Chris & Trish Meyer

CMG Keyframes is a repository for columns, articles, and videos created by Trish & Chris Meyer of the subject of creating motion graphics using Adobe After Effects and other related programs. It also contains articles on typography, audio, and 3D, as well as links to relevant articles Chris & Trish have published elsewhere.

Trish & Chris Meyer are the founders of Crish Design (formerly known as CyberMotion), an award-winning motion graphic design studio that has recently relocated from Los Angeles to the Albuquerque area. 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.

In addition to their motion graphics work, Trish and Chris were among the original users of After Effects, and have written numerous books including "Creating Motion Graphics with After Effects" and "After Effects Apprentice" (both published by Focal Press). They speak regularly at conferences around the country, and perform custom training for studios. Both have backgrounds as musicians, and a close relationship between sound and picture informs much of their work.
Friday, March 13, 1998

Timing Video to Audio

Wherein Mr. Video asks Ms. Audio: “What’s my motivation in this scene?”

In the days of yore, editing video and audio used to be considered two different disciplines. Today, most desktop and non-linear video editing programs also edit audio with the same tools and capabilities. As a result, video editors are all but expected to also edit their own audio.

For most, this means just mixing together narration, music, and the occasional sound effect. However, if go one step further and make your video edit decisions based on the audio - and vice versa - you will end up with a final program that is tighter, and more compelling to watch, than if you just let the respective cuts fall where they may. The same goes for 2D and 3D animation: Allowing audio to inform your timing decisions results in a stronger overall experience.

Don’t know anything about audio or music? Hang on and we’ll give you a crash course in the next two pages. Already have a good idea of how audio and music work? Jump ahead to the section titled Cut Time on Page 3 and we’ll go over a few tips and tricks to keep in mind, followed by a brief case study. As with any artistic discipline, rules are meant to be stretched and broken - but they give you an important head start.

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