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Adobe After Effects Expressions Tutorials

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Adobe After Effects
LightGrid Script and Demo Tutorial Part TWO with New Feature

LightGrid Script and Demo Tutorial Part TWO with New Feature
  Play Video
LightGrid Script creator Brian Charles demonstrates his newly modified After Effects script for rigging lights in grids and circles. The modified script with the new feature, which adds the ability to enable individual light colors through a checkbox in the effect control panel, is available as a free download in the Project Files folder.

Tutorial, Video Tutorial
Brian Charles
TV & Movie Appreciation
The Toaster and Tim's Vermeer

The Toaster and Tim's Vermeer

The inventor of the NewTek Video Toaster was certain that he figured out the secret behind the uncanny realism of one of the world's greatest painters, and certain he could use the same methods to duplicate it. Really? Yes, really. Join us for a conversation with NewTek founder Tim Jenison on the unexpected intersection of art, technology, obsession and the Video Toaster in the wonderfully provocative documentary called Tim's Vermeer.

Editorial, Feature, People / Interview
Tim Wilson
Adobe Creative Cloud
Take Creativity Wherever You Go:Adobe Creative Cloud Updates

Take Creativity Wherever You Go:Adobe Creative Cloud Updates

Blending desktop apps and mobile devices for a "creativity on the go", Adobe announced the availability of 14 newly updated Creative Cloud desktop apps, four new mobile apps, and new Adobe-branded hardware tools for iPad.

Editorial, Feature, People / Interview
Kylee Wall
Adobe After Effects
LightGrid Script and Demo Tutorial

LightGrid Script and Demo Tutorial
  Play Video
LightGrid Script creator Brian Charles demonstrates his After Effects script for rigging lights in grids and circles. The script is available as a free download in the Project Files folder.

Tutorial, Video Tutorial
Brian Charles
Adobe Creative Cloud
Adobe Creative Cloud Adds Speed and Ease for Video Producers

Adobe Creative Cloud Adds Speed and Ease for Video Producers

Adobe Creative Cloud's video applications create a post-production pipeline for all types of video content creators, and major updates to that toolkit aim to make content creation faster, easier, and more exciting.

Review, Editorial, Feature
Kylee Wall
Adobe After Effects
Joseph Kosinski’s Film “Oblivion” Showcases Elegant Effects

Joseph Kosinski’s Film “Oblivion” Showcases Elegant Effects

World‐class user interface designers, graphic artists, and animators create crisp, timeless visual elements for the sci-fi film starring Tom Cruise and Morgan Freeman, Oblivion. Kosinski turned to Bradley G. Munkowitz (GMUNK), whom he'd previously worked with on Tron Legacy. As lead interface graphic designer, GMUNK then pulled a team together that included Interface Graphic Designers Joseph Chan (Chanimal) and Jake Sargeant, and Interface Animators Alexander Perry (AP), Navarro Parker (Nav), and David Lewandowski (D-Lew). They were happy to reunite to share how much fun they had creating the 2D effects for the film using an Adobe workflow.

Editorial, Feature, People / Interview
Adobe
TV & Movie Appreciation
John Dykstra, ASC: VFX Then and Now

John Dykstra, ASC: VFX Then and Now

Creative COW had the great pleasure of speaking to visual effects pioneer John Dykstra, whose work first came to prominence on the original Star Wars. Dykstra received his first Academy Award for his work on Star Wars, and, the same year, won an Academy Scientific and Engineering Award for the Dykstraflex motion-control camera that made so many of Star Wars' effects possible. Join us as he shares behind the scenes on Star Wars, speaks about his transition from an artist to a VFX supervisor, and gives us his thoughts on the state of VFX today.

Editorial, Feature, People / Interview
John Dykstra, ASC
TV & Movie Appreciation
Creating the 3D in Gravity

Creating the 3D in Gravity

Gravity, the highly-acclaimed, intensely emotional space thriller, has been hailed as some of the - if not the VERY - best 3D footage ever seen on the big screen. This has led to some surprise when learning that Gravity was NOT shot in 3D. However, it wasn't entirely converted in post either. It featured an innovative and unique workflow that incorporated 3D conversion during production as well as a complex integration with 3D VFX. In a conversation with Prime Focus World, we find out how they did it.

Editorial, Feature, People / Interview
Debra Kaufman
Adobe After Effects
Adobe Ups Creative Cloud and Adobe Anywhere

Adobe Ups Creative Cloud and Adobe Anywhere

Adobe has updated its Creative Cloud with 150 new features, including numerous video tools for Premiere Pro, After Effects, SpeedGrade and other components. In addition, the company has also planned significant updates to Adobe Anywhere Video, the "modern collaborative workflow platform" that allows Adobe pro-video solutions benefit from centralized media and assets across standard networks.

