Adobe after effects cs5 visual effects and compositing studio techniques free download.Product description

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Information on where to locate the code can be found on page xxvi. Mark Christiansen christiansen. Mark has done work directly for the Adobe After Effects development and marketing teams, is a founder at provideocoalition. Mark is also founder of New Scribbler Press.

Eligible info. This is the only book to focus exclusively on the creation of visual effects for After Effects, and is a one-stop resource for anyone who wants in-depth explanations that demystify the realm of visual effects and how they were created, thanks to veteran author Mark Christiansen’s friendly and accessible style.

A thoroughly packed, informative read, this masterful guide focuses on explaining the essential concepts, features, and techniques that are key to creating seamless movie-quality visual effects. Users who are comfortable with After Effects will find a helpful review of the fundamentals—managing footage, viewing and editing layers, animating type, and more—so they can learn how to work smarter and more efficiently. Readers of all levels will learn core techniques for effects compositing including color matching, keying, rotoscoping, motion tracking, emulating the camera, and concluding with using expressions in After Effects.

In fact, the greatest application of Adobe After Effects CS6 For Mac is the special design, so if a filmmaker needs special effects in a part of his movie, one of his options will definitely be the use of Adobe After Effects CS6.

People need to do this because After Effects is not backwards compatible. You can use it as an opener to your movies, trailers, and videos. Click the Start Free Trial button. CCPhotoshop CC is currently in demand and is used by all editors, artists, and school students. This is a unique course on Udemy and the only course where you will learn about Expressions while building animated infographics.

When I go to the first key frame from the offset and click Graph Editor, I see something completely different than what is shown in the tutorial. After effects particle plugin. Rendering settings screenshot. Select your After effects installation Location if it shows custom.

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After Effects has always only been able to save back one previous version. They can be quite large and IE has been known to drop the. Getting the Typography After Effect …. Mark has used After Effects since version 2. I have always used the Adobe Bridge previewer to check the Adobe after effects text animation presets , however browsing on different motion graphic forums I found out that a lot of people online are having trouble to preview the default After Effects text presets or that the after effects.

On the left-hand side, you will see a list of Recent Projects. Get free access to download your Adobe After Effects…. Note, the files linked to here are hosted by their. Adobe After Effects CS6 This intro scene is perfect for making intros for business and branding videos.

The industry standard just raised its standards with After Effects CS6. Roto Brush 2 Traditional rotoscoping uses animated masks to isolate an element in a video clip, which can be tedious and time-consuming. Not only import, After Effects CC Free Templates for Adobe After Affects. Adobe After Effects is a digital visual effects, motion graphics, and compositing application developed by Adobe Systems and used in the post-production process of filmmaking and television production.

Enter the following data after selecting custom option. Smooth transition in after effects. Among other things, After Effects …. The effect is highly versatile and surprisingly easy-to-use. If you’re stubbornly holding on to that copy of After Effects CS6, that’s that.

You can easily change colors, text and other design elements without having to spend time on creating timelines and effects. When opening Adobe After Effects CC, a warning pops up: ‘ Quicktime is not installed on this system, some components will not work correctly. Premiere Pro Animation Clock. Once Notepad opens up, click on File and then Open. If you have an image sequence simply select the first through last frame of your image sequence and select the image sequence box before hitting import.

Based on our results, we can make a few informed recommendations as to which CPUs will give you the best overall performance in After Effects It includes 1 text placeholder, 1 logo placeholder, and 5 different color presets. Adobe After Effects CC v Next, follow along with this very simple set of three videos, which show you the basics of importing media, trimming footage, animating with keyframes, adding effects, and exporting to Vimeo, YouTube, and other common formats using Adobe Media Encoder.

CC has some updates from cs6 that may lead to faster workflow. After Effects versions released within this series allow you to create stunning visual effects for TV, video, film, etc.

I’m using after effect cc and I want to open the project on another computer using cs6. The click on Run as Administrator. Open After Effects and select the layer you want to apply a preset to. Ready to render for your next project. After Effects CC is used by professionals across the world to create every type of motion graphic animation and this course is the best way to jump in and begin your journey to becoming a professional motion designer.

The Adobe After Effects CS6 is the highly advanced and powerful tool for creating videos, animations and editing movies and photos. The major difference between these applications is that Photoshop CC …. This full course is the best way to jump right in and start making your own videos come to life. But an older trial version of CS6 is also running on the same system. Just drag and drop your media, change texts and you are done. From there, just select your desired preset, and it will be.

You can reveal any type of logo or text with this template. This is the time to create a fresh clean folder for the project. We suggest using a browser other than Internet Explorer to download the files above.

After Effects Templates Store. Inside this folder is another folder called InDesign Shortcut Sets. CS6 only has native resolution support for retina. CS6 and older?

As such it’s worth, to a deadline-conscious compositor at least, the cost of an upgrade – or Creative Cloud subscription. Navigate to the preset file and click OK. Adobe After Effects CC Crack Free Download is a powerful visual effects, motion graphics, and compositing application used in the post-production process of film making title, television production and transitions. These serve as links to your projects on your hard drive. Buy Make It Simple! Adobe After Effects Guides.

Higher values will show less part of the screen. The next of our free After Effects slideshow templates is this photo gallery-inspired template that you can use to showcase your favorite snaps or display a product line or portfolio.

See more ideas about facebook header template, facebook header, after effect tutorial. Back in April, we gave a preview of the major new features planned for what is now known as After Effects CC also known as This subreddit has the sole purpose of clarifying doubts related to the service and promoting a constructive debate about its functionalities. What is the difference between After Effect….

Introduce your brand with a simple logo twist, or create an entrance with an explosion of light and color. After Effects is the industry standard for motion graphics and visual effects, used by …. Whenever you have a question, try searching for an answer using the After Effects Community Help search.

