This experiment is based on the Ellipse and Mirror effects, two effects which I rarely use.
Posts By: John Dickinson
Peder Norrby, the genius behind ubiquitous Trapcode plug-ins such as Particular and Shine is neck deep in coding again, this time with the stunning Tao effect.
Thanks to Maxon US and Cineversity.com, for recording and publishing the 2015 Siggraph Live Cinema 4D Presentations.
The Pixel Lab has released a brand new Events & Exhibition Pack for Cinema 4D.
I met the talented and cheerful Andy Needham a few years back at NAB and am excited to finally learn more about Andy’s approach in this latest Spotlight.
I sat in front of my first computer back in 1992 which means I’ve spent a good part of the past 23 years staring into computer displays…
Mamoworld has released iExpressions 2.0, a range of powerful, interface-driven expressions for After Effects.
Up until recently it had been over 6 years since I had purchased a new workstation. After some consideration and helpful comments from the Motionworks Twitter audience I decided to buy a PC
Nejc Polovsak has built a reputation for creating some of the most beautiful motion graphics on the Web today.
Here are a couple of recent title animations I completed using Cinema 4D and After Effect.
Mike Winkelmann a.k.a Beeple is a true one-of-a-kind motion graphics designer with incredible commitment and staying power. Learn more about him in this very first Motionworks designer spotlight.
Sharp infographics in this poignant explanation of the unbearable magnitude of people who perished in World War II.
I chose some inspiring work to feature as guest curator over on Digital Canvas, check it out!
Modio has released Speed Lines, a clever script for quickly adding speed lines to objects in Adobe After Effects.
Save time animating a 2D character walking in After Effects using this handy script from Victor Bandiera.
For Experiment 5 I used the Cinema 4D Landscape object with Explosion FX Deformer. What can you make?
These stylish idents for German TV channel Pro7 were directed and designed by Timo Boese.
Sydney-based The Magnificent Itch produced this textural spot for Scenic tours.
The gorgeous black and gold theme and mesmerizing blend of 3D and real images makes this music video for Cerrone by SUPERBIEN a winner.
Paris-based SUPERBIEN teamed up with Insula Orchestra for this beautiful, dreamlike audio-visual poem. “It started with a cloud sculpture designed with Grasshopper and mixing plexiglass and tulle, onto which we projected animated content created with After Effects. The sculpture was also equiped with programmed LED strips. We added projection onto the background of the studio made from Cinema
Here’s a short, impromptu interview I did with Trilogy Tech Talk for Sapphire during NAB 2015.
Amsterdam-based creative production studio PlusOne made this stylish album teaser for Dutch electronic outfit Leadsmen.
This Foxtel Store ident was created using Maxon Cinema 4D, Adobe After Effects and GenArts Sapphire.
Learn what’s new in After Effects CC 13.5
Paris-based Naked created this fantastic package of bumpers. I asked Creative Director Patrick Delobelle to share some insight.
I’ll be demoing at the GenArts booth at NAB in Las Vegas on April 13th to 15th.
Red Giant has released Universe 1.4 with a host of new features.
Learn how to model more efficiently in Cinema 4D using a simple tool for custom commands.
Learn how to model and lay out your Cinema 4D scenes more efficiently.
The 3rd International Motion Festival (IMF) has been announced and will take place in Cyprus this March.
Antonio Vicentini is back with another great spot, this time using Cinema 4D, After Effects, Photoshop and Flash.
Double-Blind No.1 is a VFX design project by Zenon Kohler, Jasper St Aubyn West, Ian Anderson, Ricky Marks and Raoul Teague.
This look was created using Cinema 4D with Adobe Illustrator, After Effects and GenArts Sapphire.
This stylised, dramatic spot from France-based Kadavre Exquis is the second in a series, created using Blender and After Effects.
Beautiful new animation from Taiwan-based Bito.
This experiment is based around the Audio Waveform effect, which can be handy for creating graphic elements.
This ident, inspired by a teaser poster for The Maze Runner, was created using Adobe Illustrator, Maxon Cinema 4D and Adobe After Effects.
MovieType For Element 3D is now fully compatible with Element 3D version 2.
