Results tagged “AE”
Prior to using it, I had looked at After Effects from afar for quite a while. It was powerful and a little bit intimidating but also very attractive. Seductive. It was empowering. I thought it was “painting with all of the colors.” While working at a professional video reseller, I remember After Effects back in version 3.1. An Adobe person visited and was talking about the port to Windows and new features and asking the question, “What else do we put in there? It already does everything!” Yeah, he wasn’t being overly prophetic was he?
Several years had passed since that time and I was now considering a job offer from Adobe. Like many people, I built a ‘pros and cons’ list about the job. Under the Pros column I very seriously wrote, ‘Adobe will actually pay me to learn After Effects!’ Remember, this was before the explosion of free online video tutorials! Back then, I meant it and even though I don’t get to spend as much time with it today any more, it still remains my favorite.
Before After Effects: My Story of Motion Graphics
During my beginnings in video production, I’ve always had the urge to play around with special effects. The ideas that I would come up with in my mind for super-powered action scenes were endless. Watching special effect heavy movies didn’t subside my urge any more. In college, I tried experimenting with some, but Windows Movie Maker wasn’t made for special FX back then (or ever). Nonetheless, I was still determined to create something mind-blowing for my young audience. That’s when I learned about the powerful special effects/motion graphics program, ADOBE AFTER EFFECTS.
20 years. Wow…in a culture that loves to build things up to tear them down, this is quite an achievement. Congratulations to the team at Adobe!
My name is Ross Shain and I’m the Chief Marketing Officer of Imagineer Systems, developers of mocha planar tracking software and partners with Adobe. I’ve had an interesting career in post-production: working on the creative side as VFX compositor/motion designer and on the technical side in software development. After Effects has pretty much been with me all the way and in many ways has played a big part in my life.
My first exposure to Ae was in 1993. I was 25 years old, freelancing as an editor on a gig within a large corporation. They had an impressive facility with studios, audio booths, and an “online” A/B roll editing suite driving Beta SP video decks, switcher, DVE, Chyron…the works. Computers certainly did not dominate video production back then, but there was one geeky guy in the department who had set up a Mac running CoSA After Effects in a corner of a back room used to store props and boxes. It sat next to an SGI Indigo that had been put out to pasture. He was working on an animated intro for the show I was hired to cut.
After Effects is in its 20th year and the team had a bash in celebration. It wasn’t the red carpet event that you’d imagine. It was in a hole-in-the-wall bar in Seattle with beer and other non-exotic cocktails, a cake (for Trish Meyer’s birthday, not ours) and a lot of smiles and high-fives. We had guests come from all over the world and as far as Germany and Sweden! Long-time gurus, Chris and Trish Meyer and Mark Christiansen, traveled to Seattle just for the party. And, for added fun, Brian Maffitt skyped in for the occasion. Thank you for honoring us and celebrating a major milestone with us.
After art school, in the mid 90′s, I got my first job as a junior motion graphics designer working on expensive hardware. The frustrating part of my work was that I could not really use those systems to design freely, as the expensive hardware was always booked. I wanted to find a tool that worked on a desktop PC and that could serve to design/prototype when I had a creative flow, not when I was booked at the kit.
Dreaming about this I went to the IBC tradeshow in Amsterdam in 1997. There on the show floor was a girl with a zillion earrings and a blue mohawk showing some software that caught my attention. The girl was no one less then Angie Taylor, and the software was After Effects. It was love at first sight (sorry, not for Angie ).
I was the distracted student who doodled starships in the margins of his homework assignments. I spent half of high school sniffing fixer in the darkroom. My ambition was to work for ILM or be a Disney Imagineer. But my plan to go to film school fizzled out. Instead I studied software engineering for a couple of years. I moved back home when the isolation of college in a small mountain town got the better of me.
Young and aimless and eager to move out of my parents’ house, I took a job taking tech support phone calls.
“Hi, my name is Tim, how can I help you? Your printer isn’t working? Is it plugged in?”
Born in 1970 to a lower middle class family in the Bronx, my youth saw me succumb to the pressures of life in the inner city–alcohol, drugs, violence, truancy and eventually dropping out of school at 15.
All was not lost for I possessed a spark of talent and the dream of working in art. This drove me to get my GED at 17 and attend art school. In college I discovered the world of art isn’t easy. I was an average student at best, and barely graduated. I left college with a degree in Advertising Design… and a pregnant wife.
As a 14 year old boy, I wanted a motorcycle, a go-kart and a drum set, in that order. Due to safety concerns, I was only able to procure a beginner’s drum set and join my friends that wanted to start a band. As time progressed, so did the recording equipment we had available to us.
Starting with several 4-track recordings, we eventually recorded a 7-inch record with an 8-track recording unit on 1-inch tape in a real studio. Mixing the final tracks required manual automation of the faders and the engineer would mix in real-time as the tape played. If a part required more than 2 simultaneous knob or fader moves, he would ask us to help. If the automation wasn’t perfect, we’d have to start over.
After college in the late 80′s, I started as a shooter, and then went into post as a CMX/GVG online editor. After the job ended, I wanted to get back to shooting. hoping to become a DP. I got into the stagehand’s union in San Francisco as an electrician. Eventually, in 1997, I sustained a pretty serious injury on the feature, “What Dreams May Come.” Permanent and stationary, it was time to head back to the world of post-production.
Coming off the injury, I needed vocational rehab, as my skills were outdated. I went to Video Symphony, an Avid certified training center. It was off to Burbank to learn the Media Composer and supporting software.