After Effects Guru Meditation 1: Reverse Tracking for VFX
I’ve been using After Effects for nearly 30 years, and over that time I’ve worked on a wide range...
After Effects: Simple noise workflow for VFX
Before digital video cameras emerged, visual FX artists had to manage with film grain. And now that we have...
Color Management Part 26: ACES and After Effects – the express tutorial
ACES and OpenColorIO are the industry standard tools for color management in the VFX industry. It’s now been two...
Understanding Zeiss’ CinCraft Scenario System
Pro Video Coalition sent contributor Alec C. Cohen to Cinegear Expo Atlanta in order to document some exciting industry...
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...
AI Tools Part 5: 2023 A Year in Review
What a year it’s been for Generative AI technology and the tools that have been developed! When I first...
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...
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 18: Bit Depth
After Effects has a project-wide bit depth setting, but individual plugins may or may not support all bit depths....