Editorial, Feature, People / Interview
Debra Kaufman
MAYA
Iron Man 3: The Trixters Behind Tony Stark's Shiny New Armor

Iron Man 3: The Trixters Behind Tony Stark's Shiny New Armor

Seventy artists from Trixter worked an entire year to create a formidable 208 VFX shots for Marvel's Iron Man 3. Each new episode in the Iron Man saga details a slick new technology created by the ingenious Tony Stark, and the new installment does not disappoint! Combining the hard surface geometry of the Iron Man suit auto-assembly with the flexibility of the human body was one of the challenges that Trixter brought from previs to believable screen reality.

Editorial, Feature, People / Interview
Alessandro Cioffi
NAB Expo
NAB 2013: Adobe Introduces Adobe Anywhere

NAB 2013: Adobe Introduces Adobe Anywhere

At NAB 2013, Adobe is introducing Adobe Anywhere, a collaborative workflow platform that centralizes projects and allows users to share and change project files. Also new are some powerful new features for Adobe Premiere Pro, including color grading and the ability to "link & locate" clips. A newly designed SpeedGrade also makes color grading tools more familiar to Adobe toolset users, and After Effects celebrates its 20th anniversary.

Editorial, Feature, People / Interview
Debra Kaufman
Adobe After Effects
Pushing AE - And Myself

Pushing AE - And Myself

Bill O'Neil helps celebrate 20 years of Adobe After Effects with his story. Bill reveals his secret, "I learned how to use AE by making promises to my clients I didn't know I could keep."

Editorial, Feature
Bill O'Neil
Adobe After Effects
Prisoner To My Passion

Prisoner To My Passion

"I don't know if it's addiction or adoration, but one way or the other, I'm hooked on her," says Creative COW's Rob Mize. "The signs are all there: the obsession with After Effects, the inability to function without After Effects there next to me on my laptop, waiting to be clicked. And the torment of each moment spent suffering any separation from my cherished compositor. Is it any wonder that I, a once innocent naïf in an analog world, now find myself enraptured by this non-linear, digital Delilah?"

Editorial, Feature, People / Interview
Rob Mize
Adobe After Effects
Advice To Editors: LEARN AE!

Advice To Editors: LEARN AE!

Kevin McAuliffe's experience has been that all editors need to know Adobe After Effects at least as well as their NLE. His own experience has been that anything less than intermediate to advanced knowledge makes it impossible to actually get anything done. Even working with the compositing power of Avid Symphony, Kevin is in AE all day, every day. Here's the story of how he got there.

Editorial, Feature
Kevin P. McAuliffe
Stereoscopic 3D
Tim Squyres Edits Life of Pi

Tim Squyres Edits Life of Pi

Tim Squyres, who was nominated for an Academy Award for his work on Life of Pi, got hooked on film when he took an introductory film course at Cornell University in upstate New York. Squyres talks to Creative COW about the challenges of editing Ang Lee's first digitally shot feature film, which was also a stereoscopic 3D release.

Feature, People / Interview
Tim Squyres
Adobe After Effects
How Did They Do All This?

How Did They Do All This?

When he saw a particular commercial for another local company years ago, John Cuevas was blown away, "so I asked our senior editor 'how did they do all of this?' He replied, 'After Effects.' I looked him dead in the eye and said 'Yeah, I get that they did the effects after, but how do they DO it?'" After over 10 years of visiting the COW daily, he's clear about it now, and still learning how to do it better.

Editorial, Feature
John Cuevas
Adobe After Effects
Ronald & Kathlyn and After Effects & The COW

Ronald & Kathlyn and After Effects & The COW

Soon after they purchased CoSA After Effects in 1994, Ronald & Kathlyn Lindeboom found themselves in a little over their heads. There were virtually no web resources for learning AE -- frankly, virtually no resources whatsoever, as this was long before training tapes and books. So, they founded a web community to help find the help that they themselves needed, and 18 years later, it's still growing! And After Effects is still playing a central role in its success.

Editorial, Feature
Ronald Lindeboom
Adobe After Effects
Expressions, Scripting, Automation -- and Fun

Expressions, Scripting, Automation -- and Fun

"I first encountered After Effects in a somewhat roundabout way. I have (as many people do apparently) an aversion to public speaking, so I came up with the bright idea of creating a video to do the talking for me." So begins the journey of longtime Creative COW leader Dan Ebberts, which takes a dramatic -- and fun -- turn with the introduction of Expressions in AE 5.

