This is a tutorial for creating titles inspired by the “Dracula: Untold” movie trailer. Bats, smoke, lighting effects, all made completely with in After Effects with first party plugins.
Inspired by the practical exploding chalk effects used in the Semi-Permanent Sydney 2014 title, Claude Autret explained to Red Giant’s Aharon Rabinowitz how he attempted to remake some of the effects in After Effects using Trapcode Form. Claude explains how he used a letter converted to a shape, to use only the outside stroke, as a layer map for Form, with really small particles, and then animate the displacement and dispersion so it explodes towards the camera.
Here’s a tutorial for creating titles inspired by the “Dracula: Untold” movie trailer. Bats, smoke, lighting effects, all made completely with in After Effects with first party plugins.
Need to touch up your actor’s complexion quickly and easily? There are a lot of plug-ins on the market that can help you with this task. I’ll cover the big players and a few new to the market: Digital Anarchy Beauty Box, GenArts Sapphire S_Beauty, FXHOME HitFilm, the recently released Imagenomic Portraiture for video, the brand-spanking new Dashwood Smooth Skin. Red Giant Cosmo and Colorista II are also on the agenda.
It’s day 3 of 30 Days of After Effects from School of Motion in Sarasota Florida. Learn to efficiently use After Effects Expressions to rig up some gears.
Alex from Zaxwerks explains how to create some cool animated sports banners with Zaxwerks 3D Flag, which incidentally, is on sale through July 1, 2014!
Andrew Kramer uses 100% After Effects, no third-party plug-ins, to create this shockwave effect using Fractal Noise.
Ben Watts has a new tutorial up showing how to create an otherworldly rocky terrain in CINEMA 4D and After Effects. Ben says, "In this tutorial we'll build up a displaced surface using layered noise maps. After that we'll create a wet looking surface & water shader for the deep section. Finally we'll take care of some basic lighting & colour correction in After Effects."
In this 60 Second Studio, Rafael from NewBlueFX shows you how to point to multiple instances using one template in Titler Pro 3.
Do you need to make some small fixes to the skin of your actor, like fixing a blemish or blotchiness? Here’s part 1 of a 2 part series on Skin Retouching and Digital Makeup to get you started!
Mustapha Fersaoui shows how to create a realistic rain scene with Photoshop and After Effects using a lot of plug-ins that ship with AE, plus some Optical Flares and Red Giant Mojo.
Andrew Kramer of Video Copilot shows you how he made this cool sci-fi muzzle flash in with distortion in Adobe After Effects. The awesome shooting effects were created with the Video Copilot's Shockwave pack in After Effects. The high tech weapon sound effects are from the new MotionPulse sound package from Video Copilot.
Joren from The Pixel Lab shows the workflow of working with footage tracked with The Foundry’s CAMERATRACKER in After Effects and then bringing that footage into MAXON CINEMA 4D.
Andrew Kramer stars in his own video showing how he took a Nerf gun and converted it into a dangerous intergalactic weapon, then added effects in post.
Pro Video Coalition has a great article up written by ChrisZwar. Its an overview on the power of the ability to create 3D layers and work with them using After Effects’ Virtual Camera tool.
With ScopeLink, you can have world-class scopes and QC tools, no matter which application you're working in.
In this tutorial, Matthew Perks will show you how compose a green screen shot with a moving camera. He will also show you how to make an accurate 3D shadow of the subject, which really helps to sell the shot.
Post by Kevin Snyder at CGtuts+: "Learn how to create and animate eye catching 3D paint strokes using a combination of After Effects and Cinema 4D in this tutorial from Kevin Synder."
Additional Files & Scripts:
- Paint it Black Texture Pack (Dan Stevers)
- Riot Gear (Video Copilot)
- Unmult (Red Giant)
- Sortie Script (AE Scripts)
Gardner Raymond of Consequence Video Designs has a new After Effects tutorial, in which he creates animated guitar strings using Rowbyte Plexus with the help of Trapcode Sound Keys.
MediaMotion Ball and International Media Users Group (IMUG) founder, Carey Dissmore gives you an inside look at how he created this year's animated logo.