This Christmas holiday ident, created using Cinema 4D and After Effects, was inspired by an ident from Proud Creative.
Boris FX has announced it’s acquisition of Imagineer Systems, developer of Mocha planar tracking tools.
Stefan Wernak and the team at Sydney-based The Magnificent Itch created this masterfully animated spot.
Learn how to model a simple golden star in Cinema 4D.
Video CoPilot has released Element 3D v2, with a host of new features. We’re working on compatibility with MovieType for Element 3D and will announce soon.
Sapphire 8 is out now and the biggest new feature is Sapphire Builder, which allows you to create custom effects and transitions from existing Sapphire effects and presets.
For this experiment I focussed on Shape Layers and while they aren’t particularly user friendly, they can be pretty handy.
A quick tip on how you can use the Transform effect instead of Transform properties for more predictable results when working with the Gradient Ramp and other effects.
This spot caught my eye today and is by Moscow-based, 2 man studio “AEVA”. The spot is an entry in the Moscow International Festival “Circle of Light” competition.
Just finished a great week in Tokyo presenting for GenArts and Flashback Japan in the InterBee Exposition in Tokyo. Here are some shots from the week.
Not sure how I missed this terrific music video created by Christophe Hockler for Lusine, from his recently released Arterial EP. Great track combined with eerie, mesmerising visuals.
How do you know what to add or not add to your projects to give it that extra push into awesome?
Collectif HOTU has done it again with another well executed, quirky spot. 87 Bounces follows the journey of a runaway basketball across the globe and into outer space via famous scenes from various movies.
Gentleman Scholar is back with another terrific spot. The Trials And Tribulations Of Being A Skeleton, a fun ode to Halloween, looks at one of its most iconic characters: the skeleton.
Text2Spreadsheet from Mamoworld exports the text of an After Effects project to a spreadsheet and applies the modified spreadsheet back in a single click.
Rampant Design has released Monster Toolkit including over 1500 creature textures.
Animal works in After Effects and accesses your computer’s webcam, tracking the movement of your head, mouth, and eyes—including blinking, glancing, and eye-brow raising and more.
Continuing with the recent Foxtel On Demand rebrand breakdowns, next is Thriller. This ident was created using Maxon Cinema 4D, Adobe After Effects and plug-ins from GenArts and Red Giant Software.
Check out this great spot from Moscow-based Shavkerbros. I asked designer Alexandr Gorin to give us some insight into the production.
London-based motion artist Tiago Higgs created this spot for American Express using Cinema 4D and After Effects.
Tim Clapham is an in-demand motion designer, trainer and Cinema 4D expert. In this episode we discuss Tim’s background, learning Cinema 4D and more.
A stylish and sharply executed info-graphic spot from Taiwan-based motion design house Bito.
This ident was created using Maxon Cinema 4D, Adobe After Effects and plug-ins from GenArts, Boris FX, FX Factory, Video CoPilot and textures from Greyscale Gorilla and The Pixel Lab.
Learn how After Effects was used together with Cineware and Cinema 4D Lite to create a look for my recent Adobe Create Now masterclass presentations in Sydney and Melbourne.
A quick overview of the new features and enhancements in Cineware 2.0, included in the upcoming After Effects CC 2014 update.
Red Giant Software has announced Universe 1.2, including 9 new effects and transitions bringing the total library of effects to 68.
As part of the recent rebrand for Foxtel On Demand I created some genre-specific indents that play before the movies. This first spot for science fiction was created using Adobe Illustrator, Photoshop, After Effects and Maxon Cinema 4D.
For this After Effects Experiment type is the main element. Here I used full stops with animation created using Text Animator Groups including Position, Scale and Blur properties and a Wiggly Selector.
Mamoworld has released a new tool for supercharging the After Effects mask tracking feature, which is a powerful and robust tracker but limited.
With a great conversational style, designer Carey Smith discusses composition in design – what it is and why it’s important.
QHQ Channel Splitter is an After Effects script and Photoshop action for automatic splitting of the image/footage into discrete RGB or CMY channels.
