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Production

Nikon lens tests with the SGPro 35mm adapter and HVX200

Matt Garrett and Bruce Allen recently conducted a series of Nikon lens tests with a SGPro 35mm adapter mounted to a Panasonic HVX-200. They tested the 17-35mm f…

The Shape of Things to Come: Shape Layers Introduction

The Shape of Things to Come: Shape Layers Introduction

For motion graphics artists, one of the most significant new features introduced in After Effects CS3 was Shape Layers. This feature brings important components of Adobe Illustrator into After Effects…

35mm Adapter Shootout – Redrock Micro M2, Cinevate Brevis 35 and SGPRO

Accomplished shooter Phillip Bloom has shared a lengthy shootout review comparing three popular 35mm adapters; the Cinevate Brevis, SG PRO, and Redrock M2. Note that shootout isn’t entirely…

35mm Lens Adapter Shootout – Cinevate Brevis vs Redrock M2

35mm camcorder lens adapters are a strange breed. Part science, part art, they allow a shooter to utilize SLR still image and high-end 35mm cinema lenses on a video…

Brighter Whites; Richer Colors Part 2: sRGB

Brighter Whites; Richer Colors Part 2: sRGB

The first image (a digital photo originally saved with an sRGB color profile) has not been corrected; the second image has. Although the difference is subtle, the uncorrected image looks…

Brighter Whites; Richer Colors, Part 1: 16-235

Brighter Whites; Richer Colors, Part 1: 16-235

Footage that imports into After Effects with its internal “601” luminance levels intact (left) looks washed out compared to how it really should look (right). Footage courtesy Isuzu…

Map Exploration

Map Exploration

A common task is navigating around a map-like image. In this column, we’ll discuss three different approaches to this challenge: stroking a line, animating text elements along…

The Hi-Def Checklist

The Hi-Def Checklist

The darker areas to the left and right of these images show what happens when a 16:9 image is “center cut” to create a 4:3 version…

Visual Rhythm, Part 2: Motion & Cinema Tricks

Visual Rhythm, Part 2: Motion & Cinema Tricks

In the previous column, we detailed a number of techniques for animating multiple layers in Adobe After Effects. In this column, we turn our attention to Apple’s Motion…

Visual Rhythm, Part 1: After Effects Tricks

Visual Rhythm, Part 1: After Effects Tricks

Rhythm – repetition, with variation – is the backbone of many pieces of fine art, as well as motion graphic designs. However, it can be tedious to create and animate…

Motion + MIDI

Motion + MIDI

An intriguing feature introduced in version 2 of Apple’s Motion Apple’s Motion is the ability to control it via MIDI: the Musical Instrument Digital Interface. This…

The Almost Perfect Font

The Almost Perfect Font

The LoveLetter Typewriter font had a few characters that were difficult to read (top line) until they were modified (lower line). When planning a new project, the font you choose…

A Different Light: Gamma-Corrected Compositing

A Different Light: Gamma-Corrected Compositing

The image on the left is a normal computer crossfade; the image on the right uses linear blending – note how the bright areas are emphasized. Footage courtesy Artbeats. Most…

Managing Moving Masks

Managing Moving Masks

In After Effects, each mask vertex (the yellow squares) interpolates in a straight line from old to new positions. The red lines illustrate some of these paths. The First Vertex…

A Track of the Clones

A Track of the Clones

One of the most significant but underused sections of After Effects has to be its vector-based painting engine, introduced back in version 6. One of the capabilities of this…

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