Manuel d'utilisation / d'entretien du produit After Effects du fabricant Adobe
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Help and tutorial s ADOB E ® A F TE R E FF E C TS ® January 201 4.
Contents What’s New 1 ................................................................................................................................................... What’s new in After Effects CC 12.2 (December 2013) 2 .......................
Animation and Keyframes 242 ......................................................................................................................... Animation basics 243 ................................................................................
Perspective effects 583 ............................................................................................................................................................. Obsolete effects 588 ................................................
What's New 1.
What's new in After Effects CC 12.2 (December 2013) To the top Note: To the top This document describes the new and updated features in After Effects CC 12.2. For information on what's new in previous releases of After Efects CC, see the following articles: What's new in After Effects CC What's new in After Effects CC 12.
A new element, Project Folder , has been added to the Add Property menu under the File Name and Location template. To choose this element: Click the Output To drop -down list in the Render Queue panel. Choose Custom. Click the Add Property button. You could also simply type [projectFolder] in the Template dialog box with Custom Preset .
To the top To the top To the top To the top dialog box. Previously, paths and folders were not supported in the templates. 2 . Output Movies that use image sequence formats will automatically use the new Comp Folder and Comp Name template, so that image sequence files are contained within this folder.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Changes to location of installed scripts In After Effects 12.2 release, if you drag and drop a script ( .jsx or .
What's new in After Effects CC 12.1 (October 2013) To the top To the top To the top This document describes the new and updated features in After Effects CC 12.1. See the What's New in After Effects CC (12.0) for information on changes in the After Effects CC (12.
To the top To the top To the top The Composition panel including the video content and some UI elements within the content area This does not affect pointers, buttons, or other panels of the After Effects user interface. Updated Cineware functionality There are two new settings in the Cineware effect's Options dialog box.
To the top To the top To the top Quadro K4100M (Windows) Quadro K3100M (Windows) Quadro K2100M (Windows) Improved performance for analysis phase for 3D Camera Tracker and Warp Stabilizer The background process that analyzes footage for the 3D Camera Tracker and Warp Stabilizer is now much faster.
To the top To the top To the top To the top See the Add and Edit expressions section for more information. Rectified audio waveforms In After Effects, audio waveforms are shown as "rectified" audio waveforms. This means that the magnitude of the audio is shown only in one direction from the horizontal axis on a logarithmic scale.
To the top To the top To the top This new behavior applies to the following layer commands: Layer > New > Text Layer > New > Solid Layer > New > Light Layer > New > Camera Laye.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy New features The layer index number is now shown for choosing a target for motion tracking data. Click the Edit Target button in the Tracker panel to open this setting.
What's new in After Effects CC 12.0 (June 2013) To the top CINEMA 4D integration Enhanced Rotoscoping tool set Bicubic sampling for layers Sync Settings Effects and Animation Rendering and encodi.
To the top Refine Edge Roto Brush & Refine Edge effect Refine Hard Matte Refine Soft Matte Choose File > Import to add a footage item based on the file to the Project panel. When you create a composition with the C4D file, a layer is created and the CINEWARE effect is automatically applied to the layer.
To the top To the top To the top Bicubic sampling for layers This version of After Effects introduces bicubic sampling of footage layers. Now you can choose between bicubic or bilinear sampling for transformations such as scaling. Bicubic sampling provides significantly improved results in some cases, but is slower.
To the top You can now define a ground or reference plane, and an origin point within the 3D Camera Tracker effect. With the new Auto - delete Track Points Across Time option, when you delete track points in the Composition panel, corresponding track points (i.
To the top Press Ctrl+Alt+M (Windows) or Cmd+Alt+M (Mac OS) H.264, MPEG2, and WMV Use the Adobe Media Encoder Queue for H.264, MPEG -2, and WMV formats. By default, these formats are no longer enabled in the After Effects render queue. If you still want to use the After Effects render queue, enable them from the Output preferences.
To enable snapping, hold Cmd (Mac OS) or Ctrl (Windows), while you drag the layer. For more information, see Using the Layer Snapping feature . Changes to Shift+parenting behavior Parenting layers whi.
To the top dependency searches. Once you have searched for a missing item, the compositions that refer to the missing items are displayed in the Project panel. Double -click the composition to open it in the Timeline panel and automatically filter the layers to only display the ones that contain missing items.
To the top The new versions include caching features, significantly improving performance. After Effects now includes the OpenEXR Importer 1.8 and ProEXR 1.8. ARRIRAW enhancements In the ARRIRAW Source Settings dialog box, you can set the color space, exposure, white balance, and tint.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Press the Tab key to open the Composition Mini- flowchart . In previous verions, the Shift key was used. The Graph Editor displays a value graph by default.