Maxon has announced the upcoming release of Cinema 4D R16 which includes terrific new features and enhancements.
This fascinating short film tracks the history of Adobe Illustrator and explains how it revolutionised the design process.
Greyscale Gorilla has released Signal for Cinema 4D which allows you to create procedural animation quickly and easily without using the timeline.
Red Giant Software has released Shooter Suite 12.5 which now includes Denoiser 2 and Instant HD 4K.
Gentleman Scholar created this beautiful spot featuring striking, hand painted imagery for the Motion Poem Foundation.
This masterfully animated spot by Matt Greenwood playfully showcases key elements of design.
Eran Stern gives introduction to the brilliant Nodes 2 plug-in for After Effects.
Learn techniques and workarounds for toggling Cinema 4D texture tags on and off.
Maxon has announced WinC4D, a new competition website, and are kicking off the competitions with a chance to win Cinema 4D Broadcast Edition.
Imagineer Systems has released Mocha Pro 4 including such features as stereoscopic 3D workflow and Premiere Pro support.
It’s A Plastic World has sharp 3D info graphics with a poignant message about the perils of our over reliance on plastic.
Motion adds customisable expressions to After Effects layers for a range of different animation looks.
Director Stu Maschwitz demonstrates Creative cloud 2014’s mask tracking tools in a colour grade workflow with Colorista II and Magic Bullet Looks 2.5.
Formatting text for dynamically generated numbers in After Effects just got a whole lot easier thanks to QubaHQ.
In today’s #Mochat discussion about new features in After Effects Creative Cloud 2014 on Twitter, Adobe’s Todd Kopriva was asked about the future of ray-traced 3D in After Effects
Red Giant has updated Universe to version 1.1, which includes 9 new effects, plus updates to 3 existing products.
France-based Collectif HOTU shared this fun spot about what happens when 5 Russian guys find a robot.
Creative Cloud 2014 includes new features and enhancements in all the major applications including After Effects.
Greyscale Gorilla has released a new update to Transform. Transform makes building and destroying layers in Cinema 4D easy.
Harry Frank shows how to use very simple shapes in Cinema 4D to create an awesome looking background. Then composite the render in After Effects with finishing touches including glows and fake reflections.
After Effects Experiment 14 is based on Shape Layers. Take a look at what I created and then try your own experiment.
Ouroboros is a new After Effects preset that allows you to create multiple trimmed Shape Layer strokes on one path.
Rampant Design has released Studio Flares, containing 531 Clips of 2K, 4K and 5K real organic flare stock footage shot on the Red EPIC camera system.
This look was created using After Effects CC and MovieType For Element 3D, Optical Flares, Magic Bullet Mojo, BCC Film Glow and BCC Grunge.
Memory Stream by artists Peter Clark, Daniel Uribe and Yeojin Shin incorporates a variety of digital and analog techniques, with stunning results.
Learn the basics of the Boris Continuum Complete 9 Grunge effect, and see how I used it and other BCC effects to create a grungy neon look.
Both Cinema 4D and After Effects were used in the production of this beautifully executed music video by French design house SuperBien.
Mill+ created this impressive spot for the 2014 D&AD awards, using Cinema 4D with vRay.
I’m excited to announce that MovieType for Element 3D is available for immediate download
Red Giant Color Suite 11.1.1 has shipped. This is a free maintenance release for all current users.
Cyril Izarn and Pat Grivet created this terrific spot explaining the concept of supply & demand to students of Phoenix University.
Traveling lights is minimalist and beautiful, and once again demonstrates what is possible using the standard After Effects tools.
Brazil based Antonio Vicentini created this quirky animation of a bus going on a psychedelic trip, using Adobe After Effects and Flash.
VideoCopilot has released a new, free Color Vibrance plugin.
Learn how to use standard After Effects tools, including Turbulent Noise and Turbulent Displace, to create a textured and ripped paper look.
Peder Norrby has released a Nebula Construction Kit for Trapcode Form and Mir.
This masterfully animated spot by Cento Lodigiani illustrates the 12 basic principles of animation.
UK based illustrator and animator Lee Daniels’ new short “Misadventures In Time” is fun and smartly animated using Adobe After Effects.
