Pasting Paths from Illustrator to After Effects

So what’s so interesting about a feature we’ve had for eons? We all know you can copy and paste vector paths from Illustrator to After Effects as mask paths and motion paths (you did know that, right?). But with the new Shape Layers in After Effects CS3, you may run into a little snag when trying to paste paths to shapes.

On Artbeats.com: Article on Color Management in After Effects

Every month, we write a Tips N Tricks article for our friends at Artbeats.com. This month we’ve written an introduction to using Color Management in After Effects CS3, covering input, output, monitoring, and the Project Working Space. It was written in the context of how to handle Artbeats stock footage in a job, but the basic principles apply to a wide variety of jobs. You can download the 884 kb PDF by clicking here.

By the way, Artbeats has a monthly email newsletter which contains links to each of our articles for them as they are released, plus a link for registered users to download a free full-size clip every month. Click here to register. To see the full list of articles we (and others) have written for Artbeats, click here.

Staggering Mistakes: Reversing Field Order

The two most-watched cable channels in our household are CNN and Speed (guess who watches which). Speed just started a new game show called “Pass Time” where several of the bumpers as well as in-show inserts exhibit the maddening two steps forward/one step back staggered motion of fields that have been reversed (maybe they thought it was a “look”...). CNN isn’t immune to this either; through the years some of their graphics have also exhibited this reversed-field judder.

This prompted us to upload an updated version of a classic column we wrote on interlacing, field rendering, and separating fields; you can find it here. But like any good motion graphics designer who tries to reverse-engineer any graphic they see on television, this has led us to speculate what might have been at the root of this particular problem.

Final Effects Complete version 5: Why?

Final Effects was pretty much the original third-party plug-in set available for After Effects. It was created by a gang in Sweden now known as Cycore, who passed it on to MetaCreations, who passed it on to ICE, who passed it on to Media 100, who passed it on to Boris, who is now selling it for $895. Meanwhile, the Cycore gang exploited a loophole in their contract, rewrote and re-released it as Cycore FX, licensed it to Adobe to give away free as CC Effects with each copy of After Effects, and sell an upgrade to it for $299 - more on that below. (By the way, we’ve reposted an old column on CC Effects in the archives; read it here for more background.)

So when the press release first came around from Boris FX that they had updated Final Effects Complete, excuse us, but we laughed. However, once we thought about it, there are some reasons why you might consider it. Namely:

The Public Domain, Fair Use, and Other Bedtime Stories

We’ve all been there before: We really need a particular source image to realize an idea. And we don’t have a copy of one ourselves. But look - there’s one on a web site! Or a client gives us one that they picked up “somewhere.” Or there’s a book lying around the office that we could scan. And if anyone involved feels a twinge of guilt, someone else tries to excuse it as “public domain” or “fair use.”

HPA Tech Retreat - Day 1

On this, the first “real” day of the HPA Tech Retreat, we were treated to 3D cinema demos and discussions, a CES review, a phased-array mic for sports recording, and more.

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