Armed with BCC 8 AE in Adobe After Effects, you'll learn how Carey harnessed the power of BCC Extruded EPS, BCC Particle Emitter 3D, BCC Glint, BCC Organic Strands, and BCC Colorize Glow to create the slick, high energy style for the annual NAB event.
In this tutorial Ben Watts will teach you how to create a basic digital wipe effect using Adobe After Effects.
Ran Ben Avraham shows us how to create a Lizard Man transformation in After Effects with FreeForm Pro. Ran motion tracks a sequence and then he uses FreeForm Pro to wrap the texture of his choice around the actors face in 3D.
In Part 2 you will learn how to 2D track different parts of the face in Mocha. You'll apply that info to the texture that has been created.
Bokeh is a type of defocus or lens blur where the blur takes on the shape of the lens diaphram. We explain how to pronounce the word, how it is created, and show lots of cool examples. Also, a few plug-ins to create a bokeh in post-production.
Charles Yeager leads you along in this tutorial on how to do some key things when using OBJ files exported from 3ds Max and used in Video Copilot Element 3D. He also uses ReelSmart Motion Blur from RE:Vision Effects.
In this tutorial George Parker will give you a quick rundown on how to mix audio for film! There is some good stuff in here, people!
Ran Ben Avraham walks you through turning a human man into a Lizard Man with After Effects and Mettle FreeForm Pro. He motion tracks his footage and wraps the serpentine texture around the actors head with FreeForm Pro.
Lester Banks fine blog had a link to this one from Daniel-FS. In this After Effects tutorial, he explains how to create a simple rig for a 3D screen, consisting of multiple planes in 3D space. He used several scripts including Reposition Anchor Point, Layer Chain, Split Image and True Comp Duplicator, all carried by AE Scripts. He also has the project files available for download.
Charles Yeager at CGI Tuts+ explains how to change the render sound in After Effects. I can’t say I’d use a gunshot like he did… maybe a more beautiful sound like a kitten meow or a favorite song. Or, here’s an idea! How about a silent audio file so that you’re not suddenly startled by the render ending!
Anyway, Charles explains the process for both Mac and Windows.
Dino Muhic creates a beautiful fluid looking water effect, inspired by a Beck’s commercial in Germany. Dino used a lime from Video Copilot 3D Model Pack - Fresh Food.
First, he builds it from scratch and then explains how to composite it. He also created a preparation video to show how the water looks on its own.
NewBlueFX allows users to create stunning and chic professional 2D and 3D video titles in the timeline with speed and efficiency. Here’s a tutorial to show you how to use some of the features in the plug-in!
Ryan Boyle of Sketchy Pictures explains the full process from character design, expressions for animating movement, lip-sync, lighting and camera and lots more!
Post by Vikrant Dalal at CGtuts+ - Create an smoky ghostlike character or object using Sitni Sati FumeFX for 3ds Max and Krakatoa. He finishes in After Effects. Project file with a sample character is included.
This is an interesting tutorial because the artist is singing while he works! He starts off by making a character with a unibrow in Photoshop and then takes it into After Effects to create the lipsync. He does this manually but I would suggest using a plug-in called MamoWorld Auto Lip-Sync, which allows you to create a mouth that automatically animates according to your voice recording.
This one comes from Nick Morris at AE Tuts+. He explains the workflow for taking pixel art from ASEprite into Photoshop and then finally into an HD comp in After Effects. See Tutorial #4.
This one comes from Thinkmojo and is a bit more involved than the previous two. He goes over how to create a reflection, how to use the loopOut() expression to cycle the animation, and also how to create that 8-bit look with Mosaic and Posterize in After Effects. See Tutorial #3
AE Tuts+ and Charles Yeager bring you a two minute After Effects tutorial on creating the 8-bit look using Posterize, Mosaic, and Hue/Saturation. He shows how to save this as a preset to speed up your workflow. See Tutorial #1.
Tilt shift makes your video and images look miniature, like toys. In this project, they use Posterize time, Camera Lens Blur, CC Light Sweep and Fast Blur to create the effect.
