Results tagged “AE”
It’s with great pleasure that we can release to you the amazing work that has gone into After Effects CC.
There are a ton of new features alongside the big ones (Cineware, Refine Edge, and Warp Stabilizer VFX) that have been covered quite bit. Snapping; EXR / DPX format updates; finding missing fonts, footage, and effects; Pixel Motion Blur… These are just a few that come to mind.
Check out several blogs posted by our team’s own Todd Kopriva to get the full and complete details:
- Refine Edge tool, Refine Soft Matte effect and related new features in After Effects CC (12.0)
- New commands for finding missing footage, effects, and fonts in After Effects CC (12.0)
- Snapping of layer features in the Composition panel, new in After Effects CC (12.0)
- Sync Settings features in After Effects CC for sharing keyboard shortcuts, preferences, and more
- Additions to Warp Stabilizer VFX in After Effects CC (12.0)
Also, check out these fantastic tutorials for folks new to 3D using the new integration with Maxon Cinema 4D by Nick Campbell (Greyscale Gorilla).
If you have a Creative Cloud membership, you always have access to the latest version of After Effects. Just go to the Creative Cloud site to download it now or to sign up for Creative Cloud.
After Effects CC represents the first release of many for After Effects under the Creative Cloud banner. I have been watching and participating in a passionate debate from all points of view on this new method of releasing our software to you. To those of you currently (or about to become) subscribers, I thank you for your business. I firmly believe you won’t be disappointed.
To folks who are still considering your options, I look forward to hearing what you think, and how we can best earn your business. We as a team are just getting started taking advantage of a whole new way to develop, test and deliver software you depend on.
By the way, if you’re just getting started with After Effects for the first time… Welcome! You should start here to learn the basics of After Effects.
Today at our Adobe MAX conference we officially launched the next iteration of Creative Cloud that will be available June 17th. Although we have been talking about the next version since NAB – we can now give you the complete details.
What we also announced is that we are moving fully behind Creative Cloud as we release all new features in our creative tools.
To be clear – all new features are part of Creative Cloud that each member gets as part of their subscription. For those who still prefer the traditional model, CS 6 is still be available for you, today and in the future.
I talk to After Effects users constantly. I hear loud and clear what works, what doesn’t and where people want to see After Effects go.
One thing I heard VERY consistently was the positive impact Creative Cloud made when we introduced it just over a year ago.
1 – Economics
Many After Effects artists use After Effects to make a living. Getting access to After Effects , Premiere Pro, Photoshop, Illustrator, etc., without large cash outlays are a very big deal.
2 – Access
How we update is about to dramatically change. We love to hear what you want and need in After Effects. In the past we had to prioritize features based on our yearly cadence and many features just never got done due to other priorities.
Now we can make updates many times per year with new features and improvements without having to wait for the ‘launch’ once per year.
This means the relationship between those who build the tool (us) and those who use it (you) can get a whole lot closer.
3 – More than tools
It’s community and collaboration. In the past you had to be where the work was. Not anymore. More artists are doing work for clients without any regard to geographic location. Peers help each other in ways they have never done before.
After Effects has been successful because of the community around it. Our goal is to make Creative Cloud the centre of the creative community. It’s not just tools – it’s how you do what you do, who you do it for and with.
Check out Behance as part of Creative Cloud to get an idea. I’m completely blown away with the sheer volume of motion graphics work currently on Behance.
4 – Breaking down barriers
As Todd mentions in his blog post – check out how we use Creative Cloud to remove barriers as you move from workstation to workstation – even a machine you don’t own. This is just a first step – expect to see many more.
For any questions about Creative Cloud – please check out this FAQ.
This is a very big deal. I’m really proud what we accomplished with After Effects CC – and we’ve only just begun.
This year marks my 12th NAB. One thing that makes this time of year completely cool – it’s like new years eve for the production industry. I’ve been around for a few of these now – and I must say that this one is by far one of my favorite. This year we are doing a huge sneak peek and revealing what’s coming to the next versions of the Adobe professional video and audio tools.
After Effects CS6 was a gargantuan release. The 3D Camera Tracker brought complex camera tracking to everyone, and the global performance cache brought performance improvements where it mattered most – previews. We knew going into this next release that topping it would not be for the faint at heart.
I can say with complete confidence that not only did we top it with what’s coming to the next version of After Effects – we set a new standard I don’t know that we can match again – EVER. We listened to you intently and redesigned stabilization with the Warp Stabilizer VFX. We delivered a completely revamped approach to the previously mind-numbing task of rotoscoping, and made it not just fun to do, but made the technique work on footage that is just frankly ‘un-roto-able’. Look for the Refine Edge tool to see what I mean.
To top it, we saw that After Effects artists work with Cinema 4D as passionately as they do with After Effects. We looked at current workflows with our friends at Maxon and decided to integrate After Effects and Cinema 4D in a completely new way. I think the workflow advantages are not just dramatic, but completely empowering. Think 600 creative decisions in the new way of integration with no penalty – vs. 10 with the current workflow today.
