Adobe after effects cs5 visual effects and compositing studio techniques free download.Adobe After Effects CS5

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Adobe After Effects CS5 Visual Effects and Compositing STUDIO TECHNIQUES phần Download from replace.me Simpo PDF Merge and Split Unregistered Version. CS5 project (also HD included). Adobe After Effects CC Visual Effects and Compositing: Studio Techniques (CS6) download files after searching online for. Navigate and Design in 3D Space Better & Faster w/ an Array of New 3D Tools.
 
 

Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques – replace.me.Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques | Adobe Press

 
Bringing the sex is all about cheap tricks. Besides Position and Rotation, Camera may also contain Zoom keyframes. Want to be rehired repeatedly as a freelancer or be the hero on your project? Work on a major project, however, and you will soon discover that even the most complex shot is made up largely of repeatable techniques and practices; the art is in how these are applied, combined, and customized, and what is added or taken away.

 

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

 

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Adobe after effects cs5 visual effects and compositing studio techniques free download. Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques

 
 

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It works cross-platform and at percent quality, it provides chroma sampling, and at 75 percent, see Chapters 6 and 11 for details on what that means. Online review typically should be compressed outside of After Effects; such aggressive compression formats as H.

Assemble the Shot Naming Conventions Part of growing a studio is devising a naming scheme that keeps projects and renders organized. Use standard Unix naming conventions replacing spaces with underscores, intercaps, dashes, or dots. Put the version number at the end of the project name and the output file, and make them match.

Pad sequential numbers adding zeros at the beginning to keep things in order as the overall number moves into multiple digits.

Seasoned visual effects supervisors miss nothing. Fully trained eyes do not even require two takes, although in the highest-end facilities, a shot loops for several minutes while the team picks it apart. This process, though occasionally hard on the ego, makes shots look good. After Effects offers a number of output formats and can be useful for simple file conversion; you need only import a source file and drag it directly to Render Queue, then add settings and press Render. Some of these amount to a gotcha:.

Color management of QuickTime remains at this writing a moving target, with MOV files appearing differently when they are moved from one platform, application, or even monitor, to another. High Quality in QuickTime Player is unchecked by default. On the other hand, QuickTime is a great review and delivery format that benefits from having been well designed at its inception and having stood the test of time. If the project can still be found on the available drives, it will open in the source After Effects project.

Keep an eye on the Info panel Figure 1. Loop or rock-and-roll previews or as Adobe likes to say, ping-pong previews. 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. 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. This is the only book on the market to focus exclusively on the creation of visual effects for After Effects users, 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.

This is the eBook version of the printed book. This is the only book on the market to focus exclusively on the creation of visual effects for After Effects users, 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.