Andrew Kramer animates the Twitter logo with the Puppet Tool in Adobe After Effects.
This tutorial is geared toward Photoshop users, but Richard Curtis explains the workflow using CINEMA 4D Lite, which is bundled with After Effects CC, to make create elements for 3D Printing.
Felt Tips at AE Tuts+ has a fantastic, in depth 50 minute tutorial on fixing issues with Expressions.
Stefan Surmabojov shows how to create a groovy HDR timelapse image sequence with a day for night effect. You'll need a DSLR with a kit lens, a large memory card, a tripod and more. He clearly explains how to set up the camera so that you don't end up with exposure problems and flicker. He takes care of the post production of the HDR sequence in Adobe Lightroom 5, which is now included in Adobe Creative Cloud.
VinhSon Nguyen shows a cool, basic technique that you can use to create unique and interesting forms for titles, background elements and more.
NewBlue Titler Pro takes the ground-breaking efficiency of the original Titler Pro and adds stunning visual appeal and sophistication. With the addition of custom lights, bevels and additional texture options, the perfect look can be dialed in. Through a simple and intuitive interface tap into rich styles and dynamic animations which will enliven your production, while avoiding the time and learning curve necessary in other titling solutions.
If you've been using Adobe After Effects since early versions, as I have, you are familiar with the idea of optimizing your machine and settings for premium performance. Here are some tips and resources to help you create the fastest and most solid After Effects you can. If you don't have a big budget for optimizing your system, where do you put the money for upgrades? That's for you to decide, but here are some suggestions on how to optimize what you have, and about other ways to optimize. If this article can't help you with the speed of After Effects, it will hopefully explain why things aren't running as fast as you would like them to.
Here’s an ongoing list of plug-in compatibility and other information that you need to know about plug-ins in the new CC video apps.
The Beat has linked to some nice presets for Premiere Pro & After Effects to give your video work unique color looks. The first couple are from their list. I’ve expanded on the free presets, plus added some great free color grading plug-ins for AE PPRO and more!
This article is for motion graphics, vfx, and 3D artists and also video editors. We’re keeping track of issues you might have with your software and with information on how to fix problems.
If your greenscreen footage didn’t turn out as perfectly as you had hoped, here are some things that you can do to fix problems and not create new ones.
Let’s start Tutorial Tuesday with a groovy 1970’s throwback, the lava lamp! The tutorial is from Mikey Borup at Premium Beat. This tutorial is for beginners and covers things like fast blur and levels. They also go over Motion Sketch and the Light Sweep plug-in.
You know the open for the sitcom "Community", with the crumpled paper? Trevor Penner explains how to do this effect.
Imagineer has a new tutorial up that covers tracking an iPhone screen. Mary Poplin gives detailed instructions on the process both in video form and in words, so you can go at your own pace.
Daniel Brodesky talks about the process of overshooting – moving an object from point A to point B, but going just past point B and bouncing back. It’s a physics thing.
Adobe TV has some great content to learn Adobe software. In this episode, Maxim Jago shows special effects workflow that allows for a single set of controllers for multiple clips. Think of it as style sheets for After Effects, where you can change color effects, or whatever parameter you want, globally. This is huge if you’re a template developer.
In this tutorial, Ridvan Maloku explains a technique he developed to fold text, or any layer, on any angle that you want, right in After Effects. He explains some organizational strategies for Expression Controls and how you can have better control on your camera.
Zaxwerks has put out a series of 4 videos on the Flare Controls in Zaxwerks 3D ProAnimator 7. All 4 parts, plus a freebie Flares pack are below!
Our friends over at AETuts+ have a new tutorial up about one of our favorite plug-ins ever, Video Copilot Element 3D! Charles Yeager says that all you’ll need is After Effects, Element 3d, and a 3D program such as 3DS Max, MAXON CINEMA 4D, Blender, etc.)
Post at CGonline Tutorials: "...in this tutorial I am going to show you how to create 3D text with translucent glass effect. I am not going to use any of the 3rd party plug-in to create the effect."
By Orrin Zucker: "This tutorial shows how to use both LayerMonkey and TypeMonkey together."