Universe is a continuously expanding library of plugins for After Effects, Premiere Pro, Final Cut Pro X and Motion and is a bold new direction for Red Giant.
After Effects and Trapcode Particular were used to create this thick, dripping blood preset.
After Effects CC 2014 has been released, with some terrific new features and enhancements.
Learn how to combine stock footage with default Adobe After Effects tools to create a realistic frosty window.
This After Effects look uses Ellipse, Turbulent Noise, Curves and Displacement Map.
Check out this superb opening title sequence for HBO’s True Detective by Antibody.
Junk Head 1 is an epic, dark and funny, stop motion short film by Takahide Hori.
What if Adobe did nothing else in After Effects during 2014 other than make it faster?
Right now it’s never been easier to have your say about the After Effects feature set.
With a focus on CC Griddler, this experiment also uses Curves, CC Composite, Levels and the Gradient Ramp effect for colour.
An ethereal After Effects background using a shape layer, Turbulent Noise, Optical Flares, Particular and Starglow.
For this project I explored split screen looks in After Effects. It can be a tricky look to use and not look retro.
Watercolour on paper is a popular motion graphics style, so for Experiment 11 we’re concentrating on watercolour looks made entirely from effects.
For Experiment 4 I used the Explosion Deformer with a Fracture Object, Random Effector, Spline Effector and the Multi Shader.
Learn how Adobe Illustrator, After Effects and Cinema 4D were used to create a promo for Warm Bodies.
This useful After Effects preset uses duplicate Turbulent Noise effects animated using the Time expression to create fast drifting smoke.
Learn how I used Cinema 4D, After Effects, Photoshop and Illustrator in this Olympus Has Fallen promo breakdown.
Trapcode Form is one of my favourite plug-ins for all kinds of organic and abstract looks. Here I focussed on the Quick Map settings.
After Effects 12.1 is loaded with handy features and in this tutorial I demonstrate some of the main features and enhancements.
In this tutorial I demonstrate some of the less obvious, but still super useful new features in After Effect CC (12.0).
Experiment 9 combines the Circle effect with CC Griddler, CC Mr Mercury, CC Color Offset, Brush Strokes for painterly flower look.
For this Experiment 3 we’re going to jump out of MoGraph and into the Deformer category, starting with the Displacer deformer.
Mir is powerful, fun to use and fast as hell, making it really easy to experiment with. I couldn’t stop at just one.
Turbulent Noise is one of the most versatile effects in After Effects. Using it again recently to create the human iris reminded me that it’s an important effect to know.
I’ve always wanted to attempt a realistic human iris in After Effects and last week I got my chance.
MoSpline has a lot of depth and takes a little getting used to, but you can get some organic and stylish looks.
If you’ve been keeping up with all the experiments well done! For Experiment 6 we’re using Advanced Lightning.
We’re going to kick start the Cinema 4D assignments by exploring the MoGraph menu, beginning with the MoGraph Extrude Deformer.
Beam appears to be a one-trick-pony, but with a little experimentation you’ll discover just how diverse it can be.
This look, inspired by the opening titles for Hansel & Gretel Witch Hunters, was created using Cinema 4D, Photoshop, Illustrator and After Effects.
This short Photoshop walkthrough demonstrates how I used Photoshop Oil Paint and Filters to create a woodblock print style.
Fractal is one of those effects that gathers dust at the bottom of the effects draw because no one really knows what to do with it!
For Experiment 3 we are going to stick with After Effects’ Generate category, this time focussing on Cell Pattern, CC Glue Gun and CC Light Rays.
With Radio Waves it’s possible to create some really beautiful looks, so dig deep and see what you can come up with.
The announcement that future versions of most Adobe products are only available via subscription has been greeted with mixed feelings.
For Experiment 1 we’re going to ease into the experiments by keeping the brief more open and using After Effects’ entire Stylize category.
In this overview I demonstrate the new Cineware effect and discuss the benefits of this exciting workflow.
Should every project be built starting with a blank screen? Can you focus on being a technician and still survive in business?
In this short tutorial, learn some of the different methods for flipping an object in After Effects.