What's New in Adobe Media Encoder CC To the top Adobe® Media Encoder CC offers new features and enhancements for an enhanced video encoding experience. Read on for a quick introduction to new features with links to resources offering more information.
To the top TV Standard Profile Level You can choose to turn source matching on and off for individual properties by clicking the checkbox next to each property. Deselecting a Match Source shows you the matching source value for each setting, and lets you edit the value as required.
To the top Closed captions export options 1 . Queue a Premiere Pro sequence with closed caption data by doing one of the following: In Premiere Pro, select File > Export > Media. Load a closed caption asset in the Source Monitor or select it in the Project panel.
To the top To the top Note: To the top Import and export assets using Adobe Media Encoder Updated MPEG -2 exporters Adobe Media Encoder has updated MPEG - 2, MPEG - 2 Blu -ray, and MPEG - 2- DVD export formats.
To the top shortcut to send active compositions selected in the Project panel to the Adobe Media Encoder encoding queue: In Adobe After Effects, select Composition > Add To Adobe Media Encoder Queue , or select File > Export > Add To Adobe Media Encoder Queue .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy DNxHD.MXF DNxHD.MOV ProRes.MOV XDCAMHD.MOV XDCAMEX.MOV Ability to change the output folder for multiple selections You can change the output directory for multiple outputs at once by following these steps: 1 .
What's new in Adobe Media Encoder CC 7.1 and CC 7.2 To the top To the top This article describes the new and changed features in Adobe Media Encoder CC 7.2 and CC 7.1 releases. See the What's new in AME CC document for information on changes in the AME CC 7.
Note: Note: GPU acceleration Adobe Media Encoder now takes advantage of GPU for rendering purposes. Both CUDA and OpenCL are supported. The latest release of AME uses the GPU for the following renders.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Sync settings AME now supports Sync Settings , a feature found in several Creative Cloud applications including Adobe Premiere Pro and After Effects.
What's new in CS6 To the top To the top To the top After Effects CS6 overview Video tutorial: Overview of After Effects CS6 Global performance cache 3D camera tracker 3D enhancements Ray- traced .
To the top The 3D Camera Tracker analyzes video sequences to extract camera motion and 3D scene data. This feature allows you to incorporate 3D objects into a 2D scene effectively.
To the top To the top To the top New material options 3D layers in the ray - traced renderer include additional materials properties, which affect how 3D objects interact with light. For example, you can use reflection, transparency, index of refraction as materials properties.
To the top To the top To the top To the top Vector art footage - to- shape conversion Video tutorial: New features workshop: Converting imported vector graphics from Illustrator to shape layers Rolling shutter repair effect Rolling shutter distortion occurs mainly in digital cameras with CMOS sensors.
To the top To the top To the top To the top To the top To the top ARRIRAW import After Effects CS6 now supports files from the ARRI ALEXA, or ARRIFLEX D - 21 cameras, called ARRIRAW.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Miscellaneous changes in After Effects CS6 are described in Help documentation, and are compiled on the After Effects Region of Interest blog.
After Effects getting started tutorials Learn After Effects CC video-tutorial (Jun. 17, 2013) After Effects user -to -user forum (Apr. 16, 2012) Learn After Effects CS6 video tutorials video-tutorial (Jun. 17, 2013) After Effects CS6: New Features Workshop video-tutorial (Apr.
Adobe After Effects CS5/CS5.5 tutorials To the top To the top Setup Overview Tutorials To the top Essential After Effects tutorials and learning resources for getting started and new features.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Learn more Planning and managing projects Planning your work (HTML) .
Workspace and workflow 39.
Setup and installation Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top Note: Installing the software Activate the software To submit a feature request or bug report about After Effects, choose Help > Send Feedback.
General user interface items To the top Note: To the top To the top Activate a tool Open panel, viewer, and context menus Columns Search and filter in the Timeline, Project, and Effects & Presets .
Note: To the top The Project, Timeline, and Render Queue panels contain columns. To show or hide columns, right - click (Windows) or Control - click (Mac OS) a column heading (or choose Columns from the panel menu), and select the columns that you want to show or hide.
To the top To the top To the top To show only footage items for which the name or comment contains a specific string, start typing the string. To show only footage items for which the source file is missing, type the entire word missing .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy After Effects user interface tips Use ClearType text anti -aliasing on Windows. ClearType makes the outlines of system text, such as menus and dialog boxes, easier to read.
Workflows To the top General workflow in After Effects Basic workflow tutorial: Create a simple movie General workflow in After Effects Overview of general workflow in After Effects Whether you use Ad.
To the top 6. Render and export Add one or more compositions to the render queue to render them at the quality settings you choose and to create movies in the formats that you specify. In some cases, you export using the File > Export or Composition menu, rather than the Render Queue panel.