Editorial, Feature, People / Interview
Dan Ebberts
Adobe After Effects
Inspiring Me to Enable Myself

Inspiring Me to Enable Myself

"My journey with After Effects is a reflection of my journey as a creative. Fear, skepticism, blood, tears, mocking, understanding, confidence. The cycle repeats sometimes, but it expands and contracts too. Some days it's a thing of wonder and beauty, other days it's collapsing in on itself like a dying star. When you start to have more days like the former than the latter, nice things start to happen both on your screen and in your mind. For all the rest, there's coffee," says Creative COW Contributing Editor Kylee Wall.

Feature, People / Interview
Kylee Wall
Adobe After Effects
An Old Dog, Learning New Tricks

An Old Dog, Learning New Tricks

You'll be surprised at how late Andrew Devis started with After Effects, but he's thrilled to be constantly learning new tricks. The excitement he finds in turning that knowledge into tutorials has clearly been reciprocated, as he has become one of the web's most popular trainers.

Feature, People / Interview
Andrew Devis
Adobe After Effects
Keeping Them Guessing

Keeping Them Guessing

For 22 years, Dave LaRonde created on-air promotion for KCRG-TV, the ABC affiliate in Cedar Rapids, Iowa. Through the years, one thing has remained constant: Adobe After Effects has been in his video toolbox. Dave describes his introduction to After Effects and how it helped him turn an also-ran into the leader of the pack.

Feature, People / Interview
Dave LaRonde
Cinematography
The Hobbit & The Dawn of High Frame Rate Cinema

The Hobbit & The Dawn of High Frame Rate Cinema

The technology wizards of the film/TV industry have been talking about High Frame Rate cinema for a long time; indeed, Douglas Trumbull's Showscan at 60 fps presaged the current interest over 30 years ago. But it took director Peter Jackson to take the plunge for mainstream cinema, declaring he would shoot The Hobbit in 48 fps to get momentum going. In about a year's time, manufacturers made the gear, theater exhibitors updated their movie theaters, and the studios prepared for one of the most audacious technology debuts that cinema has seen. Creative COW goes behind the scenes to see what it took for you to see The Hobbit in 48 fps.

Editorial, Feature, People / Interview
Debra Kaufman
Adobe Premiere Pro
IBC 2012: Adobe Provides Broadcast & Media Solutions

IBC 2012: Adobe Provides Broadcast & Media Solutions

Adobe came to IBC 2012 focused on the broadcast industry. The big reveal was its new Adobe Anywhere, a collaborative workflow platform that allows real-time collaboration for remote users of Premiere Pro, After Effects and Prelude. Adobe expanded its partnerships with broadcast solution companies, to over 200. At the show, Adobe also unveiled a new promotional offer for individuals and corporations interested in switching from Apple Final Cut Pro or Avid Media Composer to Adobe Production Premium or Adobe Creative Cloud.

Editorial, Feature
Debra Kaufman
Adobe Premiere Pro
MEDIA MANAGEMENT

MEDIA MANAGEMENT
  Play Video
Adobe Prelude CS6 offers a variety of new media management features. Rich Harrington will show you the best ways to import footage, set it to automatically copy to a new dimension, and powerful new transcoding options.

Tutorial, Video Tutorial
Richard Harrington
Cinematography
Behind the Lens: Paul Cameron ASC on Total Recall

Behind the Lens: Paul Cameron ASC on Total Recall

Paul Cameron, ASC, just finished work on the remake of Total Recall, directed by Len Wiseman and starring Colin Farrell, Kate Beckinsale and Jessica Biel with Bill Nighy, Bryan Cranston, and John Cho. Cameron was last featured in Creative COW for his work on Henry's Crime. His previous credits include director Michael Mann's Collateral and Tony Scott's Man on Fire.

Feature
Paul Cameron, ASC
Authors

Adobe (1)
Trent Armstrong (3)
Brian Charles (2)
Guillaume Charron (1)
John Cuevas (1)
Andrew Devis (8)
Jerzy Drozda Jr (5)
Dan Ebberts (9)
Richard Harrington (1)
Debra Kaufman (14)
Andrew Kramer (1)
Dave LaRonde (1)
Carl Larsen (2)
Ronald Lindeboom (1)
Kevin P. McAuliffe (3)
Rob Mize (2)
Mylenium (1)
Stephen Nakamura (1)
Bill O'Neil (1)
Michael Park (2)
Aharon Rabinowitz (10)
Eran Stern (2)
Grant Swanson (3)
Matthew Tompkins (5)
Jesse Toula (1)
Kylee Wall (3)
Tim Wilson (2)


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