So if you use the default scaling for CS6 your UI will be pixelated. This window is described below: Figure 1 – Welcome Window 1. Unfortunately, After Effects can’t do that because it is not really designed for final delivery, but there is a little bit of a workarounds to its. Answer 1 of 4 : Go with After Effects because it has Rotobrush 2.

FilmoraPro excels at creating animated titles and credits. Your video will be imported as a video layer. This third-party utility converts After Effects files to a fully editable, human-readable text-based format, and can create backwards-compatible projects that open in older versions.

If you want a realistic flag waving with your logo in a perfect loop , it’s. With a Creative Cloud subscription, updates are waiting in the menu bar. The LottieFiles plugin also integrates tightly with LottieFiles, letting you upload, test.

And some other programmes we all. If the Track Motion button is grayed out, make sure your video is selected by clicking its title in the project pane. CC means creative cloud as it is a product of Adobe. The After Effects Workspace consists of many Panels 1. In this course, Christopher Kenworthy will show you how easy it is to create smoke, fire, and explosions using Adobe After Effects—without relying on third-party plugins. With this plan, in addition to the graphic design program, you also get Adobe After Effects CS6 full version.

Do not use serial or other items. In this article, you can download Twixtor for Adobe and all these other plugins for free. Adobe after effects cc particle world plugin 22 types sles free. The focus of the animations is based on Graphs such. It seems to me that CC has much faster rendering than CS6 for the most part, but the rendering options are underwhelming. We’ll use the copy to create the water reflection. After Effects version Download Buy it This.

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Description – Adobe after effects cs5 visual effects and compositing studio techniques free download

 
Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques [1 Pap/Dvdr ed.] X, This is the only book on the market to. Readers of all levels will learn core techniques for effects compositing including color matching, keying, rotoscoping, motion tracking, emulating the camera. Adobe After Effects CS5 Visual Effects and Compositing STUDIO TECHNIQUES phần Download from replace.me Simpo PDF Merge and Split Unregistered Version. A thoroughly packed, informative read, this masterful guide focuses on explaining the essential concepts, features, and techniques that are key. Get CS Update: Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques now with the O’Reilly learning platform. O’Reilly members experience.

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Your comments and questions are welcome at Download from WoweBook. I just read it, with an eye to updating it. Everything I wrote then is even more true today. Certainly in many cases this is due to drastically reduced budgets. Nothing inspires creativity like limited resources. Laptop computers are every bit as powerful as tower workstations from two years ago. Our phones have HD video cameras and our favorite visual effects application comes bundled with a competent roto artist in the box.

The victory will go to the Download from WoweBook. Two years ago it was fun to think about bringing the sex to your work. Use what you learn in this book to make beautiful things that challenge and excite people.

The tools have gotten better. All that sex and violence. I get enough of that at home. Apart from the sex, of course. Spielberg called and he wants the world to believe, if only for 90 minutes, that dinosaurs are alive and breathing on an island off the coast of South America. Your job: Make them look real. Movies are not reality. The reason we love them is that they present us with a heightened, idealized version of reality.

The couple are really, really charming and impossibly good-looking—in fact, one of them is Meg Ryan. Before the surgery. Oh, and music is playing. Nothing at all—and we love it. Man, she looked good. She looked good. But mostly, that T-rex felt real because she looked good. Hit the convert button to start transcoding 4K video to After Effects. Guide to Upgraded Versions of After Effects. Do you need to save your AE project so that those having older versions could.

This new project will only contain the footage files needed for the project. Earlier versions were no longer available and future versions do not provide native support for. You have access to everything from CS6 to CC Next, follow along with this very simple set of three videos, which show you the basics of importing media, trimming footage, animating with keyframes, adding effects, and exporting to Vimeo, YouTube, and other common formats using Adobe Media Encoder. Hand Drawn Sketch Photo If you’re stubbornly holding on to that copy of After Effects CS6, that’s that.

Among other things, After Effects can be used for keying. The pen tool is limited in its support of brushes within CS6, while CC provides for over different brush styles with more that can be added on with plugins. Make It Simple! Adobe After Effects Guides. Once you hit the “Collect” button, After Effects will ask you where you want to save it.

For details about each edition of Cinema 4D. This After Effects plugin offers a great range of small motion graphic elements you can use to enhance your UI design. Urban Glitch Intro After Effects template by tinomotion. Make your After Effects templates editable online through an easy to use, drag and drop editor. If yes, then you have landed on the right webpage. Cc image wipe after effects. A step toward true sophisticated 3D, After Effects CS6 now allows geometry modification of sub-comps, footage clips, solid layers and images.

After Effects versions released within this series allow you to create stunning visual effects for TV, video, film, etc. Sup guys ;D File download : Serial number: If the serial number needs updating please tell. To make the rigging process easier and more versatile in After Effects, we’ve introduced the Structures which are very similar to bones or joints in 3D softwares.

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If you just need to brush up on what’s new in recent versions of After Effects, we do offer separate online training courses covering the new features in CS5, CS5. Deselect all keyframes but leave the layer selected.

Switch to the Pen tool with the G key; in the Composi- tion viewer, drag from the highlighted keyframe to the right, creating a horizontal Bezier handle. Stop before crossing the second keyframe.

Why is that? The red X graph shows an unsteady horizontal motion due to the eases. The problem is that the eases should be applied only to the vertical Y dimension, whereas the X animation travels at a constant rate. This allows you to add keyframes for one dimension only at a 50 I: Working Foundations Figure 2. Select Position and click Separate Dimensions. Now try the following: 1. Select the middle three X Position keyframes—you can draw a selection box around them—and delete them.

Now take a look in the Composition viewer—the motion is back to linear, although the temporal eases remain on the Y axis. Not only that, but you cannot redraw them as you did before; enabling Separate Dimensions removes this ability.