Post by Stefan Surmabojov at AEtuts : "In today’s tutorial, we are going to take a look at a starlapse video and transform it into an amazing startrails video. We are going to use only After Effects with some very simple tools to achieve great looking results."
Post at CG Online Tutorials: "Hello and welcome back, in this tutorial on Adobe After Effects I am going to show you how to create a tiles break apart and come together to form a dynamic 3D Text tiles effect and make 3D text more engaging. We are going to use ‘Card Dance’ plug-in and couple of other things to create the effect."
Creative Cow leader Kevin P. McAuliffe returns with a second Halloween-themed episode filled with quick tips and shortcuts for both MAC and PC users with BCC 8 AE and Adobe After Effects CS 6 or higher.
Learn how to create a quick show animation from a still image -- add flickering lights to a jack o'lantern and generate atmospheric lighting. Filters used: BCC Film Glow, BCC Linear Luma Key, BCC Rays Puffy, and BCC Stagelight.
Free Project file available.
I watched John Dickinson’s fantastic presentation at After Effects World in Seattle a few weeks ago in which he walked us through creating the flag in the Olympus Has Fallen promo.
Eddy Bergman has a cool tutorial on getting that flashback look that you may have seen in the Bourne Identity and other films in the series. He uses Adobe After Effects and RE:Vision Effects ReelSmart Motion Blur to give it a convincing look.
A new one from Andrew and Company, just in time for Tutorial Tuesday at Toolfarm. He shows how to create a dynamic spectral animation without using any party plug-ins.
Post by Bryan Clark at aetuts+
"Today I’ll share an expression I wrote to improve my workflow, which comes in handy any time I need to populate the screen with a large number of elements (e.g. filling the frame with photos, or animating info graphics, etc). By laying the elements out first in Photoshop, then using the ValueAtTime & delay expressions, I have much greater flexibility for tweaks & future revisions than using standard methods (like the standard Sequence Layers function). I’ll describe the normal method & show the problems therein; then explain the expression, what it means, and how to apply it."
By Simulate Intertactive Pouring Liquid with Newton for After Effects by Adrian C. Koutz at AEtuts+: "In this tutorial, I will explain how to use Newton to simulate liquid that interacts with the container it’s being poured in to. I will also mention how something similar can be done using Particular in a 3d environment."
Applying filters and working with layers.
Customizing Filters and Creating Presets
Blending Multiple Layers with Tiffen Dfx
Learn how to use Drag & Drop Filters, Layers, and Masks.
Learn how to create Setups and Batch Processing in Tiffen Dfx
Using Dfx in Video and Film applications
Simulating 2,000+ popular award-winning Tiffen glass filters, specialized lenses, optical lab processes, film grain, exacting color correction, plus natural light and photographic effects.
David Torno has wrapped up nearly 16 hours of After Effects ExtendScript training at ProVideo Coalition. "Scripting can drastically improve workflows, speed up repetitive tasks as well as capture and output project information. If you have never tried ExtendScript or wanted to, but just couldn't find enough info to help you get started, then this series is for you. Seasoned programmers looking to understand how ExtendScript works could also benefit as well."
Post by Joshua Lester at AEtuts+: "This Quick Tip will show how to manipulate footage of an eye to create the illusion that the Iris or Pupil is dilating. Using the Bulge Effect and simple motion tracking, the final product is quick and demonstrates how to use these simple tools."
Post at Motion Squared: "In this short tutorial, we take a look at how to create a cloth unroll effect /animation using the cloth dynamics tag in Cinema 4D. Enjoy!"
