The most common HD frame rate is a 50-year-old byproduct of the invention of color TV. And it’s not...

Back in May I posted some footage from Danfung Dennis, a photojournalist and videographer embedded in Afghanistan. He was...

Ikonoskop recently got their 2.1 prototype into the hands of Aussie Nick Paton ACS. Apparently Nick was one of...

Jon Fairhurst of P3Pictures has done quite a study on audio options for hybrid cameras. Although P3Pictures uses a...

Our dear old friend and fellow After Effects pioneer, Taz Goldstein, just dropped us an email about a new...

I was very excited when a big FedEx box arrived a couple of weeks ago with a Tangent Wave...

Philip Bloom has really outdone him with this spoof on the feelings of owners and potential owners of the...

Getting your footage from Final Cut Pro to After Effects is a very common workflow. In fact, so many...

The days of cobbling together a database to track shots, assets and progress are numbered. Although nowadays it has...

In the first installment, we looked at the basic set up for shooting Greenscreen. Most of what I covered...

Unlike Mike Curtis, I’m not at FantasticFest, but I still heard about an interesting (to After Effects artists) screening...

A couple of months ago, we mentioned the Color Marketing Group: a global consortium that attempts to determine what...

During a job, footage may come from a variety of sources: freshly-shot clips, archival elements, greenscreen, 3D renders, and...

The problem with technology is that “something even better” will almost inevitably come out – often after you’ve already...