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Results tagged “AE”

Ae & Kevan O’Brien

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. 

Ae & Sherry Hitch

sherryhitchI 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.

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Ae & Sagar Doiphode

Sagar DoiphodeI’m from India, Mumbai city. After finishing my Animation course in school, I wanted to become a compositor but had no idea where to start. I started with After Effects 7.0 and foudn it very user friendly. After one year working on After Effects, I realize how powerful it really is! I started my career as a graphic designer and now I m working as a compositor in Redchillies.VFX.

After Effects has changed my life! I make good money creating graphics with After Effects, leaving my poor-artist life behind. Using After Effects, I make content that I can share with others and they like it as well as respect me. Plus, I’m really proud of myself.

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Ae & & Steven Messing

biopic1My focus since childhood was a desire to create unique imagery through filmmaking. After studying Film at USC and design at Art Center in Pasadena, I fostered my passion for visual effects. I started my career in small commercial houses and video game studios creating matte paintings for cinematics and marketing campaigns. I quickly latched on to the diverse tool set that Adobe After Effects offered as a compositing and editing tool in breathing life into my work. I would create complex shots using various 3D software packages and composite all of the layers together with After Effects.

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Ae & El Director

So this is what freedom isI was first introduced to digital video editing my junior year of high school. I had enrolled in a video productions class where we used Adobe Premiere 6.0 to edit our spots for a weekly news show. For some reason, I picked up on it pretty quick. It was also during this time that I started teaching myself 3D animation with a program called Blender. My senior year, we used Premiere 6.5 and I started learning about chromakey. We had a “blue room” and I spent a lot of time filming different hollywood shots and compositing them in Premiere using it’s built in keyer. I tried flying, Honey I Shrunk the Kids, and even a Matrix spoof that was shot entirely on the bluescreen. By April my senior year, I realized that if I put a green or blue background behind my 3D animations, I could key them out too allowing me to use 3D with live action. Of course, all these effects looked terrible and amateurish by today’s standards, but I was learning how to work a shot backwards and accomplish it using the tools I had.

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Ae & Dave Bittner

Mixin' Pixels from the StartNot long out of college, with a contract position in a government broadcasting facility and a little bit of money in my pocket, I purchased a Mac Quadra 700 and a product called Digital Film from SuperMac. Digital Film claimed to be a complete TV studio on a card (it wasn’t) and bundled with it was a new software package called CoSA After Effects, version 1.

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Ae & Michelle Higa Fox

9yiNGVfPOIenS6kKYgnygzkujfhRS1QYCy0m53zZ4DcLike most 22-year olds, I finished college without a specific career in mind. I thought about pursuing interactive art, or maybe working as a video editor. Then, while working in the trenches of the nascent motion graphics industry, I realized Adobe After Effects meant I didn’t have to choose.

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Ae & Ben Grossman

BenHeadshot_TightAs a visual effects supervisor at Pixomondo, there’s never a dull moment. Working in visual effects is fast-paced, and we’re always pushing the limits of what can be done. Throughout my career, I’ve had the opportunity to work on a number of really great projects. I started out mainly as a digital compositor and naturally evolved into visual effects, compositing, and computer graphics. It’s been really incredible to be a part of films like The Day After Tomorrow, Sin City, Spider-Man, Shutter Island, and Hugo. I can only hope that I can continue to work on more projects like these that push the limits of visual effects.

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Ae & Nizar Jendoubi

This story may be simple to you but for me it was a very big step and one of the million reasons that made me fall in love with After Effects. My university professor told the students to choose any product to make a TV commercial or animation. I choose a yogurt drink, called Tip-Top.

Since I did not have a high-performance computer and my fellow students were using 3DS Max to make their animation, I had to trick myself into believing that I still could do better than they did. I decided to make an animation with After Effects with a variety of images and vector graphics.

I sat in front of my computer at 6:30pm, eating dinner while I worked, and fifteen hours later, I realized I transformed myself into a zombie. I had lost my sense of time and didn’t event sleep until I had to render my animation.

When the project presentation came, all of my classmates showcased their work. They were good, and some not-so-good, and it’s my turn to present. Would my animation be seen as good since I didn’t have the expensive camera or high-performance computer? The answer was yes! My professor and classmates found my animation to be awesomely creative and they appreciated my ability to add color and sound to my animation. My animation was so popular that I now have the nickname “Tip-Top” and my animation was listed as one of the finalist by the judges.


Ae & Aharon Rabinowitz

aharon_picI like to tell people that seeing Star Wars (the original) in the theater changed the course of my life. But the truth is that while seeing the film introduced me to visual effects – it didn’t actually allow me to create them. It would be a long time before I could, but from that point forward I had an intense curiosity about how special effects were realized.

For the next 2 decades it was like having a huge crush on someone out of my league – while I’d have loved to be able to truly experience creating VFX, I was only going to be able to admire the idea from afar. In fact, though I was majoring in psychology (something that prepared me for Hollywood more than I expected) my first paper in college was a short story about how I was working as the director of VFX. But it was just a fantasy  – not something I ever thought I’d actually do.

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