By Chris Meyer | Wednesday, April 2, 2014
In preparation for the 2014 NAB Show, Adobe has begun previewing new features slated for the next release of their video applications. I’ve had a chance to work with the upcoming version of After Effects CC, and I’m working on a new chapter for our After Effects: Creative Cloud Updates course to demonstrate them. In the meantime, I wanted to tell you about some of the goodies planned for this release.
Adobe Premiere Pro integration
A main focus of Adobe’s upcoming releases is to strengthen the integration between After Effects and Premiere Pro, making it easier for a Premiere editor to tap into AE’s power. To that end, Adobe is introducing Live Text Templates, allowing you to create a composition (or chain of compositions) that includes text layers; lock the layers you don’t want the editor touching (e.g., the title of a show); and leave the layers you do want them to edit unlocked (such as a name in a lower third). You can then designate the project and this comp as a Template in Composition Settings.
By Chris Meyer | Wednesday, June 24, 2015
One of the main features in the just-released After Effects CC 2015 is its support for Creative Cloud Libraries: a panel inside After Effects that exposes folders of assets such as graphics, colors, and more that can be shared with other users.
On the upside, this improves AE’s integration with Adobe Illustrator CC and Photoshop CC, and adds integration with the mobile apps Adobe Shape CC and Hue CC.
On the downside, this initial implementation is read-only; you can’t yet add to the CC Libraries folders from inside After Effects. And there are several format quirks, such as lack of direct support for SVG files (you have to convert those assets in illustrator to .AI files first).
One quirk is the way transparency is supported when going between Photoshop and After Effects CC 2015. So follow these tips for using Photoshop and After Effects with Creative Cloud Libraries.
By Chris Meyer | Friday, April 10, 2015
Adobe just announced some of the features we’ll see in the new version of After Effects, expected to release in the coming months.
By Chris Meyer | Friday, February 13, 2015
One of the most common motion graphics jobs is to create a flying logo: taking a client’s flat, two-dimensional print logo, turning it into a 3D object, and animating it onto the screen for a wide variety of video destinations (trade shows, press events, training videos, web and social media, etc.).
This process used to require buying and learning a 3D application, rendering your 3D footage, and bringing it into After Effects (and/or your non-linear editor of choice) to integrate it with your other footage.
Now that CINEMA 4D Lite comes bundled with After Effects and features a direct render path between the two apps, this task just got a whole lot easier.
But there’s still that (not so) little step of “learning a 3D program.” With this in mind, I’ve published a video course to teach anyone—even those with no prior 3D experience—the skills to create a flying logo using After Effects and CINEMA 4D.
In this article, I’ll show you the key steps to create a flying logo effect.
By Chris Meyer | Friday, March 28, 2014
We’d all love to work on big-budget video productions where we could shoot any footage we wanted, but in reality many jobs are on small budgets and tight schedules. You may not have the time to get the lighting setup just right, or you have to make do with someone else’s B-roll, or what if you really should have used a tripod or a stabilization rig with that handheld shot? Regardless, your client is expecting you to spin their straw into gold—without hurting the schedule or budget.
We’ve been there, too. That’s why we’ve developed a set of quick-and-easy techniques to enhance the production value of already-shot footage, and distilled them into our latest course, Adobe Premiere Pro and After Effects: Enhancing Production Value. These techniques—from tinting footage to change the mood or unify a series of unrelated shots, adding a filmic glow, and simple white balancing to compositing lighting effects shot on black, stabilizing handheld shots, and even changing lighting in already-shot scenes— take only a few minutes to learn and execute, with results ranging from subtle to dramatic.
By Chris Meyer | Tuesday, March 25, 2014
In December, Adobe released another incremental update to its video software, including After Effects CC. As a motion graphics artist, there were a couple of major updates to After Effects features that caught my eye. As a result, I updated my lynda.com After Effects: Creative Cloud Updates course with a new chapter that covers these features. Here’s my quick take on them.
By Chris Meyer | Monday, January 13, 2014
Explore this course at lynda.com.
Whether you’re editing for documentaries, reality television, or corporate videos, you’re likely to run into this scenario: The talent is giving a long speech, perhaps unrehearsed. In the middle of that speech, you’d like to pull out a really good sound bite—but the pauses around the sound bite don’t create enough space (known as a “handle”) to cleanly isolate the segment. Sound familiar?
There are a couple of time-honored solutions to this problem, including muting the audio before and after the desired sound bite, freezing the video to extend the handle, or performing a split edit (cutting the video separately from the audio). All of these compromises, however, can appear visually jarring, taking the viewer out of the flow of the program.
By Chris Meyer | Friday, November 15, 2013
Adobe recently released a nice update to After Effects for Creative Cloud subscribers. Todd Kopriva of Adobe has provided an exhaustive list of what’s new in his blog. I’ve also added to my After Effects: Creative Cloud Updates course on lynda.com to demonstrate my favorites among the new features, including:
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