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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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AEScripts.com revamped as a comprehensive script destination siteImmigration is the first shareware script ever, the rest are still freeware
Lloyd Alvarez, creator of aescripts.com as well as some of the most useful After Effects scripts available, released a new version of the site that may finally put an end to the need to google for the best available After Effects scripts. All of the scripts listed from the half dozen top current developers are freeware except for one - Immigration, which also appeared in its final version today as the first script shareware product. Scripts have moved from a marginal, obscure and difficult-to-create feature introduced in After Effects 6.0 to an outlet for After Effects artists who are also coding nerds to add what might otherwise be considered new features to After Effects. One key to this change has been that many of the most useful scripts, among them Immigration and BG Renderer, appear in the After Effects UI as regular panels. Immigration transforms what was a major After Effects deficit - difficulty importing and replacing image sequences via an import dialog that does not recognize them as such - and created one of the best sequence-handling interfaces available in any software in its place. Not only can Immigration tell how multiple sequences in a folder are grouped, it can automatically scan existing sequences already present in an After Effects project and intelligently replace updated versions all at once. The cost for an Immigration license is $20, marking the first time a script has been offered other than as freeware. Is this an ominous trend or a fair way to compensate innovation, coding effort and time savings? Immigration is an excellent test case, as it offers clear added efficiency for those who want it and want to pay for it. It also helps compensate Lloyd for releasing the most valuable script of all time, BGRenderer, which literally can replace a Nucleo Pro license (not available for CS4 until Tuesday, August 4) or even obviate the need for an extra rendering workstation on a big project. Why, I have a BGRenderer terminal session running even as I type this.
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3D Objects from Photoshop in After Effects CS4A short overview of what to expect with After Effects’ implementation of Photoshop 3D Click to audio / video »Page 1 of 1 pages Advertisement |
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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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