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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. 
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Friday, September 01, 2006Brighter Whites; Richer Colors, Part 1: 16-235Two new features in After Effects 7 ease color-critical format conversion.
Have you ever received washed-out images from a client - or even yourself? Did you just let it slide ("well, that’s the way they shot it"), or cursed them for making you lose more sleep as you tried to make it look better? Well, we have two bits of news for you. One, the fault may not be in the footage, but in the way you’ve been handling it. Two, in Adobe After Effects 7, it’s now easier to handle it the right way. In this column, we’ll talk about video and the infamous luminance range issue; in the next column, we’ll turn our attention to still images and sRGB color space.
Editing • Motion Graphics • Post Production • (0) Comments • • Permalink Page 1 of 1 pages |
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Brighter Whites; Richer Colors, Part 1: 16-235Two new features in After Effects 7 ease color-critical format conversion. Have you ever received washed-out images from a client - or even yourself? Did you… Advertisements |
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