In this exciting new tutorial we will be keying, tracking, roto-scoping, exporting, integrating, color correcting and a lot more. This 47 minutes tutorial starts out in After Effects and covers generating the 3D building in 3D Max & Cinema 4D. No match-moving or 3D tracking required everything is done with the 2D tracker in AE. I’ve even included the 3D building for everyone to use.
You can even skip the 3D programs and build a sweet building in After Effects alone with the 3D City Tutorial.
You can even add some of your own lens flares with our 3D Lens Flare Plug-in Optical Flares!
You know what I like more than a Sci-Fi short film?
One that uses Optical Flares & Action Essentials 2! Well, now that I have exploited the filmmakers to plug some of our sweet products, I WOULD like to say that this short, not only has some great effects and visuals but it also zings some of my favorite movies.
I really liked the locations and atmosphere of the futuristic world. You can really see the hard work and passion that went into this, plus they pulled it off for only 5K bucks. And now I’m sharing it with everyone here on Video Copilot!
We should all go out and make cool films!
Here are a couple awesome “time-freeze” scenes from last year that are a blast to watch! I figure they are using every trick in the book from wire-removal to 3d models and probably much more. The main idea is to shoot the scene while everyone is standing still and move the camera around them. In contrast, The Matrix bullet-time effect was shot with hundreds of cameras, all firing around the same moment.
I know the show Hero’s has some cool freeze-time effects as well as the explosion from Swordfish, do you remember some others?
Now, if you really want to be inspired check out this Mega Video!
So the news has been out for some time and I’ve been getting emails about my thoughts on the new version so i figured now would be a good time to chime in. Now, I will point out that I do not get paid or asked to say anything but as always, I accept free TVs and Lakers playoff tickets.
Cool New Features:
AE CS5 is jet-packed with new features and workflow improvements that may seem a bit techy and possibly boring when compared to my feature request which was a 3D jet-pack generator but it seems to have been overlooked. What IS great about many of the new features is that they simplify some of the dirty work in after effects, like rotoscoping so that you CAN be more creative.
The Mocha integration is one of my favorite new features that allows Mocha-tracked masked to be imported to AE with refinement control. Mocha is a great planar tracking tool (included) for tracking moving elements for compositing. This feature may sound “boring” but you can do things like facial de-aging for blemish removals with perfectly tracked masks, and maybe even create an obscuration masks for adding jet-packs to0!
The new Roto Brush tool also looks promising. From someone that just finished 2 weeks of serious FX work, I look forward to trying out the new tool, and if it works half as good as it looks, it should be a real time saver. Many of the shots I worked on involved enhancing explosions or adding elements but before the fun stuff, I had to do wire-removal or remove or mask-out foreground elements, which generally took the majority of the time.
Getting FreeForm for … free, is also a pretty sweet. This plug-in allows you to warp layers in 3D with some intuitive controls. It’s a bit on the slow side for more complex warps but having the ability to warp layers is very useful.
I can also tell you that the interface seems quite snappy compared to previous versions as well, gotta like that.
The 64-Bit Dilemma
Now, to the most powerful and possibly most controversial new feature in AE CS5 is that the software is 64-bit ONLY. What this means is that AE CS5 will only run on a 64-bit machine with a 64-bit Operating system.
The benefits of 64-bit software include the ability to access more that 3 GBs of RAM for rendering and previews as well as allow faster processing of larger images, larger comps and higher color-spaces (32bpc).
When I think about this situation, I wonder, could Adobe have made a 32 bit version as well, so that users with non-64 bit machines wouldn’t have to upgrade there systems? Maybe. But would we have got all the new features found in CS5? Another more IMPORTANT question is this, why didn’t Adobe just NOT make a 64-bit version and just continue the success of AE without interrupting functionality for any users by keeping it 32-bit? When you think about this question, it makes more sense.
If you look at the current state of Visual Effects and multimedia, it’s progressing rather INSANELY, with HD, 2K and 4K and even 3D films becoming more common our software is being asked to do quite a bit. By NOT taking that NEXT step towards the inevitable future and the increasing demands of new media Adobe and the users, risk losing their edge.
64-bit computers have been around for quite a while and 3D software makers were one of the first adopters. When using huge texture maps and fancy 3D renderings the results were affected by limited memory access due to 32-bit software so 64-bit support was essential to taking renderings to the next level. 3D max 9 came out with a 64-bit version in 2006, and since then compositing tools, like After Effects have been pushed to new limits with 3D comping and 32-bit color projects.