Learn how I used Cinema 4D and After Effects with some help from Greyscale Gorilla, to create a glamorous Oscar look.
In this sample lesson from Making It Look Great 10, host Rob Redman demonstrates how to subpolygon model a mask.
Learn how I used Cinema 4D and After Effects with help from Greyscale Gorilla in this Courier promo breakdown.
A moody, volumetric rays background based on the After Effects Fractal Noise and Optics Compensation effects.
Learn how I used Cinema 4D and After Effects, with help from Greyscale Gorilla and Motion Designer’s Toolkit in this Total Recall promo breakdown.
In this sample lesson from Making It Look Great 10, host Rob Redman demonstrates how to model a dynamic net.
This set of quick-turnaround graphics all have a similar look and feel and were created using Cinema 4D, After Effects and various plug-ins.
After Effects sub-pixel interpolation is helpful most of the time but can be a problem when working with layers that you want to remain sharp.
Learn how to use Mac OSX Mission Control and Workspaces to save time and streamline your workflow.
In this webinar for Boris FX, I breakdown the Hulk animation created using After Effects and Boris Continuum Complete 8.
Motion artist, trainer, presenter and author Angie Taylor chats about her background, her books and training products.
Video Copilot Element 3D comes in extremely handy for quick titles and full frame supers. Check out these text-based looks.
Guest host Craig Whitaker explains Cinema 4D render setting presets and how he uses them to save time.
Here’s a stills breakdown of the Time Travellers title graphic, created using After Effects with Element 3D.
Learn tricks for creating a clean plate using Photoshop’s Smart Object settings, then use that plate with Difference Matte in After Effects.
Learn how I used After Effects with GenArts Sapphire and Noise Industries FX Factory Pro to create a Moneyball trailer style jumbotron look.
Guest host Adam Everett Miller demonstrates the basics of CC Page Turn. Check out Adam’s full length tutorial on AeTuts.
Watch The Titles has been a source of inspiration for me over the years, featuring a growing list of movie and TV titles with breakdowns and interviews.
Rediscover the power of brainstorming and how you can use it to accelerate experimentation in After Effects.
Learn how to create a quick and flexible vignette using Curves, Circle and CC Composite.
Learn how I used After Effects with Trapcode Particular to create an alien meteor storm reminiscent of the film The Darkest Hour.
This free After Effects project will give you some ideas when working with 3D ray traced scenes in After Effects CS6.
After Effects CS6 includes a new ray-traced 3D renderer, 3D text and shape layer extrusion, environment layers, simple curvature of layers and more.
Guest host Michael Szabo demonstrates how to use the Collision Deformer to create an effect where bullets bounce off an object.
Learn how to export an existing After Effects project to Cinema 4D to add a 3D logo.
Nick Campbell of Greyscale Gorilla said when he announced HDRI Studio Pack that he set out to deliver speed and quality. He succeeds at both.
Peter McAuley has been involved in the development of state-of-the-art graphics technology for print, video and film since the mid-1990s.
Are there plug-ins in your toolkit that have fallen out of favour, perhaps you used to love them but the look got old?
Jesse Rosten is skilful yet modest, with a great eye, loads of heart and a passion for film and motion graphics.
Learn techniques and workflow used to create a battle-scarred Captain America Shield using Cinema 4D, Photoshop and After Effects.
Have you ever created an animation you were happy with only to realise you needed to extend the length?
Motion graphic artist Pierre Magnol’s Chemistry comprises beautifully shot imagery with fine graphics. I asked Pierre to give us some insights into his approach.
Guest host Brett Morris discusses the After Effects workflow he used to create impactful Fast and Furious-style titles.
After Effects has a very powerful type engine for creating all kinds of dynamic type animations, but what if you want something a little more subtle?
Learn how to use one of the Digital Juice Toxic Type After Effect templates as a starting point for a grungy promo.
Cell Pattern is handy for background creation and with a little experimentation you’ll be surprised what you can create!
The importance of experimentation to a motion designer can’t be over emphasised. Experimentation stretches your skills into new areas.
