This motion graphics tutorial shows how to create interesting abstract backgrounds for your effects by filming liquid pours and ink chambers in a live-action studio. Watch more at http://www.lynda.com/After-Effects-tu....
This tutorial is a single movie from the Practical Motion Background Workshop course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 25 minutes long and shows how to capture footage of everyday objects and combine it with effects in popular postproduction tools like After Effects and Premiere Pro, resulting in rich, abstract backdrops for your project
If you’re looking for a creative way to tint your images, use After Effects. The versatile Tritone effect goes well beyond the typical sepia tone effect, as it allows you to treat highlights, midtones, and shadows separately. In addition to simple tints, you can use the filter to create stylized looks.
Select a clip in the After Effects timeline.
In the Effects panel, type Tritone. Drag the effect onto a video clip.
Press the E key to reveal the effect on that layer, and then double-click on the effect called Tritone to open its controls in the Effect Controls panel.
Click on the Midtones color swatch to open the Color Picker. Choose a color to map the midtones to.
Click on the Highlights color swatch to open the Color Picker and select a brighter color for the highlights.
Remap the Shadows color swatch.
Use the Blend With Original slider to mix the original state with the new color effect.
Adobe After Effects CS6 maximizes your system's performance. Rich Harrington teaches you how to take full advantage of this new capability for faster previews, less re-rendering and, yes, great performance.
In this installment of PS and AE, Richard Harrington shows to use Adobe Photoshop and After Effects together to get great 3D extrusion. He'll take some photos and split them out into 3D space, as well as use the Refine Edge command and the content-aware fill option to quickly build your layers to pop out and move around in the 3D camera.
Unlike most print designers, video artists must design type over diverse canvases. Often this background contains a full spectrum of color. Achieving sufficient contrast is the key to preserving legibility. When using light-colored type, it is essential to make it larger than if it were dark type. Don’t be tempted to use all uppercase to make the letters stand out. Unfortunately, uppercase letters take more time for the viewer to recognize word shapes and process what they are seeing. This is generally time they don’t have. Applying a stroke, outer glow, or tight drop shadow is an effective way to getting a contrasting edge. The biggest problem with type and video is that there will always be light and dark elements in your scene. It is crucial to add a contrasting edge to any type that is going to be keyed over a full-chroma, moving background.
A Hue/Saturation adjustment layer offers a nondestructive way to check contrast of type over a patterned background. One way to test your contrast is to convert the file to grayscale. This can be achieved with several methods:
You can print it out in Grayscale.
Add a saturation adjustment layer, and desaturate (set to 0% Saturation).
You can use the History panel to create a duplicate document that you flatten and desaturate.
Adequate separation between foreground and background elements will make for better viewing for your audience. Think of color as tonal value. Some combinations show very low contrast when desaturated.
This one is too good to pass up... Free texture generating plug-in from Creative COW and Boris
COW Exclusive: Giving Away Boris Continuum Materials Unit - $199 Value!
Generate realistic textures such as Steel Plates, Bricks, Clouds, Granite, Wooden Planks, and Rock using the Boris Continuum Materials Unit! The textures are procedurally-generated to ensure smooth render at any scale. Each filter provides a variety of animation parameters including controls for the color, width, height, and other aspects of the material. Many of the Materials Unit filters let you add 3D detail to the material surface and include lighting controls. Apply the materials as realistic surfaces or use them as animated organic backgrounds. Each filter includes presets that make using the materials a point and click operation - even for complex animations.
Peachpit has just posted a free sample from my new book Photoshop for Video called What About Transparency? One of Photoshop’s greatest powers lies in its ability to preserve complex transparency. It’s possible to have several different levels of transparency within a Photoshop document, which leads to greater flexibility in compositing multiple layers together. For example, in an image set to 8-bit mode, Photoshop supports 256 levels of transparency. Switch to 16-bit mode, and that number jumps dramatically to 65,536 levels. By employing masks, both in layers and embedded into the saved files as alpha channels, this transparency data can travel seamlessly into the nonlinear editing (NLE) or motion-graphics environment.
Things can get tricky when you start to layer 2D and 3D layers in the same timeline. As a designer, you need to understand how After Effects interprets things so you can build your compositions correctly.
When working in 2D, the highest layer in the Timeline is in front of all the other layers. The lowest layer is behind them.
3D layers are stacked based on their Z‑position value (assuming the camera is pointing at their fronts). This means that the object closest to the Active camera is in front of the other layers. This is true even if the layer is at the bottom of Timeline stacking order.
Track and Alpha mattes must always be immediately on top of the layer they are matting. This is true for both 2D and 3D layers.
Layer blend modes still follow the stacking order in the Timeline.
2D layers mixed with 3D layers are ordered by their spot in the Timeline stack.
If two or more 3D layers have overlapping z‑position values, After Effects uses their Timeline stacking order to determine top position.
If you want to keep a logo bug or other element always on top of your 3D layers it's easy. Just place the element on the topmost layer in After Effects and don't enable the 3D switch. You can also do the same for a background layer that you want behind all your 3D layers. Just put a standard 2D layer at the very bottom of the timeline. From the new Adobe Press book – Motion Graphics with Adobe Creative Suite 5 Studio Techniques
Many don't realize that they have the ability to add multiple cameras to a 3D composition. This makes experimentation easier as you can try out different camera moves without throwing the previous away. As you design, you can look through any camera you want with the 3D View Popup. You can trim the layer handles for the camera to control when a camera becomes active.
The gotcha is that only the Active Camera will render. Which one's active? The answer is it depends:
If you have two overlapping cameras, the one on top of the layer stack takes precedence. • If you want to edit between cameras, you can adjust the in and out points in the timeline. Then sequence the camera layers so you can cut between them.