"This is a quick overview on how to get that timeless stop motion look using the free QHQ Stop Motion Kit preset from Quba HQ. We’ll start by creating our basic animation and then look at some of the options we have when we apply the preset." - Andre Navarre of aetuts+
"In this live demo from Siggraph 2013, imagineer systems product specialist, Mary Poplin, shows you how to cut your roto time in half using mocha AE inside of Adobe After Effects. Simply go to animation>track in mocha AE and follow along with a shot of your choice at home." - Imagineer Systems
"In this tutorial you’ll be creating a full motion graphics 3D animation for a disco party. You’ll start by creating some basic models and deforming them. We’ll dig quite deeply in shading to achieve some detailed and organic textures. Finally, we’ll animate all the elements in an attractive way and create a rotating camera to follow the whole scene. We’ll finish up in After Effects where we’ll add some sexiness to the animation." - Daniel Lorenzo of cgtuts+
"In this tutorial we’ll discuss how to setup a network for multi-machine rendering in After Effects and how we can take advantage of watch folders to help automate the process." - Post by James Whiffin of Aetuts+
James Whiffin at AEtuts+ : "In this tutorial we’ll discuss how to setup a network for multi-machine rendering in After Effects and how we can take advantage of watch folders to help automate the process."
Mathias Mohl from Mamoworld shows how to create and animate a logo in CINEWARE and finish it in After Effects CC.
By Vic Garcia : "In this tutorial, I will walk you through on how to create a quick camera chase scene using multiple cameras in Cinema 4D using the Stage Object to create quick cuts. I will also show you how to incorporate the Motion Camera Tag into a few of the cameras to get a dynamic chase effect. Then we will use the New Cineware plugin by Maxon to import our Cinema 4D scene into After Effects CC."
As we continue with Tutorial Tuesday at Toolfarm, here are 5 Useful effects that every AE artist can pull from their arsenal time and time again!
We’re going to be looking at the animation style of “The Great Gatsby”. We’ll make this title style using Cinema 4d for the modeling of the logo and After Effects for the final composite. The real core of this tutorial is how to get the logo from a 2d drawing to a complex 3d model. Once you know the secrets of how to get the logo with all its molding, the remaining design of the background come naturally.
Sticking with our July 4th Independence Day theme, check out this free preset from Greyscalegorilla’s Nick Campbell.
Learn how the integration between After Effects and CINEMA 4D benefits you as an artist. Author and 3D expert Chris Martin gives an overview of the workflow.
Angie Taylor talks about Extruding Shapes in 3D in Adobe After Effects CC in this introductory video.
In this tutorial, Nick Campbell of Greyscalegorilla shows how to set up a depth pass for rendering depth of field for 3D objects using CINEMA 4D, Frischluft Lens Care and After Effects.
Posted by Aetuts+
"We’re going to be looking at the animation style of “The Great Gatsby”. We’ll make this title style using Cinema 4d for the modeling of the logo and After Effects for the final composite. The real core of this tutorial is how to get the logo from a 2d drawing to a complex 3d model. Once you know the secrets of how to get the logo with all its molding, the remaining design of the background come naturally. This Art Deco design is very elaborate and beautiful. The actual example of The Great Gatsby is just for training purposes and is not to be used in a final personal project without permission from the original creators." - Antonio Cerri
Greenscreen has become an essential tool in modern video, film, and photo workflows. To succeed, it needs to be the perfect combination of production and post.
Nick at Greyscalegorilla has put together a quickstart guide to Maxon Cineware and Cinema 4D Lite, now shipping with Adobe After Effects CC.
Dan Gies describes how he created and animated his Rocket-Dees character using uses Mettle FreeForm Pro, Trapcode Particular, After Effects Expressions, and the After Effects Puppet Tool.
Ryan Boyle for AETuts+ creates a rigid body effect in After Effect using Newton, a 2D physics simulator.
Todd Kopriva of Adobe fills us in on some new key commands to help users find lost items.
Snapping of layer features in the Composition panel, new in After Effects CC (12.0)
Quickly apply rich, beautiful, preset color grades in Adobe Premiere Pro CC thanks to the Lumetri Deep Color Engine. With the Looks Browser, preview and add looks from Adobe SpeedGrade CC as easily as adding a dissolve. Also import LUTs from other systems.
There are several ways to send your creative work from Premiere Pro CC to After Effects CC, and this lesson will walk you through all of them.
It’s quite possible you’ll import Illustrator files into After Effects, either to produce finished content or to incorporate into dynamically linked compositions that you will hand over to Premiere Pro. This lesson introduces the workflow.