I wouldn’t want software makers like Adobe to be making big changes like this all-the-time (not that they would, unlike Apple ) but I also don’t want serious innovation and development to wait for every last person to be on board before implementing it for people who could really benefit right now. If you ever had a failed render or struggled with large images just days before a deadline, you’ll be pleased with the innovation and for those who aren’t yet pushing the limits of HD, you will be soon and you’ll be happy the technology is there.
And yes QuickTime videos will continue to work in AE CS5 as expected.
How do you get to 64-bits?
Before people start running for the hills… or people that live in the hills start running down the river… Here are some considerations:
- Mac users running OS X v10.5.7 or v10.6 with 2nd Gen. Intel processor, are good-to-go. Your hardware and OS ready now.
- PC users should know that most hardware purchased in the last 3-4 years is 64-bit ready and most likely there are 64-bit supported drivers available if you wanted to change from a 32-bit OS to a 64-bit OS
- If you are buying a new computer, just request a native 64-bit OS, I’ve been using Windows 7 x64 with great success for a while.
- If your current AE version is good enough and you don’t think you will benefit from the new features… just wait until you do need it.
Another consideration when upgrading is to make sure your other favorite programs are supported under a new 64-bit OS. In most cases 32-bit software will run without problems under a 64-bit OS. One thing to keep in mind is that not all software will benefit from 64-bits, so it is quite alright to run a 32 bit version.
3rd Party Plug-in Concerns:
A major part of the After Effects popularity is the sweet plug-ins that give us magical new features like Particular and perhaps Optical Flares
Bottom line: 32-bit plug-ins will NOT work in AE CS5 without an update but, most developers have already promised support for 64-bit with free or low cost upgrade. For the record, Video Copilot is offering free upgrades for our plug-ins: Twitch and Optical Flares as well as our free plug-ins Sure Target 2 and VC Reflect.
Don’t forget, 64 bit processing is a feature and having plug-ins that work natively is a real benefit.
Some older plug-ins and even some Free plug-ins (not ours) may not get upgraded but I can tell you that the 64-bit conversion was not very difficult for our plug-ins and only took a couple days to convert all our tools and less than a week for Optical Flares which features a full use-interface.
So if the need is strong, any developer can offer a 64-bit version and I bet Adobe wouldn’t mind helping out with the conversion as well, Adobe has really reached out to developers including us to make sure we had everything we needed to be ready.
I just stumbled upon this great short film created by 2 talented artists.
Some people might say, “It looks great, especially since 2 people did it with no budget.” I say it looks “Great”, Period. The music and sound effects are also perfect. I’ve been out of town this week and the hasty sprinting and frolicking made me miss my 2.5 year old just a bit.
The animation of the eyes is just brilliant, anyone with young kids knows the familiar scanning and investigative stare.
Here is a fancy breakdown for the shot I did on the recent 80s episode of Fringe. It had some interesting challenges such as the perspective of the original plate and the desired high-rise angle. I decided to replace the ledge and warp some of the balcony set such as the doorway to better match the angle.
I think it turned out pretty good given the time constraints. Now I may not win an Oscar but hey… It does have a Heli-pad!
About a year and half ago, I was given the opportunity to work with J.J. Abrams to create the intro graphics for the Fox show Fringe which I mentioned on the blog.
Now this season, the producers wanted to flash-back to 1985 for one episode and asked if I would be interested in recreating a title sequence to match the era. I thought to my self, “Radical!”
They wanted to include science concepts that would have seemed cutting-edge at the time, such as “Personal Computing” and “Stealth Technology”, and it was my job was to make it look like Atari!
I did some youtube research and began building the retro sequence in After Effects. It was a very fun project that included some strange challenges as well. The way video was produced at the time was quite different and I didn’t want to do anything that seemed too modern.
One thing that I tried to avoid was using Easy-Ease keyframes to keep the animation more mechanical. I also used a font that implied “High-Tech” called CyFy. The text overlays were also stylized to match the Chyron process used to composite text on video.
Hat’s off to Charles for creating the 1980 version of the music too.
Watch original title sequence, followed by the 1985 version:
Now those seasoned folks, please feel free to share you stories of actually using the technology from the 1980s…