1 . Create a new composition: Choose Composition > New Composition. Press Ctrl+N (Windows) or Command+N (Mac OS). 2 . Change the Duration value in the Composition Settings dialog box by entering 5.00 (5 seconds), choose Web Video from the Preset menu, and click OK.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Type glow in the search field at the top of the Effects & Presets panel to find the Glow effect. Double -click the effect name.
Dynamic Link and After Effects To the top To the top About Dynamic Link Create and link to After Effects compositions with Dynamic Link Modify a dynamically linked composition in After Effects Delete .
Note: To the top it creates a composition in the current project.) The new composition name is based on the Adobe Premiere Pro or Encore project name, followed by Linked Comp [x] . 1 . In Adobe Premiere Pro or Adobe Encore, choose File > Adobe Dynamic Link > New After EffectsComposition.
Note: To the top To the top To the top You can change the name of the composition in After Effects after creating a dynamic link to it from Adobe Premiere Pro. Adobe Premiere Pro does not update the linked composition name in the Project panel. Adobe Premiere Pro does retain the dynamic link, however.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: If you commonly work with complex source compositions, try adding RAM or a faster processor. A linked After Effects composition will not support Render Multiple Frames Simultaneously multiprocessing.
Workspaces, panels, and viewers To the top Workspaces and panels Viewers Workspaces and panels Adobe video and audio applications provide a consistent, customizable user interface. Although each application has its own set of panels, you move and group panels in the same way in each application.
Note: Note: Choose a workspace Choose Window > Workspace, and select the desired workspace. Choose a workspace from the Workspace menu in the Tools panel.
Dragging panel (A) onto docking zone (B) to dock it (C) Grouping zones Grouping zones exist in the middle of a panel or group, and along the tab area of panels. Dropping a panel on a grouping zone stacks it with other panels. Dragging panel (A) onto grouping zone (B) to group it with existing panels (C) Dock or group panels 1 .
Drag panel gripper to move one panel To move an entire group, drag the group gripper in the upper - right corner onto the desired drop zone. Drag group gripper to move entire group The application docks or groups the panel, according to the type of drop zone.
To the top To resize either horizontally or vertically, position the pointer between two panel groups. The pointer becomes a double arrow . To resize in both directions at once, position the pointer at the intersection between three or more panel groups.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: A viewer is a panel that can contain multiple compositions, layers, or footage items, or multiple views of one such item. The Composition, Layer, Footage, Flowchart, and Effect Controls panels are viewers.
Keyboard shortcuts reference To the top General (keyboard shortcuts) Projects (keyboard shortcuts) Preferences (keyboard shortcuts) Panels, viewers, workspaces, and windows (keyboard shortcuts) Activa.
To the top To the top To the top Projects (keyboard shortcuts) Preferences (keyboard shortcuts) Project panel, Render Queue panel, or Effect Controls panel Duplicate selected layers, masks, effects, t.
Note: Panels, viewers, workspaces, and windows (keyboard shortcuts) (Mac OS) Shortcuts involving function keys F9 -F12 may conflict with shortcuts used by the operating system. See Mac OS Help for instructions to reassign Dashboard & Expose shortcuts.
To the top Note: Activating tools (keyboard shortcuts) You can activate some tools only under certain circumstances. For example, you can activate a camera tool only when the active composition contains a camera layer.
To the top Compositions and the work area (keyboard shortcuts) Activate and cycle between the Pen and Mask Feather tools (CS6) G G Temporarily activate Selection tool when a pen tool is selected Ctrl .
To the top To the top Time navigation (keyboard shortcuts) Previews (keyboard shortcuts) Result Windows Mac OS Go to specific time Alt+Shift+J Option+Shift+J Go to beginning or end of work area Shift+.
Note: To the top Some shortcuts are marked with an asterisk (*) to remind you to make sure that Num Lock is on when you use the numeric keypad. Views (keyboard shortcuts) Save RAM preview Ctrl-click R.
channel as grayscale Option+4 Show colorized red, green, or blue channel Alt+Shift+1, Alt+Shift+2, Alt+Shift+3 Option+Shift+1, Option+Shift+2, Option+Shift+3 Toggle showing straight RGB color Alt+Shif.
To the top To the top Footage (keyboard shortcuts) Effects and animation presets (keyboard shortcuts) Turn snapping to grid on or off Ctrl+Shift+' (apostrophe) Command+Shift+' (apostrophe) T.
To the top Note: Layers (keyboard shortcuts) Some operations do not affect shy layers. Apply most recently applied effect to selected layers Ctrl+Alt+Shift+E Command+Option+Shift+E Apply most recently.
Note: To the top Note: Some shortcuts are marked with an asterisk (*) to remind you to make sure that Num Lock is on when you use the numeric keypad. Showing properties and groups in the Timeline panel (keyboard shortcuts) This table contains double - letter shortcuts (for example, LL).
