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Mark ChristiansenMark Christiansen is the author of After Effects Studio Techniques (Adobe Press). He has created visual effects and animations for feature films including Pirates of the Caribbean 3, The Day After Tomorrow and films by Robert Rodriguez. Past corporate clients include Adobe, Cisco, Sun, Cadence, Seagate, Intel and Medtronic, and broadcast work has appeared on HBO and the History Channel. Mark's roles have included producing, directing, designing and effects supervision, and his solo work has appeared at film festivals including L.A. Shorts Fest. Long a Contributing Editor at DV Magazine during its heyday, Mark has been contracted as a marketing and technical writer on numerous occasions for Adobe Systems Inc. as well as related companies such as Red Giant Software. He has taught at fxPhd.com and Academy of Art University. His career began at LucasArts Entertainment and he is a Phi Beta Kappa graduate of Pomona College. 
Adobe Media Encoder - another hidden gem?After Effects Script of the Week: Add Parented Null to Each Selected LayerUse Dynamic Link to bring Warp Stabilizer to Premiere Pro CS5.5After Effects Script of the Week: Tracker2MaskAfter Effects Script of the Week: rd_MergeProjectsAfter Effects Script of the Week: Get Sh*t DoneAfter Effects Script of the Week: pt PanoramaAfter Effects Script of the Week: pt TextEditAfter Effects Script of the Week: Change Render LocationsAfter Effects Script of the Week: pt ExpressEditAfter Effects Script of the Week: MochaImportAfter Effects Script of the Week: KeyTweakAfter Effects Script of the Week: pt EffectSearchAfter Effects Script of the Week: ImmigrationScript of the Week: Shortcut Key ReferenceScript of the Week: True Comp DuplicatorScript of the Week: 3D ExtruderScript of the Week: BG RendererIntroducing: After Effects Script of the WeekRed Giant’s newest Plot Device: Magic Bullet Looks 2Free Stereo Footage from Artbeats, and an After Effects tutorial showing how to use it in CS5.5Premiere Pro for DSLR in a few easy stepsASSIMILATE announces Mac support for SCRATCH, updates product line and pricesAfter Effects CS5.5 in ProductionASSIMILATE SCRATCH first out of the gate with RED Epic HDRx support
December 2011October 2011September 2011August 2011July 2011June 2011May 2011April 2011August 2010July 2010April 2010March 2010December 2009October 2009August 2009July 2009June 2009April 2009March 2009February 2009November 2008September 2008August 2008July 2008May 2008April 2008March 2008February 2008January 2008December 2007October 2007May 2007Complete Archives |
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Red Giant’s newest Plot Device: Magic Bullet Looks 2New and upgraded component applications, one-click suite install, aggressive pricing Red Giant Software today unveiled Magic Bullet Looks 2 in dramatic fashion, boosted by a fun, humorous trailer called Plot Device that shows off what the software can do. Included in the new suite are nine individual point products also available individually, including the brand-new Cosmo for automated touch-up and an version 2 upgrade of the widely popular Looks software. Full suite cost is $799, but current owners of previous versions pay as little as $199. Watch for more in-depth coverage to follow! Is a Visual Effects Guild to Materialize this Decade?Stranahan’s Open Letter one month later, on the eve of the Oscars
The decade of the twenty-teens is only a couple of months old - or hasn’t started yet - but already, there has been something of a shot heard ‘round the world for VFX artists, particularly those located in the U.S. Lee Stranahan’s Open Letter to James Cameron: Fairness for Visual Effects Artists has become a hot topic of discussion among VFX artists across the U.S. since its publication at Huffington Post one month ago. Why? Because while visual effects has moved to the top of the list of what makes a bankable blockbuster movie, the artists and studios creating those effects find their own commercial viability compromised by many factors that make a career in visual effects one with high risks. And while other Hollywood-related creative professions from writing, directing and producing to cinematography right down to theatrical stage employees are typically members of unions which negotiate on their behalf, visual effects in particular and post-production in general has not united to negotiate better compensation and fairer treatment. more »Tip: Force an After Effects Render not to FailHad it with Out of Memory errors? Here’s a hack to help in CS3 and CS4. If you’ve ever tried rendering a composition made up of one or more large images - say, a single huge matte painting or several layers of 4k footage - you have probably encountered the dreaded Out of Memory error causing your render to fail. What to do about this? more »Convert RED Camera R3D Footage Losslessly, Painlessly, ConfidentlyDo it the way Autodesk recommends and don’t fret about lost data If you’re a regular at this site you may recall 5 Tips to Maintain Sanity in RED Post.. The key point of that article was to assert that since you cannot write an R3D file, you must convert and it is best to do so early in order to save many wasted cycles processing full 4K (when the output is actually HD or less). Today’s tip tells how to convert an R3D losslessly to either 10-bit Cineon or 16-bit TIFF, and it’s backed up by a whitepaper from Autodesk. more »
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Advertisement Why QuickTime is the US Dollar of Digital VideoAs the standard is devalued, the world undertakes a slow-motion search for an alternative. What can be done for QuickTime?
How bad are things for the US Dollar these days? So bad that, as reported by the BBC and mentioned recently on This Week in Tech, Gisele Bundchen no longer accepts modeling pay in dollars, nor apparently do many high-end boutiques in the capital of U.S. commerce, New York City. European travel is effectively twice as expensive as it was just a few years ago simply because of the exchange rate. So it may come as a surprise how familiar the situation of the world economy in regards to the dollar is if you’re a video professional using QuickTime. I’m not actually joking. more »
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NAB 2008 Super Session: A Million Dollar Look on a Thousand Dollar BudgetAt the show ruled by suits and dilberts, the rebels get their turn With big exhibitions like The NAB Show falling out of favor, and some disappearing altogether in the 21st century, NAB struck back this year by offering more educational fare than in years past, featuring keynotes and panels of experts from the industry, as well as day-long classes. On Wednesday was “A Million Dollar Look on a Thousand Dollar Budget,” a keynote and panel on getting cinematic production values out of equipment you may already have sitting around your studio. The session was kicked off with the Legend of Zelda fan trailer “linked” here (nerdy pun for gamers paying attention) which appeared on April Fool’s Day, followed by a keynote by Stu Maschwitz of The Orphanage (and author of a fantastic blog) and then a panel featuring Dave Basulto of Clarity Pictures, Alex Lindsay from Pixel Corps, D.P. Taylor Wigton (447 Productions) and moderated by Brian Valente from Redrock Micro. more »
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2D Footage with a Stereo 3D Rig in After Effects CS5.5
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.
How to get the “24p” look for your live-switched multicam shoot
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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