Instead, you can create them in the Graph Editor itself. Show Graph Tool Tips displays values of whatever curve is under the mouse at that exact point in time. The transform box lets you edit keyframe values in all kinds of tricky or even wacky ways. Toggle on Show Transform Box and select more than one keyframe, and a white box with vertices surrounds the selected frames.

Drag the handle at the right side to the left or right to change overall timing; the keyframes remain proportionally arranged. So, does the transform box help in this case? Well, it could, if you needed to. Frames is on Add the Alt Opt key when dragging a corner of the transform box; this adjustment diminishes the height of the ball bounces proportionally over time.

Drag all keyframes from the one at the top of the middle arc forward in time a second or two. Copy and paste that mid-arc keyframe adding one for any other animated properties or dimensions at that point in time back to the original keyframe location, and toggle it to a Hold keyframe Figure 2. You can control a Bezier motion path in the Composition viewer using the Pen tool usage detailed in the next chapter.

Realistic motion often requires that you shape the motion path Beziers and add temporal eases; the two actions are performed independently on any given keyframe, and in two different places in the viewer and Timeline panel. Animation can get a little trickier in 3D, but the same basic rules apply see Chapter 9 for more.

Three preset keyframe transition types are available, each with a shortcut at the bottom of the Graph Editor: Hold , Linear , and Auto Bezier. Adjust the handles or apply Easy Ease and the preset becomes a custom Bezier shape. Copy and Paste Animations Yes, copy and paste; everyone knows how to do it.

Once done, copy and paste the data back into After Effects. Copy a set of keyframes from After Effects and paste them into an Excel spreadsheet or even an ordinary text editor, and behold the After Effects keyframe format, ready for hacking. You can paste from one property to another, so long as the format matches the units and number of parameters. Copy the source, highlight the target, and paste. This is the situation for which Roving keyframes were devised.

You may not want to bounce a ball, but the technique works with any complex animation, and it maintains eases on the start and end frame. Pay close attention to the current time and what is selected when copying, in particular, and when pasting animation data. Layer vs. Graph To summarize the distinction between layer bar mode and the Graph Editor, with layers you can.

However, when you scale a set of keyframes using the transform box, keyframes will often fall in between frames whether or not this option is enabled. Timeline Panel Shortcuts The following keyboard shortcuts have broad usage when applied with layers selected in the Timeline panel:. U toggles all properties with keyframes or expressions applied. UU U twice in quick succession toggles all properties set to any value besides the default; or every property in the Timeline panel that has been edited.

E toggles all applied effects. EE toggles all applied expressions. You 56 I: Working Foundations want all the changes applied to masks and transforms, not effects? Lose the masks? But UU—now that is a full-on problem-solving tool all by itself. It allows you to quickly investigate what has been edited on a given layer, is helpful when troubleshooting your own layer settings, and is nearly priceless when investigating an unfamiliar project.

Highlight all the layers of a composition and press UU to reveal all edits. Enable Switches, Modes, Parent, and Stretch columns, and you see everything in a composition, with the exception of.

You have to see it to believe it: a nodal interface in After Effects Figure 2. The gray nodes are compositions, the red source clips, and the yellow is an effect, but there is no way to apply or adjust an effect in this view.

Its usage has largely been superseded by the new Miniflow bottom , which focuses interactively on the current composition. This view shows how objects layers, compositions, and effects are used, and in what relationship to one another. Click Property Name to select all keyframes for a property. Ctrl-click Cmd-click an effect stopwatch to set a keyframe.

Read on; you are not a keyframe Jedi—yet. With multiple keyframes selected you can also. Keyframe multiselection in standard Layer view but not Graph Editor is inconsistent with the rest of the application: you Shift-click to add or subtract a single frame from a group. Ctrl-clicking Cmdclicking on a keyframe converts it to Auto-Bezier mode. Spatial Offsets 3D animators are familiar with the idea that every object or layer has a pivot point. After Effects is generally designed to preserve the appearance of the composition when you are merely setting up animation, toggling 3D on, and so forth.

Therefore, editing an anchor point position with the Pan Behind tool triggers the inverse offset to the Position property. Parent a layer to another layer and the child layer maintains its relative position until you further animate either of them. Those shortcuts are a handful; context-clicking the layer for the Transform menu is nearly as easy. The Position offset is for that frame only, however, so if there are Position keyframes, the layer may appear offset on other frames if you drag the anchor point this way.

To reposition the anchor point without changing Position:. Change the anchor point value in the Timeline panel. Use the Pan Behind tool in the Layer panel instead. Hold the Alt Opt key as you drag with the Pan Behind tool. Any of these options lets you reposition the anchor point without messing up an animation by changing one of the Position keyframes. You can also animate the anchor point, of course; this allows you to rotate as you pan around an image while keeping the view centered.

For the bouncing ball, you could move the anchor point to the base of the layer to add a little cartoonish squash and stretch, scaling Y down at the impact points. Parenting remains valid even if the parent layer moves, is duplicated, or changes its name. A parent and all of its children can be selected by context-clicking the parent layer and choosing Select Children. Parenting can be removed by choosing None from the Parent menu.

You probably knew all of that. You might not know what happens when you add the Alt Opt key to Parent settings:. Hold Alt Opt as you select the None option and the layer reverts to the Transform values it had before being parented otherwise the offset at the time None is selected remains. Hold Alt Opt as you select a Parent layer and its Transform data at the current frame is applied to the child layer prior to parenting.

This last point is a very cool and easily missed method for arraying layers automatically. It behaves like the Duplicate and Offset option in Illustrator Figure 2. The trick is to create the first layer, duplicate, and offset; now you have two. Repeat this last step with as many layers as you need; each one repeats the offset. Motion Blur Blurred Vision Motion blur occurs in your natural vision, although you might not realize it—stare at a ceiling fan in motion, and then try following an individual blade around instead and you will notice a dramatic difference.