Result Windows Mac OS Find in Timeline panel Ctrl+F Command+F Toggle expansion of selected layers to show all properties Ctrl+` (accent grave) Command+` (accent grave) Toggle expansion of property gro.
To the top To the top Showing properties in the Effect Controls panel (keyboard shortcuts) Modifying layer properties (keyboard shortcuts) time Result Windows Mac OS Toggle expansion of selected effec.
To the top Note: 3D layers (keyboard shortcuts) (Mac OS) Shortcuts involving function keys F9 -F12 may conflict with shortcuts used by the operating system.
To the top Note: Keyframes and the Graph Editor (keyboard shortcuts) (Mac OS) Shortcuts involving function keys F9 -F12 may conflict with shortcuts used by the operating system. See Mac OS Help for instructions to reassign Dashboard & Expose shortcuts.
To the top Text (keyboard shortcuts) linear or hold mode Easy ease selected keyframes F9 F9 Easy ease selected keyframes in Shift+F9 Shift+F9 Easy ease selected keyframes out Ctrl+Shift+F9 Command+Shi.
Select text from insertion point to mouse click point Shift -click Shift -click In horizontal text, move insertion point one character left or right; one line up or down; one word left or right; or on.
To the top To the top Masks (keyboard shortcuts) Paint tools (keyboard shortcuts) Decrease or increase kerning or tracking 100 units (100/1000 ems) Ctrl+Alt+Left Arrow or Ctrl+Alt+Right Arrow Command+.
Note: To the top Some shortcuts are marked with an asterisk (*) to remind you to make sure that Num Lock is on when you use the numeric keypad. Shape layers (keyboard shortcuts) and background color t.
To the top To the top Markers (keyboard shortcuts) mode and press Ctrl+T and press Command+T Increase star inner roundness Page Up when dragging to create shape Page Up when dragging to create shape D.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top Motion tracking (keyboard shortcuts) Saving, exporting, a.
After Effects keyboard shortcuts Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Keyboard shortcuts are a great way to speed up your tasks and also work more efficiently.
Planning and setup To the top Note: Planning your work Planning for playback on computer monitors and mobile devices Cross- platform project considerations Planning your work Correct project settings, preparation of footage, and initial composition settings can help you to avoid errors and unexpected results when rendering your final output movie.
Note: To the top acquire your footage. For example, if you know that you want to animate using motion tracking, consider shooting your scene in a manner that optimizes for motion tracking—for example, using tracking markers. See Motion tracking workflow.
To the top codecs installed with media players such as Flash Player, Windows Media Player, and QuickTime Player. Aharon Rabinowitz provides an article on the Creative COW website about planning your project with the final delivery specifications in mind.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy project to the other platform. See Collect files in one location. File -naming conventions Name your footage and project files with the appropriate filename extensions, such as .
Working with After Effects and other applications To the top To the top Working with Adobe Bridge and After Effects Working with Photoshop and After Effects Working with Flash and After Effects Working with Adobe Premiere Pro and After Effects Working with Adobe Encore and After Effects Edit audio in Adobe Soundbooth Edit in Adobe Audition (CS5.
To the top get rid of dust, consider using the Photoshop paint tools. The animation and video features in Photoshop Extended include simple keyframe - based animation. After Effects uses a similar interface, though the breadth and flexibility of its animation features are far greater.
Working with Flash and After Effects If you use Adobe® Flash® to create video or animation, you can use After Effects to edit and refine the video. For example, from Flash you can export animations and applications as QuickTime movies or Flash Video (FLV) files.
To the top You can then import the FLV or F4V file into Flash and publish it in a SWF file, which can be played by Flash Player. Importing and publishing video in Flash When you import an FLV or F4V file into Flash, you can use various techniques, such as scripting or Flash components, to control the visual interface that surrounds your video.
Note: To the top Note: composite visual elements, perform color correction, and perform other post - production tasks for movies. You can easily exchange projects, compositions, sequences, tracks, and layers between After Effects and Adobe Premiere Pro: You can import an Adobe Premiere Pro project into After Effects.
Note: To the top Note: Create a button for Adobe Encore 1 . In the Timeline panel, select the layers for use in the button. 2 . Choose Layer > Adobe Encore > Create Button. 3 . Enter a name for the button. 4 . Use the menus to assign up to three highlight layers and one video thumbnail layer, and then click OK.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Note: Any effects applied to audio in After Effects aren’t included in the copy that is sent to Soundbooth. Edit in Adobe Audition (CS5.
Sync Settings To the top To the top Sync settings Sync settings from a different account Managing sync When you work on multiple computers, managing and syncing preferences among the computers can be time -consuming, complex, and error prone. The new Sync Settings feature enables you to sync preferences and settings via Creative Cloud.
