I sometimes make comps at 24 frames per second instead of 23.976 inside of my tutorials but some people have asked, “What is the correct frame rate for film?” Well, there are a lot of various situations to consider but here are a few good rules.
- The frame rate for digital film work is 23.976 so you should use this if you are making a cinematic commerical or movie about robots.
- Some video editing applications abbreviate 23.976 as 23.98 but AE requires the more specific frame rate.
- Film or not, you should work at the frame rate of your source material.
- Non-standard frame rates such as 12 and 15 are great for creating animations for the web or even flash.
- If you have multiple fps sources try to conform things to your output format.
The reason I sometimes use 24 fps instead of 23.976 is probably because I’m lazy and web video can be non-standard without many problems. Of course, it is probably good practice to use standard frame rates so that you can easily author to DVD or Blu-ray. Hope this helps but be sure to investigate your specific workflow, so that you don’t run into problems in the middle of a project. Remember PAL & NTSC standards may vary.
I am back in California where everything is 3 hours behind New York. So essentially I went back in time. Good to be back so I can start working on some of these tutorials; we’re going to have some fun!
Well, I’m not back in California just yet but I managed to throw together an overview of my presentation at AENY. It’s nothing special but at least you will see a small bit of the action and at least one bad joke. I didn’t have access to many sound effects but I did have a copy of Pro Scores so it’s not completely boring in the sound department, although I only had about 30 minutes to do everything so I mixed it in AE.
I’m sure some of this will make it into a tutorial somehow but first I need to get back on my computer and my chair and my precious mouse pad. Laptops are a bit of a pain. The video might be a little washed out but I’ll re-encode when I get home.
Most of all, I should thank everyone who came out and everyone who wished they could have. Doing public speaking is never easy but the group was great.
Download Video (Open with QuickTime)
Of course you can get a copy of the amazing Pro Scores or one of the many great DVDs from our online store and help continue the search for Spider-Man.
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I’m back at my hotel after an exciting After Effects meeting in New York. There was a great turnout of 300+ people primed for some After Effects tips. I’ll share some more info about the meeting tomorrow for those who could not make it.
If you DID go to the meeting and would like to share some thoughts or even a photograph, I’m sure a lot of people would enjoy seeing what it was like. One of the best parts was getting to meet so many of you in person and I appreciate everyone that stopped by to say hi at the end.
I had a great time and goodnight from New York.
Here is a screenshot from a mini-movie we are making for Action Essentials HD. I’ll be going to New York this week for AENY.org but I’ll be working on this project more when I get back. Sam has finally landed a role that will last more than 15 seconds!
I’ll try to post on the blog while I’m gone and let you know how it goes.
I’ve been meaning to share inspirational articles and video clips that I find and here is a great example. It is an article over at CgSociety.org on a new game called KillZone 2. I’ve never played the game and I don’t even know if it out but the artwork is just amazing.
In our earth-zoom tutorial from 2007, I jokingly suggested one method of capturing aerial photography was to send a video camera into space with a weather baloon. Well, someone finally took one of my jokes too far and sent a real camera into space. Admittedly this project was just a coincidence but the fact that it is possible is quite cool and yet somehow frightening…
Hats off to those guys for the uplifting experiment.
Now if only I could find a clip from the simpsons where Bart launches a weather baloon in the meteor episode… oh well.
Working on a quick 3D lighting tutorial that may come in handy one day. It’s a pretty universal technique so you can follow along in Cinema 4D and other apps too. No special rendering engines required.
UPDATE: Here is another pic; 5 seconds to render (864 x 486).
Just a reminder, I’ll be presenting at the upcoming After Effects New York meeting Thursday, March 26. It’s a free meeting and there are sure to be a few good tips and prizes… not sure about the tips though
This is a picture from last years trip and this time I’m going to catch that guy and find out who he really is!
In this tutorial we will learn a fast method for fracturing a layer into multiple parts and distribute in 3D space. This 50 minute tutorial is also packed with all sorts of tips, tricks and a few stories too. I’ll admit, I actually had a pretty good time making it
PROMOTIONAL NOTE: The music during the animation in this tutorial is a track from Pro Scores; one of the great DVD products available in our online store. Be sure to check them out and keep supporting the site. We’ll keep making rockin’ tutorials!
I’m going out again today for one of the last days of shooting for Action Essentials 2. We are also planning a little short film with Sam to show off some of the impressive elements available. We will not being using any practical effects in the film but rather enhance it entirely in post with Action Essentials.
Now where’s my bullet proof vest…
It has been a dangerous couple of months filming explosions and all sorts of action stock footage for the new Action Essentials 2 library. A release date will be set soon.
This collection is just FREAKING ridiculous! That’s all there is to say for now.
UPDATE: To answer a few general questions…
- Over 90% of elements are live action shots, like explosions and blood etc.
- 100% NEW Footage and Tutorials; NOT an upgrade or anything like that.
- Yes there is some high speed stuff; I’ll explain more later.
- The Box is 3D rendered and just meant to be cool.
- No cameramen died.
Using an adjustment layer is a great way to add color correction to all layers in a composition. But what if you have 10-20 or EVEN 23 shots that use the same color correction settings?
You could copy the adjustment layer to every composition, but what if you make changes to the color treatment throughout the project? You would have to copy the new settings again and again, plus make sure that every comp had the latest recipe.
But, what if you could use ONE layer to rule control them all?
Here is a handy solution. Select your adjustment layer and pre-compose it into a NEW COMP, then inside of the current work comp, turn on the continuous rasterization switch (see image) for the new color correction comp. This will force the adjustment layer to interact with the layers below, just like before. Copy this color correction comp to your other shots for project-wide color continuity. Then when you need to change the color settings, simply open the comp and your adjustments will update in all comps.
Here is a sample project to see the setup.