In the past few years Rob Redman has blasted into recognition as a 3D artist and teacher through his website Pariah Studios.
Learn how MovieType for Cinema 4D, After Effects, Sapphire, Key Correct and Optical Flares were used for sweeping title graphics.
The After Effects Type tool is amazingly powerful, and when you understand the basics it’s straightforward to create a wide range of styles.
Guest host Adam Everett of Aetutsplus.com gives an in-depth breakdown of the After Effects CC Ball Action effect.
From After Effects CS5.5 some keyboard shortcuts appear to have been changed but never fear, they haven’t.
Learn how I used Vanishing Point in Photoshop to create a 3D hallway, then animate the After Effects camera up the hallway for dramatic effect.
The After Effects Brush Strokes effect could easily be written off as a cheesy oil painting-style effect.
As a motion designer it’s always good to have a large assortment of stock footage in the toolbox.
Learn the key differences between Box Blur, Fast Blur and Gaussian Blur and which one is the better choice
Learn how the After Effects Block Dissolve effect can be used for more than simple transitions.
Learn how to turn a simple After Effects template project into a dynamic and grungy title sequence for an imaginary TV show.
Learn how to use invisible selections when applying multiple materials to NURBS objects in Cinema 4D.
Learn how I gave an After Effects template an extreme makeover into a moody, sci-fi-style opening sequence.
Learn how the Display tag and Alpha channel can be used to animate the opacity of your Cinema 4D objects.
As I mentioned in the previous breakdown, shot selection for this kind of look is very important.
Cinema 4D camera depth of field settings and how they relate to what is and isn’t blurred can be confusing.
In this 2 part After Effects tutorial learn to use a variety of tools in After Effects to bring Photoshop layers to life.
The look where a shot is freeze framed and graphics build around a cut-out element isn’t new, but surprisingly this was a first for me.
Motion artist Pierre Magnol produces consistently breathtaking graphics that most of us can only dream of.
Learn how to take a layered Photoshop file and breath life into it in After Effects, for a grungy mechanical look
Learn how I recreated the look of Kick Ass, with a sports theme, almost entirely from stock footage.
In this 2 part recorded webinar, we explore some of the automatic animation features in After Effects.
For me motion graphics is the satisfaction of executing an idea that moves people. What about you?
The Hurt Locker is a good example of taking a concept from a tutorial, in this case Andrew Kramer’s Animating a Still.
Learn a range of must-know techniques, tips and gotchas for using Adobe Illustrator with Adobe After Effects.
For Law Abiding Citizen I took the opportunity to get down and dirty with textures in Cinema 4D.
Learn some creatives uses for the After Effects Align and Distribute to Composition and Orient Characters Independently features.
Learn how I used Cinema 4D and After Effects to create a dynamic sci-fi look.
If Video Copilot is the most popular site on the planet for After Effects tutorials, then Sam Loya must be the most recognised tutorial talent.
Learn how to you can use Photoshop’s Refine Edge tool to take much of the hard work out of refining intricate selections.
Created in Cinema 4D, this campaign included a competition to win a trip for 2 to Cannes Film Festival.
Learn how you can use Bezier Warp to make subtle adjustments to the position of elements in your scene.
Buddha Jones is the design house behind countless trailers for a variety of films including Inglourious Basterds.
Tim Clapham demonstrates a must-know and surprisingly simple technique for creating custom scripts in Cinema 4D.
Learn how I used stock footage and some free grunge textures to recreate the blood splatter style used in the Inglourious Basterds trailer.
Learn how to take basic Adobe After Effects presets and customise them to create your own unique looks.
Paul Babb is the popular and charismatic CEO of Maxon USA.
For the past 3 decades John Montgomery has lived his dream, honing his craft as a visual effects artist.
Learn how I used Adobe Photoshop and After Effects to create a grungy, bullet-riddled wall with spray-painted text.
Grischa Theissen demonstrates a must-know technique for adding motion blur to your 3D renders in After Effects.
Artbeats is arguably the most recognised stock footage provider in the world today.
Grischa Theissen demonstrates the popular photo mosaic look in Cinema 4D.
A simple red silk-style banner created in After Effects using Trapcode Form.