To the top Managing sync Clear Settings You can clear all settings and revert to default settings. From the Edit menu (Windows) or After Effects menu (Mac OS), choose [your Adobe ID] > Clear Settings . Enable Sync Local before clearing , to upload the local settings to your Creative Cloud account.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Automatically clear user profile on application quit Note: When Conflicts Occur Note: You can change the sync options and also choose what to do in case of conflict.
Preferences To the top Note: To the top The following sections describe the Preferences menu and and the various tasks that can be performed using this menu.
The following list briefly describes the different options listed under the Edit > Preferences menu, especially those options that are not self- explanatory.
Display preferences Motion Path: Motion paths Disable Thumbnails In Project Panel: Composition thumbnail images Show Rendering Progress In Info Panel And Flowchart: Preview video and audio Hardware Ac.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Appearance preferences Use Label Color For Layer Handles And Paths and Use Labe.
Modify keyboard shortcuts Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To modify keyboard shortcuts, use the KeyEd Up script from Jeff Almasol, which is available on the Adobe After Effects Exchange website .
Projects and compositions 100.
Projects To the top Note: Note: About projects Create and open projects Save and back up projects Template projects and example projects Flowchart panel About projects An After Effects project is a single file that stores compositions and references to all of the source files used by footage items in that project.
Note: To the top Note: Note: To the top Note: After Effects CS5 can open projects using project links included in movies rendered and exported by After Effects CS4 and later.
Note: To the top Note: Note: Saving and backing up projects in After Effects CS5.5 or After Effects CS6 is similar to previous versions, however, there are new ways to do so. For example, you can now save a project in the XML project file format, or as a previous project format.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: Note: To save a copy of a project as a template project, choose File > Save A Copy, and then rename the copy with the filename extension .
Precomposing, nesting, and pre -rendering To the top About precomposing and nesting Precompose layers Opening and navigating nested compositions Pre -render a nested composition Render order and colla.
To the top Leave All Attributes In Move All Attributes Into The New Composition Preferences and composition settings that affect nested compositions Because a precomposition is itself a layer, you can control its behavior using layer switches and composition switches in the Timeline panel.
To the top Note: head and tail durations for more editing flexibility. Opening and navigating nested compositions Nested compositions are sometimes referred to as being upstream of the compositions that contain them, and the containing compositions are said to be downstream of the nested compositions that they contain.
Note: To the top Note: multiple times within one composition, the multiple instances of the nested composition appear as one entry with a number in parentheses indicating the number of instances. To open the Composition Mini - Flowchart, do one of the following: A.
Note: To the top Note: Note: Note: See this video tutorial on the Video2Brain website about how to save time with pre - rendering and proxies in After Effects. An alternative to replacing the composition with the movie is to use the rendered movie as a proxy for the nested composition.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy This video from the “After Effects CS5: Learn by Video” series provides a detailed visual demonstration of the render order and how to work with (and around) it.
Composition basics To the top Timeline button Comp button Flowchart button To the top About compositions Create a composition Create compositions for playback on mobile devices Timeline panel Composit.
Note: Note: Use Dimensions From Still Duration Create a composition You can change composition settings at any time. However, it’s best to specify settings such as frame aspect ratio and frame size when you create the composition, with your final output in mind.
Add To Render Queue Sequence Layers, Overlap, Duration, and Transition Still Duration Add To Render Queue To the top Add the new composition to the render queue. Arrange the layers in a sequence, optionally overlap them in time, set the duration of the transitions, and choose a transition type.
To the top To the top Note: A Preview composition is also created. The Preview composition consists of a grid of device - specific compositions so that you can preview your master composition in the context of several mobile devices simultaneously.
Note: Note: Start Timecode or Start Frame Background Color Anchor dialog box, and then click the Save button . To delete a composition settings preset, choose it from the Preset menu in the Composition Settings dialog box, and click the Delete button .
Note: Anchor To the top Ray- traced 3D Click the Options button to launch the Ray- traced 3D Renderer Options dialog box. You can also Ctrl - click (Windows) or Command- click (Mac OS) the Current Renderer Indicator button in the upper -right of the Composition panel to launch the dialog box.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 117.
Timecode and time display units Note: To the top To the top To the top Timecode Base Change time- display units in After Effects CS5 Change time- display units in After Effects CS5.5 and later Options for time- display units in After Effects CS5 Options for time- display units in After Effects CS5.
Note: Drop Frame versus Non - Drop Frame Frames Feet + Frames To the top Timecode Note: Frames Feet + Frames Frame Count Timecode Conversion Start at 0 Start at 1 Note: To the top footage item or composition.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Project panel Project Settings Composition Settings dialog box Preferences dial.
Importing footage 121.
Importing and interpreting footage items To the top To the top About imported files and footage items Supported import formats Import footage items Interpret footage items Alpha channel interpretation.
Note: Supported import formats The trial version of After Effects CS5 doesn't include some features that depend on third - party software components that are only included in the full version of After Effects.
