Post Production
Color Management Part 24: Corporate Branding Colors and video production
Adobe After Effects is the industry standard app for motion graphics, and yet working with color management can strike...
Post Production
Color Management Part 23: HDR tone mapping in practise
When John Lennon said “Life is what happens while you’re busy making other plans”, he might have been talking...
Post Production
Color Management Part 22: Introducing Tone Mapping
Tone Mapping is an integral part of modern video post production, but I didn’t even realise it was a...
Post Production
Color Management Part 21: HDR formats, colorspaces and TLAs
High Dynamic Range video is a new frontier for many After Effects users, but despite the clear advantages it...
Experts
PSA: Mowing the lawn? Wear Glasses!
Every January I look back on the previous year, and think about whether anything noteworthy happened that might be...
Post Production
Color Management Part 20: HDR Compositing just looks better!
High Dynamic Range compositing, using 32 bit float mode in After Effects, just looks better. It’s that simple, and...
Post Production
Color Management Part 19: High Dynamic Range – introducing HDR
High Dynamic Range video, or HDR, is the reason this entire series on color management exists. So it’s pretty...
Post Production
After Effects and Syntheyes for advanced screen replacements
Last week saw an exciting announcement from BorisFX – a merger with Syntheyes, the 3D tracker created by Russ...
Post Production
After Effects and chicken parmigiana are the same
I can’t say for sure, but I think I’m the first person to compare After Effects to Chicken Parmigiana. ...
Post Production
Color Management Part 18: Bit Depth
After Effects has a project-wide bit depth setting, but individual plugins may or may not support all bit depths....