There is a trend in recent years to use extremely high-speed electronic shutters, which drastically reduce motion blur. It is the natural result of movement that occurs while a camera shutter is open, causing objects in the image to be recorded at every point from the shutter opening to closing. The movement can be from individual objects or the camera itself. Although it essentially smears layers in a composition, motion blur is generally desirable; it adds to persistence of vision and relaxes the eye.

Aesthetically, it can be quite beautiful. The idea with motion blur in a realistic visual effects shot is usually to match the amount of blur in the source shot, assuming you have a reference; if you lack visual reference, a camera report can also help you set this correctly. Any moving picture camera has a shutter speed setting that determines the amount of motion blur.

Shutter Angle controls shutter speed, and thus the amount of blur. Any changes you make here stick and are passed along to the next composition, or even the next project, until you change them. Shutter Phase determines at what point the shutter opens. Samples Per Frame applies to 3D motion blur and Shape layers; it sets the number of slices in time samples , and thus, smoothness. Adaptive Sample Limit applies only to 2D motion blur, which automatically uses as many samples as are needed up to this limit Figure 2.

The reason for the difference is simply performance; 3D blur is costlier, but like many settings it is conservative. Unless your machine is ancient, boost the number; the boosted setting will stay as a preference. In this abstraction the dark gray hemi-circular shutter spins to alternately expose and occlude the aperture, the circular opening in the light gray plate behind it.

The angle corresponds to the radius of the open section—the wedge of the whole pie that exposes the frame Figure 2. Electronic shutters are variable but refer to shutter angle as a benchmark; they can operate down in the single digits or close to a full mechanically impossible degrees. After Effects motion blur goes to degrees simply because sometimes mathematical accuracy is not the name of the game, and you want more than degrees.

Shutter Phase determines how the shutter opens relative to the frame, which covers a given fraction of a second beginning at a given point in time.

If the shutter is set to 0, it I: Working Foundations Figure 2. The default —90 Shutter Phase setting with a degree shutter angle causes half the blur to occur before the frame so that blur extends in both directions from the current position.

Otherwise, the track itself appears offset when motion blur is enabled. Enhancement Easier Than Elimination Although software may one day be developed to resolve a blurred image back to sharp detail, it is much, much harder to sharpen a blurred image elegantly than it is to add blur to a sharp image.

Motion blur comes for free when you keyframe motion in After Effects; what about when there is motion but no blur and no keyframes, as can be the case in pre-existing footage? Directional Blur, which can mimic the blur of layers moving in some uniform X and Y direction. Radial Blur, which can mimic motion in Z depth or spin. Timewarp, which can add motion blur without any retiming whatsoever Yes, you read that last one correctly. You can retime footage or mix and match speeds and timing using a variety of methods.

Absolute Not Relative Time After Effects measures time in absolute seconds, rather than frames, whose timing and number are relative to the number per second. Think of a musician playing 3 against 4; one second in After Effects is something like the downbeat. Enable Frame Blend for the layer and the composition, and After Effects averages the adjacent frames together to create a new image on frames that fall in between the source frames.

Frame Mix mode overlays adjoining frames, essentially blurring them together. The same underlying technology is also used in Furnace plug-ins for Shake, Flame, and Nuke. Confusingly, the icons for these modes are the same as Draft and Best layer quality, respectively Figure 2. Pixel Motion can often appear too blurry, too distorted, or contain too many noticeable frame artifacts, in which case you can move back to Frame Mix, or move up to the Timewarp effect, with greater control of the same technology later in this chapter.

Nested Compositions Figure 2. If you put a composition with a lower frame rate into a master composition, the intention may be to keep the frame rate of the embedded composition. This forces After Effects to use only whole frame increments in the underlying composition, just as if the composition were pre-rendered with that frame rate. Posterize Time often breaks preceding effects. To get the last visible frame you must often add a keyframe on the penultimate frame.

The philosophy is elusively simple: A given point in time has a value, just like any other property, so it can be keyframed, including eases and even loops — it operates like any other animation data.

Pixel Motion is an automated setting described earlier, and Timewarp builds this up by adding a set of effect controls that allow you to tweak the result. Individual, automated motion vectors describe how each pixel moves from frame to frame. With this accurate analysis it is then possible to generate an image made up of those same pixels, interpolated along those vectors, with different timing. The result is new frames that appear as if in between the original frames. When it works, it has to be seen to be believed.

Timewarp with the same Pixel Motion method. All methods can be used to speed up or slow down footage, but only Time Remapping and Timewarp dynamically animate the timing with keyframes.

Time Remapping keyframes can even be transferred directly to Timewarp, but it requires an expression see note because Timewarp uses frames and Time Remapping seconds. Timewarp is worth any extra trouble in several ways:.

It can be applied to a composition, not just footage. It includes the option to add motion blur with the Enable Motion Blur toggle. To apply Timewarp to the footage, enable Time Remapping and extend the length of the layer when slowing footage down—otherwise you will run out of frames.

Leave Time Remapping with keyframes at the default positions and Timewarp will override it. This helps eliminate or reduce motion errors where the foreground and background move differently. You can even further adjust the reference layer and precomp it for example, enhancing contrast or luminance to give Timewarp a cleaner source , and then apply this precomposed layer as a Warp Layer—it then analyzes with the adjustments but applies the result to the untouched source. These tools make use of Local Motion Estimation LME technology, which is thoroughly documented in the Furnace User Guide, if you ever want to fully nerd out on the details.