Note: Note: Note: 3D Channel effect plug -ins from fnord software are included with After Effects to provide access to multiple layers and channels of OpenEXR files. (See Using channels in OpenEXR files.) After Effects can also read ZPIC files corresponding to imported PIC files.
Note: Note: Note: Note: Note: Note: To the top After Effects CS5 can import FLV files with video encoded using the On2 VP6 video codec; After Effects CS5 can’t import FLV files with video encoded with the Sorenson Spark video codec. As with any unsupported format, transcode the file to a format that After Effects can import.
Note: Note: To the top Import footage items using the Import dialog box 1 . Choose File > Import > File, choose File > Import > Multiple Files, or double -click an empty area of the Project panel.
Note: Note: In all of these cases, the information is used to make decisions about how to interpret data in the imported footage item—to tell After Effects about the input footage. The interpretation settings in the Interpret Footage dialog box should match the settings used to create the source footage file.
Note: To the top The interpretation rules file contains the rules that specify how After Effects interprets footage items. In most cases, you don’t need to customize the interpretation rules file.
Guess Ignore Straight - Unmatted Premultiplied - Matted With Color To the top or a loss of image quality at the edges of the alpha channel. For example, if channels are interpreted as straight when they are actually premultiplied, semitransparent areas retain some of the background color.
Note: Note: Note: Note: The composition frame rate determines the number of frames displayed per second, and how time is divided into frames in the time ruler and time display.
Note: To the top Note: Change frame rate for a footage item 1 . Select the footage item in the Project panel. 2 . Choose File > Interpret Footage > Main. 3 . Select Conform To Frame Rate, enter a new frame rate for Frames Per Second, and then click OK.
Note: Note: Square and nonsquare pixels A. Square pixels and 4:3 frame aspect ratio B. Nonsquare pixels and 4:3 frame aspect ratio C. Nonsquare pixels displayed on a square- pixel monitor If a footage item uses nonsquare pixels, After Effects displays the pixel aspect ratio next to the thumbnail image for the footage item in the Project panel.
Note: This discrepancy is limited to these older, standard - definition formats for which clean aperture differs from production aperture. This discrepancy doesn’t exist in newer formats. New projects and compositions created in After Effects CS4 and later use the correct pixel aspect ratio values by default.
2 . Do one of the following: Choose a composition settings preset from the Preset menu. Choose a value from the Pixel Aspect Ratio menu. Common pixel aspect ratios Adobe also recommends Camera Raw Importing assets from tapeless formats Importing XML project files from Final Cut Pro Pixel aspect ratio When to use Square pixels 1.
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Importing and interpreting video and audio To the top Interlaced video and separating fields Remove 3:2 or 24Pa pulldown from video Import assets in Panasonic P2 format Interlaced video and separating fields Interlacing is a technique developed for transmitting television signals using limited bandwidth.
Note: the video to noninterlaced frames, while preserving the maximum amount of image quality. Using noninterlaced frames allows After Effects to apply edits and effects consistently and at the highest quality. After Effects creates field - separated footage from a single formerly interlaced frame by splitting it into two independent frames.
To the top 4 . In the Project panel, press Alt (Windows) or Option (Mac OS) as you double - click the footage to open it in the Footage panel. 5 . If the Preview panel is not visible, choose Window > Preview. 6 . In the Footage panel, find a segment that contains one or more moving areas.
Note: To the top Note: When importing interlaced video that was originally transferred from film, you can remove the 3:2 pulldown that was applied during the transfer from film to video as you separate fields so that effects you apply in After Effects don’t appear distorted.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Because Panasonic P2 cards use the FAT32 file system, each file is limited to a size of 4 GB.
Preparing and importing 3D imagefiles To the top Importing 3D images from Photoshop and Illustrator Importing and using 3D files from other applications Import RLA or RPF data into a camera layer Baki.
To the top Note: Illustrator 3D effects The effects in the 3D category in Illustrator—Extrude & Bevel, Revolve, and Rotate—give a three- dimensional appearance to any vector graphics object, including text and drawings.
To the top Note: To the top Note: part 2 Paul Tuersley provides a script on the AE Enhancers website for transferring a composition from After Effects to Cinema 4D. Import RLA or RPF data into a camera layer After Effects imports camera data saved with RLA or RPF sequence files.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: composition. The parent node contains only the camera’s transformation data.
Working with footage items To the top Organize, view, manage, and trim footage items Edit footage in its original application Remove items from a project Placeholders and proxies Loop a footage item Organize, view, manage, and trim footage items Compositions and footage items are listed in the Project panel.
Note: To the top Right- click (Windows) or Control -click (Mac OS) the item, choose Rename, and enter the new name. To rename the Comment column, right - click (Windows) or Control - click (Mac OS) the column heading and choose Rename This. You can use the Comment column to create a custom sorting option.
