News, Information & Workflows from Users & the Adobe Ae Team

Customer Focus: Users share their ideas, thoughts and workflows on After Effects.

Andrew Kramer helps grow and inspire the VFX and motion graphics industry

Andrew Kramer started creating Adobe After Effects tutorials for fun, with no idea that his hobby would lead to an enormously successful and rewarding career. After starting his Video Copilot website when he was just 20 years old, he has become a highly respected professional in the visual effects and motion graphics industry. In addition to creating software and tools for professional designers, he also works in the film industry. No matter what he’s working on, he always finds time to train and inspire others in the community to realize their creative potential.

Andrew Kramer likes staying busy, and this past year was no exception. In addition to releasing a new 3D plug-in for Adobe After Effects CC, he’s been working with Bad Robot on a couple of new, top secret projects. He also created a new city destruction tutorial that highlights the use of 3D Camera Tracker in After Effects.


For the tutorial, he shot HD aerial footage of downtown Los Angeles, and broke up the city as if there was some type of monster invasion. He used the 3D Camera Tracker in After Effects to track the scene, identify the track points, and then place objects and layers in the 3D space. In one scene there is a hole punched into a skyscraper that shows the inside levels of the building in a completely photorealistic way.


After creating this tutorial, Kramer wanted to explore what it would be like to use this same effect on a human. He filmed an actor and used the same 3D tracking on his face. The tracker assumed the geography in the same way it would do in a landscape, added track points, and let him create the camera position for the compositing.


“We’re trying to show tutorials that have deeper uses,” says Kramer. “Our city destruction tutorial shows an innovative way to use the 3D Camera Tracker in After Effects to create a popular effect. There are so many different things you can create once you have a good track on a scene or even on a person.”


To see more of Kramer’s work with the 3D Camera Tracker in After Effects, don’t miss his presentation at the 2015 NAB Show entitled “After Effects CC: Motion Tracking the Impossible” in the Adobe theater on Tuesday, April 14th at 2:00 pm.


Watch Andrew Kramer’s presentation at NAB 2014.


For more information on Creative Cloud, see this page for details or check out this overview video and the Creative Cloud FAQ list.

Behind the scenes of “Word Crimes”

Talented artist uses Adobe After Effects to create fitting typographic animation for parody video

On Tuesday, July 15, 2014, the most shared video on YouTube and Facebook was “Weird Al” Yankovic’s “Word Crimes,” a parody of Robin Thicke’s popular “Blurred Lines” single. With more than 12 million YouTube views and climbing, the song is both clever and catchy. But what really brings it to life is the video’s impressive typographic animation. Jarrett Heather, a software developer with the California Department of Food and Agriculture, spent 500 hours over three months working with Al Yankovic on the project, which relies heavily on Adobe After Effects, Photoshop, and Illustrator.

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Creating a visual experience for Fatboy Slim at Coachella

Production company creates immersive experience for well-known DJ artist at art and music festival using Adobe Creative Cloud

Plastic Reality is a production company known for branding and other video work for big corporate clients such as BP and Unilever. But unlike most corporate video companies, Plastic Reality has a wild side, called The Happiness Labs, focused on producing experiential content and graphics for live events and installations.

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Seamless visual effects for “The Wolf of Wall Street” created with help from Adobe After Effects CC and Adobe Photoshop CC

Paul and Christina Graff of Crazy Horse Effects (CHE) are visual effects aficionados, with projects to their credit such as There Will Be Blood and Life of Pi. They also work with a team of some of the best matte painters and designers in the visual effects industry, and are recognized for their award-winning compositing. They recently created some seamless visual effects for The Wolf of Wall Street, directed by Martin Scorsese, with Oscar-winning VFX supervisor Rob Legato overseeing the shots.

Adobe: How did you become involved with The Wolf of Wall Street?
Paul: I actually met Rob at a panel presenting outstanding work in VFX done in After Effects. We went to have a drink afterwards and he asked me about our new office in New York. We had worked on The Aviator andShutter Island with him and he thought we could help with some of the shots in The Wolf of Wall Street. We were stoked to make the reunion with Rob, and excited to work on the project, although we joined the team late in the game when most of the effects were already well underway.

Adobe: What type of work did he send your way?
Christina: We didn’t do any of the normal set extension work that we usually do. Instead, we focused on a lot of last minute fixes and designed several sequences. We worked on a lot of quirky shots! We contributed to several corporate identity “videos,” a few driving scenes, and a longer sequence with the real Jordan Belford at the end of the movie. Our work is really scattered throughout the movie.

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Setting the stage for “Anchorman 2: The Legend Continues”

Video Playback and Graphics team uses Adobe Creative Cloud and plugins from FxFactory to create period-specific news content

To make the set of GNN, the 24-hour news channel featured in Anchorman 2: The Legend Continues as realistic as possible required one essential element: content. It was the job of the video playback and graphics team to fill the dozens of screens throughout the fictional studio with realistic, period-specific news.