Here are a few tweaks you can try on this footage, or your own:. Not only does a higher number drastically increase render time, it simply increases or at best shifts artifacts with fast motion. This is because it is analyzing too much detail with not enough areas to average in. Smoothing relates directly to Vector Detail. The Foundry claims that the defaults, which are balanced, 71 Chapter 2 The Timeline work best for most sequences. You can raise Global Smoothness all vectors , Local Smoothness individual vectors , and Smoothing Iterations in order to combat detail noise, but again, in this case it changes artifacting rather than solving it.

Build From One Image helps quite a bit in a case like this—instead of trying to blend two nonmatching sets of pixels, Timewarp favors one of them. The best fix is to rotoscope to separate these areas from the background. Error Threshold evaluates each vector before letting it contribute; raise this value and more vectors are eliminated for having too much perceived error. Block Size determines the width and height of the area each vector tracks; as with Smoothing, lower values generate more noise, higher values result in less detail.

Weighting lets you control how much a given color channel is factored. If one channel is particularly noisy—usually blue—you can lower its setting. Filtering applies to the render, not the analysis; it increases the sharpness of the result. The biggest thing you could do overall to improve results with a clip like sk8rboi is to use Roto Brush see Chapter 7 to separate out each moving element—the van, skater, and background. A demo can be found on the disc.

Did you notice back in the Motion Blur section that Timewarp can be used to generate procedural motion blur without retiming footage Figure 2.

Timewarp can add motion blur to speed up footage; it can even add motion blur to footage with no speed-up at all, in either case using the same optical flow technology that tracks individual pixels.

It looks fabulous. Some computer graphics artists are also natural animators; others never really take to it. The exercises in this chapter could tell you in an hour or two which camp you fall into, and along the way, cover just about every major Timeline panel animation tool.

You must always start with something. Afterward you can remove all traces of reality. If compositing were simply a question of taking pristine, perfect foreground source A and overlaying it onto perfectly matching background plate B, there would be no compositor in the effects process; an editor could accomplish the job before lunchtime.

Often, it is one element, one frame, or one area of a shot that needs special attention. By the clever use of selections, a compositor can save the shot by taking control of it. This chapter focuses on how a layer merges with those behind it. Chapter 6 goes into depth about these processes; for now, this overview offers a basic working understanding.

Figure 3. After Effects 77 Chapter 3 Selections: The Key to Compositing itself can, of course, also create alpha and transparency channels in rendered images Figure 3. The built-in assumption of unmultiplied edge pixels can, in some cases, make life more difficult should things not go as planned.

After Effects assumes also unique from other compositing apps that edge premultiplication is automatically removed before image combination or manipulation is begun. Internally then, all alphas in After Effects are processed as straight see Chapter 1 for a review of how interpretation is determined on import.

Mask A mask in After Effects is a shape made up of points and vectors Figure 3. I: Working Foundations There are also now several automated methods Figure 3. Roto Brush—this much talked-about feature added to After Effects CS5 can automatically generate and track an animated mask. The advantages are that it works well and can be automatically tracked; however, it is far from perfect and the result is its own effect-based selection instead of a standard After Effects mask.

It is capable of automatically generating a mask that can include per-vertex feathering in many but by no means all situations. Mocha shape is also an effect-based selection tool incompatible with the standard After Effects mask. More on this in Chapters 7 and 8. This offers most of the advantages of mocha shape other than per-vertex feathering , and because it is applied as mask data it integrates with all of the many effects and plug-ins that rely on selections in that format.

They are essential to re-create the phenomena of real-world optics. You can, of course, use selections combined with blending modes to get the best of both worlds. Blending modes— which to ignore, which are essential, and how to use them—are discussed in depth later in this chapter. Some even generate images from scratch that may include an alpha channel Figure 3. Combined Selection Techniques An ordinary effects shot may use more than one, or even all, of the above techniques.

Suppose you have greenscreen footage say a stylish Ford GT40 and want to replace the number on the side. The art is in knowing which approach to apply in a given situation, and for this there is no substitute for knowledge of how they operate. The foreground pixel values are first multiplied by the percentage of transparency, which, if not fully opaque, reduces their value.

Expressed as a formula, it looks like What exactly is happening in a simple A over B composite? In After Effects, it seems nearly as natural as laying one object on top of another does in the real world. In most other compositing applications even A over B is an individualized compositing operation, and that is closer to the truth—a truth that After Effects obscures in order to make the process easier.

Not only that, but there is more to what is going on than might be obvious, because of the phenomena of optics. The four stages of image gathering and viewing—the physical world itself, camera optics, human vision, and the display device and its environment—exhibit phenomena that are interdependent.

With real RGB pixel data of R: , G: , B: in the foreground and R: 80, G: 94, B: 47 in the background, calculating only one edge pixel would look like As a compositor, you are not supposed to re-create actual reality, but instead the way the camera and the eye gathers visual data from the world.

This affects something even so fundamental as how the edges of objects should look in order for the eye to accept them as believable. Zoom in to the pixel level, especially around edges. Examine footage and compositions channel by channel Chapter 5.

Turn the Exposure control in the Composition viewer up and down to make sure everything still matches Chapter 5. Approach your project like a computer programmer and minimize the possibility of bugs careless errors. Aspire to design in modules that anticipate what might change or be tweaked.

With the Timeline panel at the center of the compositing process, you can time elements and animations precisely while maintaining control of their appearance.

The Timeline panel is also a user-friendly part of the application that is full of hidden powers. Column Views You can context-click on any column heading to see and toggle available columns in the Timeline panel, or you can start with the minimal setup shown in Figure 2. Lower-left icons : Most but not quite all of the extra data you need is available via the three toggles found at the lower left of the Timeline panel. Figure 2. No matter how big a monitor, every artist tends to want more space for the keyframes and layers themselves.