Note: To the top To the top Placeholder footage in the original application, the changes are applied to all instances of the footage when After Effects becomes the active application.
Proxy Any file used to temporarily replace a footage item, but most often a lower - resolution or still version of an existing footage item used to replace the original.
For best results, set a proxy so that it has the same frame aspect ratio as the actual footage item. For example, if the actual footage item is a 640x480- pixel movie, create and use a 160x120 -pixel proxy. When a proxy item is imported, After Effects scales the item to the same size and duration as the actual footage.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top See this video tutorial on the Video2Brain website by Todd Kopriva for information about saving time by pre -rendering and using proxies in After Effects.
CINEMA 4D and After Effects | CC To the top To the top Overview Maxon CINEMA 4D Lite Working with Cinema 4D files CINEWARE effect Closer integration with CINEMA 4D allows you to use Adobe After Effects and Maxon CINEMA 4D together. You can create a CINEMA 4D file (.
Note: Note: To the top Renderer Import Cinema 4D files To import Cinema 4D files into After Effects, do the following: 1 . Choose File > Import > File . 2 . Select the Cinema 4D file and click Import . The file is placed in the Project panel as a footage item.
Note: Display No Textures/Shader No pre - calculation Keep Textures in RAM Apply to All Camera CINEMA 4D Layers Set Layers Apply to All Multi- Pass (Linear Workflow) Set Multi - Pass Defined Multi - Passes Standard (Draft) : Uses the Standard renderer but turns off slower settings like anti - aliasing for better interactivity.
Add Image Layers Note: Commands Comp Camera into CINEMA 4D CINEMA 4D Scene Data Note: Use this option to create multiple pass layers with proper blending modes depending on the setting of Defined Multi - Passes.
Cinema 4d Render path and Executable path In After Effects CC (12.1) and later, you can specify the instance of Cinema 4D you want to use in the Cineware plugin. There are two new settings in the Options dialog of Cineware Effect that you can choose from.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: 2 . a . From the Render menu, choose Render > Edit Render Settings. b . In the Render Settings dialog, set the popup to Renderer: Physica l.
Importing from After Effects and Adobe Premiere Pro To the top Note: Note: To the top Note: Note: Import an After Effects project Import an Adobe Premiere Pro project Use Adobe Premiere Pro for captur.
To the top To the top Note: from After Effects and Adobe Premiere Pro .) After Effects preserves the order of clips in the timeline, the footage duration (including all trimmed In and Out points), and marker and transition locations.
Note: You can copy a layer based on a footage item from an After Effects composition and paste it into an Adobe Premiere Pro sequence. Adobe Premiere Pro converts these layers to clips in the sequence and copies the source footage item to its Project panel.
Note: Copy from Adobe Premiere Pro to After Effects You can copy a video or audio asset from an Adobe Premiere Pro sequence and paste it into an After Effects composition. After Effects converts assets to layers and copies the source footage items into its Project panel.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: When you import a Premiere Pro project into After Effects , features are converted in the same manner as they are converted when copying from Premiere Pro to After Effects .
Preparing and importing still images To the top Note: Note: To the top Preparing still - image files for importing Import a single still image or a still -image sequence Preparing and importing Photos.
Note: Import a single still image or a still -image sequence You can import still image files as individual footage items, or you can import a series of still image files as a still -image sequence, which is a single footage item in which each still image is used as a single frame.
Merged Layers Choose Layer Composition - Retain Layer Sizes Composition Note: Imports the sequence as a sequence footage item in which the layers in the file, if any, are merged into one layer. Imports the sequence as a sequence footage item in which the same layer from each source file—for example, layer 3—is imported and used in the sequence.
To the top Note: Note: When you import a sequence of still images, it assumes the frame rate specified by the Sequence Footage preference in the Import category.
Editable Layer Styles Note: Merge Layer Styles Into Footage Note: Layered Photoshop (PSD) files need to be saved in RGB or Grayscale color mode for After Effects to import them as a composition and to separate the layers.
To the top Note: Note: 3D object layers in PSD files Adobe Photoshop Extended can import and manipulate 3D models (3D objects) in several popular formats.
To the top Note: Note: To the top For a video tutorial that shows how to prepare artwork in Illustrator and import and use vector graphics in After Effects, see the Adobe website . Eran Stern provides a video tutorial on the Creative COW website that shows how to create text in Illustrator for use in After Effects.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Converted Black Point Converted White Point 10 Bit Black Point 10 Bit White Point Current Gamma Highlight Rolloff Logarithmic Conversion Units Settings dialog box to set output options.
Layers and properties 170.
Creating layers To the top Layers overview Create layers from footage items or change layer source Solid - color layers and solid - color footage items Adjustment layers Create a layer and new Photoshop footage item Layers overview Layers are the elements that make up a composition.