Rather than filling the screens in post production and using archived news reports, the team produced nearly all original content and fed it to the screens in real time. News reports were shot and composited together with stock footage using an Adobe Creative Cloud video workflow and plugins from FxFactory, which offers a broad range of VFX tools for editors and compositors.

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“A Liar’s Autobiography” Filmmakers Switch to All Adobe Workflow for Tribute to Monty Python Member

Made Visual Studio and Bill and Ben Productions switch to all Adobe workflow to bring the animated Graham Chapman memoir to life

Justin Weyers faced a challenge: help create an animated movie that integrates the work of 14 animation studios into a holistic 3D stereographic film, to celebrate the life and multifaceted career of deceased Monty Python member Graham Chapman. Weyers is co-founder and director for multi-disciplinary creative agency Made Visual Studio. Switching to an all Adobe workflow based on Adobe Creative Suite Production Premium provided the tools needed to weave the creative visions and talents of many contributors into a film that mirrors Chapman’s genius. Recently, Weyers talked with Adobe about the project, the switch to Adobe Premiere Pro, and his experiences using the latest versions of Adobe Creative Suite Production Premium, including Adobe Premiere Pro, After Effects, Flash Professional, and Photoshop Extended.{C}

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Tom Lowe breaks technological and creative bounds with TimeScapes

On April 17, 2012, award-winning cinematographer and director Tom Lowe debuted his film TimeScapes at the Brenden Theatre in Las Vegas during NAB. The tickets sold out in a matter of hours. The film takes viewers on a journey across the American Southwest using stunning, slow-motion and timelapse cinematography. His moving photography is the product of some highly technical camera and editing setups, but Lowe isn’t secretive about his techniques. Recently, he talked with Adobe about the project and his experiences using Adobe Creative Suite Production Premium for editing in 4K resolution.

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“Marvel’s The Avengers”: Taking the HUD to new heights

An interview with the HUD’s Creative Director and Screen Designer

Stephen Lawes, creative director and co-owner of Cantina Creative, Venti Hristova, graphics and HUD supervisor, Wes Sewell, stereo supervisor, and Jayse Hansen, freelance screen designer/animator, had their work cut out for them on Marvel’s The Avengers, which premiered May 4th and has already passed the $1 billion mark. The movie, directed by Joss Whedon, features Marvel’s most popular superheroes: Iron Man, The Incredible Hulk, Thor, Captain America, Hawkeye, and Black Widow. For Lawes, Hristova, and Hansen, the most challenging on-screen graphics job was the creation of the heads-up displays (HUDs) in the film, used for two versions of Iron Man’s suits. The team also created the on-screen graphics to fill in countless digital computer screens throughout the movie. Here, Lawes and Hansen talk about using Adobe Creative Suite Production Premium for the project.

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David Atkins Enterprises and Digital Pulse use Adobe software for record-setting arena projection

Australian production studio delivers animation for the 12th Arab Games, on record-size projection space, using Adobe Premiere Pro and After Effects.


In December 2011, the 12th quadrennial Arab Games took place in Doha, Qatar at Khalifa International Stadium. As part of the planning process for the Doha games, the world-renowned event production agency, David Atkins Enterprises (DAE), was commissioned to conceive and produce the opening and closing ceremonies. Following this commission, DAE contracted Australian digital design and video production specialists, Digital Pulse, to produce the animated visuals for the opening ceremony including the athletes’ parade and cultural segments. Far from a conventional production canvas, the animated visuals that the Digital Pulse team were to produce for the event would have to play seamlessly across the stadium’s two different playback systems: a contiguous LED system installed behind all stadium seats and an 86-projector projection system that covered a world record 12,600 cubic metres of on-field projection space.

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The Girl with the Dragon Tattoo: how Creative Suite Production Premium was used

Trailblazing filmmakers turn heads with The Girl With the Dragon Tattoo, created using 4K post workflow using Adobe Creative Suite Production Premium software


For The Girl with the Dragon Tattoo, David Fincher reunited the post team from The Social Network: Academy Award-winning Editors Kirk Baxter and Angus Wall, Light Iron Colorist Ian Vertovec, Assistant Editor Alex Olivares, Post-Production Supervisor Peter Mavromates, and Assistant Editor Tyler Nelson. The team refined the workflow from The Social Network for The Girl with the Dragon Tattoo, upgrading from a 2K post workflow to a 4.5K and 5K pipeline resulting in a 4K digital master. Adobe Creative Suite Production Premium, including Adobe After Effects and Adobe Premiere Pro software, was instrumental in the post-production process.

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