An Adobe engineer posted a demonstration of a sweet little research project recently. It’s a simple, consumer-oriented method of accomplishing complex motion graphics tasks. Here’s hoping we’ll see it soon in their products! Video below…
The secret settings to get the Unified Camera Tool to work.
After Effects CS4 has added a “Unified” camera tool to aid navigation in 3D space. Instead of having to scroll through three separate camera tools - Orbit, Track XY, and Track Z - to reposition an active camera or reframe an alternate view, users can now use a three-button mouse to quickly switch between these three tools.
All of our computers here have Kensington mice that include a clickable scroll wheel as the third (middle) mouse button. And lo and behold, they don’t work out of the box with AE CS4; the clickable scroll wheel defaults to toggling between horizontal and vertical scrolling. But a couple of settings tweaks will make your mouse behave the way you want:
Unleash the ghost in the machine by programming your own animations.
After you master shooting footage, applying effects, and keyframing animation, what’s next? Some like to explore having animations driven by sound and music, using tools such as Trapcode’s Sound Keys and Form for After Effects, or the Audio Behaviors in Motion 3. Others have mastered Expressions in After Effects to create code-driven animations. And a few hard-core After Effects user lament the passing of Useful Things. But if you really want to take it to the next level, you might want to explore the open source Processing programming language.
Processing, to quote the official web site, is “for people who want to program images, animation, and interactions. It is used by students, artists, designers, researchers, and hobbyists for learning, prototyping, and production. It is created to teach fundamentals of computer programming within a visual context and to serve as a software sketchbook and professional production tool.” It is free (running on Linux, Mac OS X, and Windows) and is supported by an active user and developer community. There are a large number of books available on Processing. There’s even a mobile version of Processing for Java-powered devices. And to feed the other side of your brain, there is an online exhibition gallery showing what others are doing with Processing (the image at the top of this blog entry is from that site). Check it out.
(A tip of the hat to fellow PVC poster Mark Spencer for turning me onto Processing.)
Wonder what those cryptic numbers mean? Here’s a few clues…
Occasionally, After Effects has a hiccup. When it does, it often displays a dialog box with occasionally clear, occasionally cryptic text, as well as a series of numbers. Understanding exactly what these are telling you can help you diagnose the problem and at least work around it, if not cure it.
Lutz Albrecht (aka Mylenium) has created a useful page that goes through the logic behind these codes to help you narrow down where the underlying error may be. He is actively trying to expand and refine the list, so if you encounter an error in After Effects, email him the information so he can fold it in.
(By the way, Lutz also wrote one of the best overviews of the new features in After Effects CS4 that I’ve seen - you can read it here.)
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.
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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