Lloyd Alvarez, the talented and generous founder of aescripts.com, planned to be a doctor.
Learn how to identify the field order of footage and interpret it collectedly, and create a realistic Jumbotron-style look.
Ross Shain shares his journey from art college to Avid to Imagineer Systems – makers of the powerful Mocha.
Jim Geduldick reveals how his passion for cinematography was born out of his love for skateboarding.
Guest host Eran Stern demonstrates the After Effects Bulge effect.
Harry Frank of Graymachine discusses how he went from button-pushing audio engineer to accomplished motion design artist,
Generally, when creating a boxing promo, we are given between two and five days. This project was different.
What were you doing in 1993? Chris & Trish Meyer were pioneering the use of Adobe After Effect for motion graphics.
Nick Campbell has quickly established himself in the After Effects world, with his popular site Greyscale Gorilla.
Based in Israel, Eran Stern is well-known in the After Effects world, thanks largely to his tutorials and podcasts for Creative Cow.
Design skills are important but good workflow is also critical when working with Adobe After Effects.
Aharon Rabinowitz is widely recognized in the world of motion graphics but how much do you actually know about him?
Learn about the After Effects Beam effect and two unusual ways it can be used.
Learn how Illustrator and Cinema 4D were used, along with stock footage to create explosive TV promo graphics.
Learn how I used Trapcode Soundkeys to control the look and feel of a boxing promo.
Motion Sketch is one of those After Effects tools that is often forgotten, but very handy.
Peder Norrby is the mastermind behind Trapcode. A gentle genius with a passion for art, music and programming.
Learn how to set up your After Effects composition to rotoscope footage imported with fields.
Learn a technique for creating cel-style animation in Photoshop using the Onion Skin feature.
Robert Sharp got into video in the early 1990’s as one of the early members of Terran Interactive – makers of Media Cleaner Pro. In 2007 Robert relaunched Digieffects – makers of Cinelook, and the more recent Camera Mapper plug-in. In this frank and open discussion Robert talks about the early days with Terran, founding Toolfarm,
For this promo I turned to the ultra-useful After Effects plug-in – Trapcode Form.
In just a few short years Video Copilot has skyrocketed to become the dominant force in visual fx and motion graphics online.
This retro CC Time Blend FX tutorial by industry legend Brian Maffitt is still surprisingly useful.
While researching for this teaser spot for Women’s Murder Club, I noticed that police tape was a common theme.
Guest host Harry Frank demystifies and offers ups some creative uses for the After Effects Arithmetic effect.
Brian Maffitt is co-founder of Total Training and a legend in the Adobe After Effects community.
Guest host Maltaannon explains techniques for using the After Effects Angle Control effect with basic expressions.
Jerzy Drozda Jr, the quirky host of Maltaannon.com, is a talented motion graphics and visual effects artist based in Warsaw, Poland.
Guest host Eran Stern demonstrates the basics of using the After Effects Advanced Lightning effect.
Zaxwerks is one of the veteran After Effects plug-in developers, with the 3D Invigorator range of 3D title and logo plug-ins as popular as ever.
Have you ever looked in the Adobe After Effects Effects menu and wondered what some effects are used for?
Red Giant Software offers some of the most popular plug-ins on the planet including Magic Bullet Looks and the various Trapcode plug-ins.
Recently I posted a 3 part series on creating a shattering glass effect. This is the project that inspired that series.
Learn how to work faster and smarter when using duplicated text layers in After Effects.
In this 3 tutorial series we’ll look at how to build a glass shatter effect in Cinema 4D.
For this Quantum Of Solace promo I once again turned to Trapcode Form.
Learn After Effects and Illustrator techniques used to create the bat shattering effect.
Recently I was asked to come up with an idea for a show and as seems to be the case lately, had very little time to develop it.
Learn how to import footage with an alpha channel, apply it to an object in your scene, and have it play back in the timeline.
Learn how to use After Effects Fast Blur, Turbulent Displace, Roughen Edges and other effects to give text a grungy look.
I had to whip up some quick supers last week and turned to Trapcode Form, used to create the gaseous elements.