Layer switches and transfer controls are the most used; if you have plenty of horizontal space, leave them both on, but the F4 key has toggled them since the days when x was an artist-sized display. Time Stretch toggles the space-hogging timing columns. To rename an item in After Effects, highlight it and press Enter Return instead of clicking and hovering.

The game is to preserve horizontal space for keyframe data by keeping only the relevant controls visible. Color Commentary When dissecting something tricky, it can help to use. This script manages the process of adding tags to layers and using them to create selection sets.

They allow you to temporarily isolate and examine a layer or set of layers, but you can also keep layers solo when rendering whether you intend to or not.

Shy layers are a fantastic shortcut in an often-cluttered Timeline panel. Even if you keep the number of layers in a composition modest as you must for effective visual effects compositing work—see Chapter 4 for more on how , a composition containing an imported 3D track from such software as SynthEyes or Boujou may arrive with hundreds of null layers. I tend to make these shy immediately, leaving only the camera and background plate ready for compositing.

I often apply unique colors to track matte layers so I remember not to move them. Layer and composition markers can hold visible comments. Composition markers are added using Shift and the numbers atop your keyboard or using the asterisk key with nothing selected.

I sometimes double-click them to add short notes. I: Working Foundations Navigation and Shortcuts Keyboard shortcuts are essential for working speedily and effortlessly in the Timeline panel. Time Navigation Many users—particularly editors, who know how essential they are—learn time navigation shortcuts right away.

Others primarily drag the current time indicator, which quickly becomes tedious. I and O keys navigate to the beginning and end frames of the layer. About two-thirds of the way through the shot came a subtle but sudden shift. If other layers are present and visible, you can also place the layer in order by dragging it between them. Here are some other useful tips and shortcuts:. J and K navigate to the previous or next visible keyframe, layer marker, or work area start or end, respectively.

To reset the work area to the length of the composition, double-click it. Numeric keypad numbers select layers with that number. Locked layers are not selected, but shy layers are selected even if invisible.

The bracket keys [ and ] move the In or Out points of selected layers to the current time. Add Alt Opt to set the current frame as the In or Out point, trimming the layer. The double-ended arrow icon over the end of a trimmed layer lets you slide it, preserving the In and Out points while translating the timing and layer markers but not keyframes.

The semicolon ; key toggles all the way in and out on the Timeline panel: single frame to all frames. The slider at the bottom of the Timeline panel zooms in and out more selectively. It can be annoying that the work area controls both preview and render frame ranges because the two are often used independent of one another.

The scroll wheel moves you up and down the layer stack. Shift-scroll moves left and right in a zoomed Timeline panel view. Alt-scroll Opt-scroll zooms dynamically in and out of the Timeline panel, remaining focused around the cursor location. Hold down the Shift key as you drag the current time indicator to snap the current time to composition or layer markers or visible keyframes. The Comp Marker Bin contains markers you can drag out into the Timeline panel ruler.

You can replace their sequential numbers with names. X scrolls the topmost selected layer to the top of the Timeline panel. There are keyboard shortcuts to each Transform property. For a standard 2D layer these are. A for Anchor Point, the center pivot of the layer. P for Position, by default the center of the composition. S for Scale in percent of source. R for Rotation in revolutions and degrees.

This keeps only what you need in front of you. A 3D layer reveals four individual properties under Rotation to allow full animation on all axes. There are selection tools to correspond to perform Transform adjustments directly in the viewer:. V activates the Selection tool, which also moves and scales in a view panel. Y switches to the Pan-Behind tool, which moves the anchor point. Quite the sense of humor on that After Effects team. There is no option to see them together.

Below the grid that appears in place of the layer stack are the Graph Editor controls Figure 2. Show Properties By default, if nothing is selected, nothing displays in the graph; what you see depends on the settings in the Show Properties menu. Three toggles in this menu control how animation curves are displayed in the graph:. Show Selected Properties displays whatever animation property names are highlighted. To work in the Graph Editor without worrying about what is selected, disable Show Selected Properties and enable the other two.

Show Animated Properties shows everything with keyframes or expressions. You decide which curves need to appear, activate their Graph Editor Set toggle, and after that it no longer matters whether you keep them selected. To begin the bouncing ball animation, include Position in the Graph Editor Set by toggling its icon. Basic Animation and the Graph View Figure 2. To get to this point, do the following:. At frame 24, move the ball off the right of the frame, creating a second keyframe.

Now add the bounces: At frames 6 and 18 move the ball straight downward so it touches the bottom of the frame. Also, the default Graph Editor view at this point is not very helpful, because it displays the speed graph, and the speed of the layer is completely steady at this point—deliberately so, in fact. To get the view shown in Figure 2. This is a toggle even advanced users miss, although it 48 I: Working Foundations is now on by default. In addition to the not-very-helpful speed graph you now see the value graph in its X red and Y green values.

However, the green values appear upsidedown! Auto Select Graph Type selects speed graphs for spatial properties and value graphs for all others. For this purpose After Effects offers the automated Easy Ease functions, although you can also create or adjust eases by hand in the Graph Editor. Fix this in the Composition viewer by pulling Bezier handles out of each of the keyframes you just eased: 1.

Deselect all keyframes but leave the layer selected. Switch to the Pen tool with the G key; in the Composi- tion viewer, drag from the highlighted keyframe to the right, creating a horizontal Bezier handle.

Stop before crossing the second keyframe. Why is that? The red X graph shows an unsteady horizontal motion due to the eases. The problem is that the eases should be applied only to the vertical Y dimension, whereas the X animation travels at a constant rate. This allows you to add keyframes for one dimension only at a 50 I: Working Foundations Figure 2. Select Position and click Separate Dimensions.

