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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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After 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 StrategiesKey Concepts from the ArchivesMotion 3 = 3DThe Shape of Things to Come: Shape Layers IntroductionBrighter Whites; Richer Colors Part 2: sRGBBrighter Whites; Richer Colors, Part 1: 16-235Work Smarter, Not Harder: Nucleo ProCamera Control, Part 2: Graph Editor & Dolly RigsCamera Control, Part 1: Auto-Orient & OrbitMap ExplorationThe Hi-Def ChecklistVisual Rhythm, Part 2: Motion & Cinema TricksVisual Rhythm, Part 1: After Effects TricksMotion + MIDIThe Almost Perfect FontA Different Light: Gamma-Corrected CompositingCMG-BlogThe 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-Only |
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Thursday, September 15, 2005The Hi-Def ChecklistQuestions to ask and issues to consider when you tackle a high-definition graphics job.
Many motion graphics artists are tackling their first high-definition jobs. In some respects, hi-def is just like normal video; only larger. However, hi-def also comes with a number of issues which can throw some major curves at you. As with all problems in waiting, it’s best to solve them before you start, rather than when you think you’re almost finished. Here are a series of questions you need to ask, and what the implications are – both technical and artistic – of the answers you may get. more »Motion Graphics • Post Production • (0) Comments • • Permalink Page 1 of 1 pages |
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The Hi-Def ChecklistQuestions to ask and issues to consider when you tackle a high-definition graphics job. Many motion graphics artists are tackling their first high-definition… Advertisements |
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