Learn some basic and little-known techniques plus handy workflow tips for using Photoshop and Illustrator with After Effects.
Learn various After Effects techniques for creating a dancing can animation.
For this shot my client wanted to place a logo in the path of the actor and have it appear as if she trips over it.
Learn how the vibrate tag can be used to add automatic animation and save time when working in Cinema 4D.
This project was created using a combination of Cinema 4D and After Effects with Zaxwerks ProAnimator and Knoll Light Factory.
Learn how you can look through a camera linked to a light and see exactly what the light is pointing at.
Learn how you can use the Cinema 4D Link Active Object command to take control of lights.
When working in the world of motion, time acts as a continual constraint against our approach and workflow.
Learn the techniques used in After Effects and Illustrator to create the silhouette look used in the Bond Classic Bond teaser.
The Trapcode Particular snowflake background is based on a confetti background created by Peder Norrby from Trapcode.
This project is another good example of taking poor quality 4:3 vision, making it 16:9 and giving it some polish.
Often when creating grungy styles I resort to stock imagery, as is the case with this weathered metal look.
Psunami, originally designed by Brian Maffitt, was acquired by Digital Anarchy and then by Red Giant Software.
Fox Classics is always a great client to work for simply because I get to work with some great movie footage.
Bilateral Blur and Turbulent Noise are very similar to the existing Smart Blur and Fractal Noise effects.
If you’re not using the After Effects Composition Navigator and Composition Mini-flowchart you’re wasting time.
As a broadcast designer there are many terms one must understand in order to know what the hell a client is asking for.
This Promax Gold Award winning spot included a green screen shoot, keying and rotoscoping.
Here’s an Adobe Photoshop file containing a handy chiseled, gold bevel layer style.
Learn various After Effects and Photoshop techniques for creating the grungy, dark look of Saw 4.
This starry background was created using a combination of Fractal Noise and Trapcode Particular.
Learn a simple technique using grungy brushes in Photoshop to make some grungy text.
Sometimes After Effects does some crazy things that only deleting the After Effects preference file will sort out.
Here’s a handy Electrocardiogram created in After Effects using the Vegas effect.
Learn how to use the After Effects Leave Color effect to create black and white footage with a single colour.
This light rays background, used in a boxing promo, was created using Fractal Noise, Directional blur and Trapcode Shine.
A while back Motionworks ran a challenge to see who could create the best explosion using After Effects and Trapcode Particular.
This image spot for Fox Classics channel won the Silver Award for Best On-Air Ident Design.
Learn how to use the Compositing Tag and Exclusion option inside Cinema 4D to control the reflections in your scene.
This uniform grid of random ones and zeros was created using Trapcode Particular and the After Effects Grid effect.
Here’s a simple sparks preset created using Trapcode Particular.
This After Effects project uses a simple index expression to offset the text layers and nulls.
The simple act of copying and pasting an existing mask onto a Shape Layer in After Effects can be tricky and frustrating.
While looping a footage layer is easy, looping an unrendered comp takes a little more work.
This grungy, metallic look was created using a combination of After Effects Roughen Edges and Fractal Noise.
This After Effects spot features glass panels created using Cinema 4D
This Sci-Fi background uses a series of Shape Layer dots animated using the wiggle expression.
This background was created using Trapcode Particular. The basic straight bars can also be modified using the Wave Warp effect.
This seamlessly looping After Effects background is based on the Cell Pattern effect and includes a number of adjustment layers.
It can be challenging to be creative without doing a complete rip-off, when given very specific guidelines for how the design should be.
This seamlessly looping mirror ball uses CC Sphere, Fractal Noise, Grid, 4-Color Gradient and Trapcode Shine.
This quick reference guide shows you how to use Curves similarly to the way you use Levels.
The Levels effect is a standard tool for adjusting contrast and colour values, but it can be confusing to use.
As with all graphics on Fox Classics, the palette for this spot was restricted to orange, black and white.
This After Effects background is based on Trapcode Particular and CC Vector Blur.
For this promo for Vietnam War Month on the History Channel, I wanted the look to be gritty but still maintain a sense of dignity.