Although the next version of After Effects isn’t available now, we’re offering a NAB Show special to get 40% off your first year of Adobe Creative Cloud membership (only $29.99/month), and you’ll automatically get these new features as soon as they are available. You can check out upcoming top features coming to the next versions here.
Overall – I am extremely proud of this next release, and can’t wait to hear from you what you think. Happy NAB folks.
Roto work is typically an eye-bleeding task as it takes so much of your time to pull complex footage. Even with careful setup, if you shoot against a green/blue screen, you may have unevenness such as poor lighting, seams, wrinkles, markers or other auxillary objects that might introduce artifacts thus needing manual cleanup on each frame. For more general backgrounds, getting the alpha mattes could be extremely difficult.
Not so, in the next version of After Effects. Here’s a little peek as to what’s next in the world of rotoscoping in AE. And, for a little fun, we’ve decided to share the history of roto work in AE and give you a glimpse into the future using the next version of After Effects.
I have fallen in love with creating beautiful graphics. I had the talent for it when I was young and it was then I heard about After Effects from my best friend. When I was in secondary school, I took a course in After Effects and worked through the content in the After Effects Classroom in a Book and Mark Christiansen’s After Effects Studio Techniques. It made me a better artist and I am very happy with the results. Now I am a professional compositor in AfterEffects.
I love you, After Effects. You made my hobby into a career. Happy Birthday!
As I kid I wanted nothing more but to become an inventor when I grow up. My hero at that time (and perhaps to this day) was Prof. Grumpy. (I have a TEDx talk about that subject and how it led me to After Effects – http://tinyurl.com/aewgpus).
My parents sent me to a music school which oddly enough got me into programming. From there I moved to more dynamic areas like websites, graphics and video editing where effects of ones work could be seen almost instantaneously. But I wasn’t happy. I couldn’t really draw or paint – I have no manual skills, so when I was viewing myself as a designer I felt bitter. It’s only when I found After Effects I came to peace with myself, my work and my mission in life (if you wan’t to call it that).
20 years ago, I was introduced to After Effects. Created by the enigmatic CoSA corporation. After Effects was an artifact from the future – the natural extension of Photoshop, projected into the fourth dimension. It took my work into a radical new direction, allowing me to move and combine imagery in ways I had only imagined.
After graduating with a design degree back in ’98, I moved to London and was lucky enough to be offered a junior design position at a tiny post-production studio called Blue Source. It was here that I was introduced to Ae for the first time; the only software I had used till then was Photoshop and Quark, so as you can imagine, the learning curve was pretty steep!
However, back then, desktop motion design was still ahead of its time (and very slow) and sadly the studio suffered due to clients’ nervousness using this new, slower technology. I was let go and ended up in publishing, which was fine for a while but eventually found I was missing the excitement and challenges that Ae and motion design had given me.
I was first exposed to After Effects at Passion Pictures where they were using it for compositing animated material into live action commercials. Often a comp would come to me - I was editing at the time – and it would need to be “tweaked” or rendered in a different codec on the network to make it “edit-system friendly”. This was back in the days of After Effects 4/4.5.
Learning the basics of After Effects I became aware that plug-ins could be used to enhance its capabilities and to this point I explored the possibility of using After Effects to “up-rez” material from SD to HD and even 2K. By using a plug-in I was able to achieve this goal without the expense of having to go to an expensive post house to achieve the same result. Plug-ins are truly the democratization of production techniques, showing that desktop software is just as capable as larger, more-expensive bespoke solutions. Using this technique I got a number of short films transferred to 35mm, some actually being nominated for major awards.
Whilst using this technique to work with video and 35mm, I came onto Adobe’s radar and they offered me a Business Development role working with After Effects and the other video tools. My time at Adobe was fruitful; I was even able to air my views on the future direction of After Effects through the beta forums.
Plug-ins have become more and more part of the After Effects story with one of the manufacturers, Boris FX, being very prolific in producing high quality and innovative plugins.
Now I find myself actually working for Boris FX, evangelizing the power of After Effects complemented by these amazing plug-ins. So After Effects still plays a huge part in my day-to-day life and I wouldn’t be employed without it.
So happy Anniversary Adobe After Effects – and may you run for another 20 years, if nothing else just to keep me employable.
I first got involved in the visual effects industry in the 1990s. I’d gone to film school and art school and thought I might try to be a director someday. I went to work as a PA at a VFX boutique house, Foundation Imaging, which was starting to do visual effects on desktop machines. It was the early 90s when most visual effects were still done by machines that cost far and away more than Adobe After Effects. I watched people using Macs running Photoshop and After Effects to break into the visual effects world and I thought, “I can do that!”
Soon I was doing screen displays on the television show Babylon 5 using After Effects. I learned on the job from the likes of Kevin Kutchaver, Mitch Suskin, and Ron Thornton. I moved up to doing more compositing, visual effects and lighting shots on other TV shows, including Star Trek: Voyager and Star Trek: Deep Space 9, and a TV movie called Superfire. We were nominated for some Emmys for work that we did—all using After Effects and LightWave.