Now try the following: 1. Select the middle three X Position keyframes—you can draw a selection box around them—and delete them. Now take a look in the Composition viewer—the motion is back to linear, although the temporal eases remain on the Y axis. Not only that, but you cannot redraw them as you did before; enabling Separate Dimensions removes this ability. Instead, you can create them in the Graph Editor itself. Show Graph Tool Tips displays values of whatever curve is under the mouse at that exact point in time.

The transform box lets you edit keyframe values in all kinds of tricky or even wacky ways. Toggle on Show Transform Box and select more than one keyframe, and a white box with vertices surrounds the selected frames.

Drag the handle at the right side to the left or right to change overall timing; the keyframes remain proportionally arranged. So, does the transform box help in this case? Well, it could, if you needed to. Frames is on Add the Alt Opt key when dragging a corner of the transform box; this adjustment diminishes the height of the ball bounces proportionally over time. Drag all keyframes from the one at the top of the middle arc forward in time a second or two.

Copy and paste that mid-arc keyframe adding one for any other animated properties or dimensions at that point in time back to the original keyframe location, and toggle it to a Hold keyframe Figure 2. You can control a Bezier motion path in the Composition viewer using the Pen tool usage detailed in the next chapter. Realistic motion often requires that you shape the motion path Beziers and add temporal eases; the two actions are performed independently on any given keyframe, and in two different places in the viewer and Timeline panel.

Animation can get a little trickier in 3D, but the same basic rules apply see Chapter 9 for more. Three preset keyframe transition types are available, each with a shortcut at the bottom of the Graph Editor: Hold , Linear , and Auto Bezier. Adjust the handles or apply Easy Ease and the preset becomes a custom Bezier shape. Copy and Paste Animations Yes, copy and paste; everyone knows how to do it. Once done, copy and paste the data back into After Effects.

Copy a set of keyframes from After Effects and paste them into an Excel spreadsheet or even an ordinary text editor, and behold the After Effects keyframe format, ready for hacking.

You can paste from one property to another, so long as the format matches the units and number of parameters. Copy the source, highlight the target, and paste. This is the situation for which Roving keyframes were devised. You may not want to bounce a ball, but the technique works with any complex animation, and it maintains eases on the start and end frame. Pay close attention to the current time and what is selected when copying, in particular, and when pasting animation data.

Layer vs. Graph To summarize the distinction between layer bar mode and the Graph Editor, with layers you can. However, when you scale a set of keyframes using the transform box, keyframes will often fall in between frames whether or not this option is enabled. Timeline Panel Shortcuts The following keyboard shortcuts have broad usage when applied with layers selected in the Timeline panel:. U toggles all properties with keyframes or expressions applied. UU U twice in quick succession toggles all properties set to any value besides the default; or every property in the Timeline panel that has been edited.

E toggles all applied effects. EE toggles all applied expressions. You 56 I: Working Foundations want all the changes applied to masks and transforms, not effects?

Lose the masks? But UU—now that is a full-on problem-solving tool all by itself. It allows you to quickly investigate what has been edited on a given layer, is helpful when troubleshooting your own layer settings, and is nearly priceless when investigating an unfamiliar project. Highlight all the layers of a composition and press UU to reveal all edits.

Enable Switches, Modes, Parent, and Stretch columns, and you see everything in a composition, with the exception of. You have to see it to believe it: a nodal interface in After Effects Figure 2. The gray nodes are compositions, the red source clips, and the yellow is an effect, but there is no way to apply or adjust an effect in this view.

Its usage has largely been superseded by the new Miniflow bottom , which focuses interactively on the current composition. This view shows how objects layers, compositions, and effects are used, and in what relationship to one another. Click Property Name to select all keyframes for a property. Ctrl-click Cmd-click an effect stopwatch to set a keyframe. Read on; you are not a keyframe Jedi—yet. With multiple keyframes selected you can also. Keyframe multiselection in standard Layer view but not Graph Editor is inconsistent with the rest of the application: you Shift-click to add or subtract a single frame from a group.

Ctrl-clicking Cmdclicking on a keyframe converts it to Auto-Bezier mode. Spatial Offsets 3D animators are familiar with the idea that every object or layer has a pivot point. After Effects is generally designed to preserve the appearance of the composition when you are merely setting up animation, toggling 3D on, and so forth. Therefore, editing an anchor point position with the Pan Behind tool triggers the inverse offset to the Position property.

Parent a layer to another layer and the child layer maintains its relative position until you further animate either of them. Those shortcuts are a handful; context-clicking the layer for the Transform menu is nearly as easy.

The Position offset is for that frame only, however, so if there are Position keyframes, the layer may appear offset on other frames if you drag the anchor point this way.

To reposition the anchor point without changing Position:. Change the anchor point value in the Timeline panel. Use the Pan Behind tool in the Layer panel instead. Hold the Alt Opt key as you drag with the Pan Behind tool. Any of these options lets you reposition the anchor point without messing up an animation by changing one of the Position keyframes.

You can also animate the anchor point, of course; this allows you to rotate as you pan around an image while keeping the view centered. For the bouncing ball, you could move the anchor point to the base of the layer to add a little cartoonish squash and stretch, scaling Y down at the impact points. Parenting remains valid even if the parent layer moves, is duplicated, or changes its name.

A parent and all of its children can be selected by context-clicking the parent layer and choosing Select Children. Parenting can be removed by choosing None from the Parent menu. You probably knew all of that. You might not know what happens when you add the Alt Opt key to Parent settings:. Hold Alt Opt as you select the None option and the layer reverts to the Transform values it had before being parented otherwise the offset at the time None is selected remains.

Hold Alt Opt as you select a Parent layer and its Transform data at the current frame is applied to the child layer prior to parenting. This last point is a very cool and easily missed method for arraying layers automatically.

