Tag Archives: Adobe After Effects

Pixel Bender : ft-UVPass shader for After Effects


This shader let you re-texture your rendering directly in After Effects. It use a UV pass as default input and a texture as second input. UV pass could be render from pretty much any 3d package.

Download & Sources

How to install it ?

Just copy the .pbk file into your “Support Files” folder in your AE install directory

How to use it ?


Experimental Animation based on sound with After Effects via AETuts+ (Audio Reactant Time Remapping)

My tutorial for AETuts+ is finally out !!
It covers Time Remapping, Waveform to keyframe conversion, expression, … I got really inspired by watching all those reels from motion designer or filmmaker with music most of the time from Hecq. I was wondering how they did their editing and cuts, so I came up with this idea. I don’t know if it’s the way they did it, but this is my approach.

Hope you like it !!!

Link : Audio Reactant Time Remapping Tutorial at AETuts+

UPDATE – Cubic Lens Distortion Pixel Bender shader for AE (with scale & chromatic aberration

cubic lens distortion & chromatic aberration

If you haven’t seen my previous post yet, here is the Syntheyes’ Cubic Lens Distortion algorithm ported to Pixel Bender.

New Features

  1. Scale factor : works exactly as Syntheyes Scale Lens Workflow (v2)
  2. Chromatic Aberration : based on Martins Upitis‘s GLSL posted here (v2)
  3. Blue/Yellow Chromatic Aberration based on Dorian modification (V3)


  1. Download ft-CubicDistortion.pbk here : http://aescripts.com/ft-cubic-lens-distortion/
  2. Place it in your “Support Files” folder (which is in your AE install folder)
  3. Launch AE
  4. Look for the effect called Cubic Distortion

Source Code

just download the file at http://aescripts.com/ft-cubic-lens-distortion and open it with your notepad application


still if you wish ^^

PixelBender Cubic Lens Distortion for After Effects


If you are doing Matchmove, you probably bumped into Lens work-flow issue, where you have to un-distort the footage in your matchmove software, then track it, and export a new undistorted footage, so your client can compose the 3d rendering on top of it and then distort it back.
I don’t really like this work-flow, since for instance AfterFx do not have Cubic Lens Distortion FX and it would be really hard for the client trying to match the distortion back.

After watching Victor Wolansky’s FXPHD Class on SYN202 (syntheyes) about Lens work-flow, I thought : “hey why not porting the lens distortion algorithm ?”. Pretty easy to do, since I already did it for HLSL & Martins Upitis did port my shader to GLSL !
Thanks to SSonTech for sharing there alogrithm

Pixel Bender Cubic Lens Distortion :

Not much to say, it does what it suppose to do ! You can copy & paste values from Syntheyes and it will match perfectly (or it should at least). See the screenshot below.

  1. Download CubicDistortion.pbk here : http://aescripts.com/ft-cubic-lens-distortion/
  2. Place it in your “Support Files” folder (which is in your AE install folder)
  3. Launch AE
  4. Look for the effect called Cubic Distortion

UPDATE : now with scale factor & chromatic aberration, see the post here

Thanks to Jerzy Drozda Jr (aka Maltaannon) for his great tips about Pixel Bender.

So now, you can create a new comp with your distorted footage > pre-comp it > undistorted it with the shader > track it in syntheyes > export the camera to a 3d package > render the scene > import the render into your pre-comp > desactivate the shader. Should match perfectly 🙂


(yeah I know, PFTrack grid with Syntheyes … not cool ! :p )

Distorted Grid
Syntheyes Cubic Undistortion
AE with Cubic Lens Distortion shader
compare AE & Syntheyes Lens distortion


If you wish

OpenFX (OFX) – An Open Plug-in API for 2D Visual Effects

Open FX

I did bump into this website a few days ago, it looks pretty old, but it’s the first time I heard about it, and I think it is worth looking at it for open source software development (Ramen already implemented it).


From there website :

OpenFX is an open standard for visual effects plug-ins. It allows plug-ins written to the standard to work on any application that supports the standard. This avoids the current per application fragmentation of plug-in development and support, which causes much heartache to everyone, plug-in developers, application developers and end users alike”

Who use it ?

Well this is the interesting part ! Big major plug-in development company use it as a few in the following list :

Why is it interesting for open source softwares ?

I know many people, especially from the Blender community would disagree with me (even more since the big “fight” fans had on 3dsoul’s blog “5 things Blender should do to be successful in the industry”), but actually I think this could be part of a solution about the point I added to his list asking for an external SDK/API. At least for the special effect part.

So beside the bullshit talks about “Blender should remain freedom and shouldn’t mix with closed source third party apps or commercial one”, this could be really useful for some of us who still want to use Blender as main frame, but still be able to use great external (sometimes commercial) plug-ins !

Here for instance, The Foundry Keylight, which in my opinion is one of the best Keying plug-ins ever (and the first one who tells me blender’s can do the same job, I give him 12 shots to do in a week and expect it to be perfect 🙂 ).
If you want to use it today, you’ll need to buy the plug-ins (175€) + on of the software compatible with as Nuke, Shake or so (which I believe is around 2000-3000 €) or even buy an After Effects licence because it come bundle with it now (about 700€). Pretty expensive just to do Keying don’t you think ?

When you can actually only spend 175€ on the plug-in and use it with your favourite apps (even your own if you’d like to).


RamenHD’s developer (Ramen is a open source nodal compositing software in development) is already working on the subject (checkout his blog for ofx). He already start to have good results with The Foundry Keylight and the Sapphire suite Plug-ins.

I believe it is a really smart move, and I hope Blender would do it in the future as well. It might even make simpler the way to develop new filter for it.

A few links :

Stuart Maschwitz’s (aka Stu) 5D Settings port to D90

I’m currently taking a class at Fxphd called “DOP210 -DSLR Cinematography” with Stu Maschwitz (prolost) & Mike Seymour as mentors!
This is an awesome class if you have a Canon 5D or a Nikon D90 and want to make movies with it and post-production/grading as well!
Either if the class is talking about the two cameras, the focus is mainly on the 5D!
Stu had a really nice post on Prolost about setting the 5D called “Flatten Your 5D“. Those settings aim to get a neutral picture (low contrast, low sharpen, low saturation,…) which would give a better control in post-production for grading. Settings which he’s using in his class of course !
Since I own a D90, I thought I would give a try to port his 5D’s settings to the D90!
Here is what I have done :


I also turn off D-Lighting, but I’m not sure it is the right move. I’m not sure it is the best settings yet but it looks close though

Update : Also I recommend you to take a look at Understanding and Optimizing the Nikon D90 D-Movie Mode Image on the DVXUser Forum, it give nice tips to trick your camera a bit

Here is a test I have done with those settings and Rebel CC on After Effects.

Mobile Version on Vimeo