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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
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ASSIMILATE announces Mac support for SCRATCH, updates product line and pricesThe makes of SCRATCH change the game in color correction with major announcements.
ASSIMILATE today announced version 6 of SCRATCH for Mac and Windows, as well as SCRATCH Lab, a lower priced toolset aimed at rapid on-set and dailies work. Both will ship “during Q2” this year. SCRATCH 6 includes many updates, the biggest of which is availability for the Mac. Long among the most highly regarded color correction tools, the software has until this point been Windows-only, and moving to the Apple platform at the dramatically lower price of $17,995 represents a leap forward in accessibility to a much broader pool of color correction artists. From the press release, SCRATCH’s new compositing, color grading and paint features include: more »After Effects CS5.5 in Production“Dot” update packs in surprising number of hard-to-live-without additions
It’s only been a year since After Effects CS5 was released, which brought the application to 64-bit and introduced Rotobrush. With the announcement today of After Effects CS5.5 we are looking at the most rapid upgrade since Adobe unified all of its applications into one dancing,kicking line of graphical chorus girls known as the Creative Suite. What did the After Effects team manage to accomplish in a year? Maybe that isn’t entirely a fair or accurate question, since there are often features that are in development, or even most finished, before a given development cycle begins. Nonetheless, for many artists version CS5.5 of After Effects may constitute more of a “must-have” than the previous couple of releases, if features alone are the gauge. more »
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ASSIMILATE SCRATCH first out of the gate with RED Epic HDRx supportNew technology gets it’s “beta test” on Pirates of the Carribean 4 ASSIMILATE sent a press release describing new support for footage from RED Epic at full 5k, including the new HDRx format that unlocks the dynamic range that is the signature of that camera. This presents a professional finishing tool as an alternative to RED’s own software, which may unlock more possibilities to, for example, keyframe exposure over time, in a tool already commonly used to grade features at every level. Page 1 of 1 pages Advertisement |
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LIGHTING: Advanced Cucoloris Use Illustrated by a Solar Eclipse
Q: What happens when you stack several pattern-making devices in front of a light? A: Extreme lighting goodness. Learn why here…
I love stacking cucolorii (plural of “cucoloris”) and I thought it was time to write an article about how this technique works and why I like it so much. I was a bit stretched for ideas that would illustrate this concept… and then an eclipse happened. Why that made a difference is a very interesting story…
Compositing in FCP X
On this week’s MacBreak Studio
On this week’s MacBreak Studio, I show Steve Martin from Ripple Training a few things I’ve discovered in my exploration of the compositing features in Final Cut Pro X.
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