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Made with After EffectsJoin us for a live webcast Tuesday December 20 where we celebrate and critique some excellent work in our favorite application.
In what is become an annual tradition, the good folks over at motion.tv run a Made with After Effects competition. We participate in critiquing the entries, including pointing out the strong points as well as sharing our years of experience in suggesting ways to improve the work even further. The resulting discussion - as well as viewing the winners - is something we think is educational for all users looking to raise their game. more »After Effects Apprentice Free Video: Tracking with mochaAEA quick start on using this powerful alternative motion tracker bundled with After Effects. As we mentioned earlier, we’ve been busy this year creating an extensive, multi-course video training series based on our popular beginner’s book After Effects Apprentice. Each course has two or more movies that are free for all to view; we’re re-posting those videos here on PVC to make sure you don’t miss them. This movie provides a quick start on how to use Imaginer Systems’ mochaAE - a powerful 2.5 planar motion tracker that comes bundled with After Effects (but which has a quite un-After Effects-like user interface). more »After Effects Apprentice Free Video: Performing a Motion TrackSome tips on what to look for when setting up a track in After Effects. As we mentioned earlier, we’ve been busy this year creating an extensive, multi-course video training series based on our popular beginner’s book After Effects Apprentice. Each course has two or more movies that are free for all to view; we’re re-posting those videos here on PVC to make sure you don’t miss them. This movie shares our mental process when we approach a piece of footage to track. more »After Effects Apprentice Free Video: Creating 3D Objects using Adobe RepousséIf you don’t have access to a dedicated 3D program or plug-in, here’s a way to use Photoshop Extended to create extruded logos and text. As we mentioned earlier, we’ve been busy this year creating an extensive, multi-course video training series based on our popular beginner’s book After Effects Apprentice. Each course has two or more movies that are free for all to view; we’re re-posting those videos here on PVC to make sure you don’t miss them. This movie explains the ins and outs of using Adobe Repoussé to create 3D objects that may then be imported into After Effects. more »Advertisement After Effects Apprentice Free Video: Understanding Axis ModesMoving layers relative to the world, the current view, or themselves. As we mentioned earlier, we’ve been busy this year creating an extensive, multi-course video training series based on our popular beginner’s book After Effects Apprentice. Each course has two or more movies that are free for all to view; we’re re-posting those videos here on PVC to make sure you don’t miss them. This movie explains the differences between the three axis display modes in After Effects. more »Using After Effects as an Advanced Titler for Premiere ProTight integration allows you to use one to extend the feature set of the other.
Footage from the Artbeats Portraits - Adults HD collectionAdobe Premiere Pro has a robust titler built in, including the ability to create title rolls and crawls. However, Adobe After Effects has even more advanced tools, including hundreds of Animation Presets for type, Shape Layers to build additional graphic elements such as lower third bars, and a combination of Layer Styles and Effects to further enhance the final look. If you have either the Production Premium or Master Collection suites, Premiere Pro and After Effects can talk to each other using Adobe Dynamic Link, which makes this process more fluid. In this article below I’ll explain the general process of using After Effects to create refined lower thirds for Premiere Pro, and then on the next page is a series of short videos that walk through the actual process (including some design ideas in After Effects). Free mocha webinar todayImagineer mocha tracking for Editors webinar, today at 10am PDT This is last-minute notice, but there is a free mocha webinar today at 10am PDT. It’s a 90-minute webinar that will cover mocha tracking for editors. You can register free here. more »After Effects Apprentice Free Video: Creating an Orbit Camera RigTechniques to make your camera move in a perfect arc. As we mentioned earlier, we’ve been busy this year creating an extensive, multi-course video training series based on our popular beginner’s book After Effects Apprentice. Each course has two or more movies that are free for all to view; we’re re-posting those videos here on PVC to make sure you don’t miss them. This movie demonstrates how to build an orbit camera rig in After Effects, both manually and by using the new menu command added in AE CS5.5. more »Page 2 of 43 pages < 1 2 3 4 > Last » 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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