a local studio, and at the end they were invited to trot out their Barney Stumpers (questions about why something went wrong, how something works, etc.). For one stumper, a user had some footage with 3:2 pulldown, and after pulldown was removed, he noticed that an after-image of the previous frame appeared in the next frame after an edit. Why?
Editing • Motion Graphics • Post Production • (0) Comments • • Permalink Page 1 of 1 pages |
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Compression Artifacts & PulldownA question about a ghost leads to discourses on 3:2 pulldown and the QuickTime codec dialog. This started as a quick post about how to gain finer control over… Advertisements |
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