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The number 1 skill you can learn to become a great compositor: color matching
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VR for the novice: what the storyteller needs to know
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How to move everything but the camera
JAWS_overlays
The number 1 skill you can learn to become a great compositor: color matching
The number one skill you can learn to become a great compositor: color matching
The number 1 skill you can learn to become a great compositor: color...

The first essential of VFX compositing, whether in After Effects or not, isn’t pulling a key, knowing how to handle channels, or understanding plug-ins. If you can’t match, you can’t composite.

TiltBrush
VR for the novice: what the storyteller needs to know

VR seems to be 2016’s hot new toy. Let’s breakdown what are the major devices and who are the players in virtual reality, and what makes them different.

JAWS_overlays
How to move everything but the camera

One of the strongest lessons the film Jaws teaches you is the art of what not to show, and when not to move the camera.

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Introducing Frame.io + Slack ❤️

We’re excited to announce you can now send project activity directly into a designated Slack channel.

Best Picture VFX
What was the last Best Picture not to use visual effects?

What was the last Best Picture with no visual effects? And in what year did it win? It’s a trivia question. And why does the Best Picture Oscar matter, anyhow?

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How to improve visual storytelling daily (on the sly)

Here are some visual storytelling exercises to try daily for extended periods (not all at once), even while you’re engaged in other work.

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7 unusual films that changed what you hear

Done right, sound can be instrumental how you tell your story in film and how your audience feels when watching.

AE_fast_full
12 steps to make After Effects faster

Render faster in After Effects with these tips to optimize the system itself, and to eliminate common slowdowns hidden in a project.

Requiem-for-a-Dream
When to break the 180 degree rule

I had the pleasure to briefly interview cinematographer Matty Libatique, who with director Darren Aronofsky deliberately bent and broke the line of action to make Requiem for a Dream a more powerful story.