It behaves like the Duplicate and Offset option in Illustrator Figure 2. The trick is to create the first layer, duplicate, and offset; now you have two.

Repeat this last step with as many layers as you need; each one repeats the offset. Motion Blur Blurred Vision Motion blur occurs in your natural vision, although you might not realize it—stare at a ceiling fan in motion, and then try following an individual blade around instead and you will notice a dramatic difference. There is a trend in recent years to use extremely high-speed electronic shutters, which drastically reduce motion blur.

It is the natural result of movement that occurs while a camera shutter is open, causing objects in the image to be recorded at every point from the shutter opening to closing. The movement can be from individual objects or the camera itself. Although it essentially smears layers in a composition, motion blur is generally desirable; it adds to persistence of vision and relaxes the eye.

Aesthetically, it can be quite beautiful. The idea with motion blur in a realistic visual effects shot is usually to match the amount of blur in the source shot, assuming you have a reference; if you lack visual reference, a camera report can also help you set this correctly.

Any moving picture camera has a shutter speed setting that determines the amount of motion blur. Shutter Angle controls shutter speed, and thus the amount of blur.

Any changes you make here stick and are passed along to the next composition, or even the next project, until you change them. Shutter Phase determines at what point the shutter opens.

Samples Per Frame applies to 3D motion blur and Shape layers; it sets the number of slices in time samples , and thus, smoothness. Adaptive Sample Limit applies only to 2D motion blur, which automatically uses as many samples as are needed up to this limit Figure 2. The reason for the difference is simply performance; 3D blur is costlier, but like many settings it is conservative. Unless your machine is ancient, boost the number; the boosted setting will stay as a preference.

In this abstraction the dark gray hemi-circular shutter spins to alternately expose and occlude the aperture, the circular opening in the light gray plate behind it.

The angle corresponds to the radius of the open section—the wedge of the whole pie that exposes the frame Figure 2. Electronic shutters are variable but refer to shutter angle as a benchmark; they can operate down in the single digits or close to a full mechanically impossible degrees. After Effects motion blur goes to degrees simply because sometimes mathematical accuracy is not the name of the game, and you want more than degrees.

Shutter Phase determines how the shutter opens relative to the frame, which covers a given fraction of a second beginning at a given point in time. If the shutter is set to 0, it I: Working Foundations Figure 2. The default —90 Shutter Phase setting with a degree shutter angle causes half the blur to occur before the frame so that blur extends in both directions from the current position.

Otherwise, the track itself appears offset when motion blur is enabled. Enhancement Easier Than Elimination Although software may one day be developed to resolve a blurred image back to sharp detail, it is much, much harder to sharpen a blurred image elegantly than it is to add blur to a sharp image. Motion blur comes for free when you keyframe motion in After Effects; what about when there is motion but no blur and no keyframes, as can be the case in pre-existing footage?

Directional Blur, which can mimic the blur of layers moving in some uniform X and Y direction. Radial Blur, which can mimic motion in Z depth or spin. Timewarp, which can add motion blur without any retiming whatsoever Yes, you read that last one correctly. You can retime footage or mix and match speeds and timing using a variety of methods.

Absolute Not Relative Time After Effects measures time in absolute seconds, rather than frames, whose timing and number are relative to the number per second. Think of a musician playing 3 against 4; one second in After Effects is something like the downbeat. The major difference between these applications is that Photoshop CC …. This full course is the best way to jump right in and start making your own videos come to life.

But an older trial version of CS6 is also running on the same system. Just drag and drop your media, change texts and you are done.

From there, just select your desired preset, and it will be. You can reveal any type of logo or text with this template. This is the time to create a fresh clean folder for the project. We suggest using a browser other than Internet Explorer to download the files above. After Effects Templates Store. Inside this folder is another folder called InDesign Shortcut Sets.

CS6 only has native resolution support for retina. CS6 and older? As such it’s worth, to a deadline-conscious compositor at least, the cost of an upgrade – or Creative Cloud subscription.

Navigate to the preset file and click OK. Adobe After Effects CC Crack Free Download is a powerful visual effects, motion graphics, and compositing application used in the post-production process of film making title, television production and transitions. These serve as links to your projects on your hard drive. Buy Make It Simple! Adobe After Effects Guides. Higher values will show less part of the screen.

The next of our free After Effects slideshow templates is this photo gallery-inspired template that you can use to showcase your favorite snaps or display a product line or portfolio. See more ideas about facebook header template, facebook header, after effect tutorial. Back in April, we gave a preview of the major new features planned for what is now known as After Effects CC also known as This subreddit has the sole purpose of clarifying doubts related to the service and promoting a constructive debate about its functionalities.

What is the difference between After Effect…. Introduce your brand with a simple logo twist, or create an entrance with an explosion of light and color. After Effects is the industry standard for motion graphics and visual effects, used by …. Whenever you have a question, try searching for an answer using the After Effects Community Help search.

So if you use the default scaling for CS6 your UI will be pixelated. This window is described below: Figure 1 – Welcome Window 1. Unfortunately, After Effects can’t do that because it is not really designed for final delivery, but there is a little bit of a workarounds to its.

Answer 1 of 4 : Go with After Effects because it has Rotobrush 2. FilmoraPro excels at creating animated titles and credits. Your video will be imported as a video layer. This third-party utility converts After Effects files to a fully editable, human-readable text-based format, and can create backwards-compatible projects that open in older versions. If you want a realistic flag waving with your logo in a perfect loop , it’s.

With a Creative Cloud subscription, updates are waiting in the menu bar. The LottieFiles plugin also integrates tightly with LottieFiles, letting you upload, test. And some other programmes we all. If the Track Motion button is grayed out, make sure your video is selected by clicking its title in the project pane.

CC means creative cloud as it is a product of Adobe. The After Effects Workspace consists of many Panels 1.

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