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...
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...
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...
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...
Combining Video & Generative AI in Photoshop
Now that Generative AI in Photoshop has moved out of beta and into the current shipping version, here’s a...
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...
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. ...
Color Management Part 17: Linear Compositing
Linear compositing can be a tricky subject. Many years ago a few of my colleagues started discussing it. One...
REACTION!!! Re-write After Effects from scratch???
Should Adobe re-write After Effects from the ground up? Earlier this week, that’s what Wren from Corridor Digital tweeted....
Color Management Part 6: Understanding the CIE 1931 diagram
In Part 5 we started to look at the CIE 1931 Chromaticity diagram, the distinctive rainbow tongue that pops...