To the top Note: Layers in the Layer, Composition, and Timeline panels After you add a layer to a composition, you can reposition the layer in the Composition panel. In the Timeline panel, you can change a layer’s duration, starting time, and place in the layer stacking order.
Overlay Edit Ripple Insert Edit To the top 1 . Select one or more footage items and folders in the Project panel. 2 . Do one of the following: Drag the selected footage items to the Composition panel. Hold Shift while dragging to snap the layer to the center or edges of the composition.
Note: To the top Note: Note: You can create layers of any solid color and any size (up to 30,000x30,000 pixels). Solid - color layers have solid -color footage items as their sources. Solid -color layers and solid- color footage items are both usually called solids .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Andrew Kramer provides a video tutorial on his Video Copilot website in which he shows how to use an adjustment layer to apply an effect to only a short duration and to only specific portions of a movie.
Selecting and arranging layers To the top Select layers Change the stacking order for selected layers Coordinate systems: composition space and layer space Move layers in space Separate dimensions of .
To the top Note: To the top To the top Composition or Timeline panel. The child layers are added to the existing selection. You can select multiple layers in the Composition panel (After Effects CS5.5 and later). Drag with the Selection tool to create a selection box (marquee) around the layers to select them.
To the top Note: To move selected layers so that their anchor points are at the center in the current view, choose Layer > Transform > Center In View or press Ctrl+Home (Windows) or Command+Home (Mac OS).
Note: To the top Selection Composition To the top lost, because the multiple Bezier curves used to represent the individual components are collapsed into a single Bezier curve at each keyframe. When you separate dimensions, some information about speed is lost, but the motion path does not change.
The beginning of the duration of a layer is its In point , and the end is its Out point . The duration is the span between the In point and the Out point, and the bar that extends from the In point to the Out point is the layer duration bar . To trim a layer is to modify its In or Out point so that the layer has a different duration.
To the top Note: To the top Note: Trim or extend a layer in the Layer panel Open the layer in the Layer panel and drag either end of the layer duration bar.
Note: To the top To set the In point or Out point numerically, click the number in the In or Out column for the layer in the Timeline panel. To move the In point or Out point to the current time, Alt - click (Windows) or Option - click (Mac OS) the number in the In or Out column for the layer in the Timeline panel.
To the top To the top Note: 1 . In the Timeline panel, hold down Ctrl (Windows) or Command (Mac OS) and select layers in sequential order, beginning with the layer to appear first. 2 . Choose Animation > Keyframe Assistant > Sequence Layers. 3 .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Off Orient Along Path Orient Towards Camera Orient Towards Point Of Interest Note: To the top mattes retain their order, on top of the layer.
Managing layers To the top Note: To the top View and change layer information Layer switches and columns in the Timeline panel Toggle visibility or influence of a layer or property group Solo a layer .
Video Audio Solo Lock Shy Collapse Transformations/Continuously Rasterize Quality Effect Frame Blend Motion Blur Adjustment Layer lower - left corner of the Timeline panel. Press Shift+F4 to show or hide the Parent column. Press F4 to toggle the Switches and Modes columns.
3D Layer To the top To the top To the top To the top Identifies the layer as a 3D layer. If the layer is a 3D layer with 3D sublayers—as is the case for a text layer with per - character 3D properties—the switch uses this icon: . (See 3D layers overview and resources.
Note: To the top To the top Best Draft column to greater than the default width. To select all layers with the same label color, select a layer with that label color and choose Edit > Label > Select Label Group. To change the color of a label for one layer, click the label in the Timeline panel and choose a color.
Wireframe To the top positioning, and some effects are not precisely calculated. Displays a layer as a box, without layer contents. Layer wireframes are displayed and rendered faster than layers rendered with Best or Draft settings.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy In the Timeline panel, click the layer’s Continuously Rasterize switch , which is the same as the Collapse Transformations switch for precomposition layers.
Layer properties To the top Layer properties in the Timeline panel Set a property value Layer anchor points Scale or flip a layer Rotate a 2D layer Adjust audio volume levels Parent and child layers N.
(keyboard shortcuts).) To add a property or property group to the properties shown in the Timeline panel, hold Shift while pressing the shortcut key for the property or property group. To show only properties that have been modified from their default values, press UU , or choose Animation > Reveal Modified Properties.
To the top Note: Note: To the top Set a property value If multiple layers are selected and you change a property for one layer, then the property is changed for all selected layers. Sliders, angle controls, and some other property controls are only available in the Effect Controls panel.
Note: Note: Note: Note: To the top Anchor point in center of text layer (left) compared to anchor point moved to the end of the text layer (right) When you use the Pan Behind (Anchor Point) tool to mo.
To the top To the top To flip selected layers, choose Layer > Transform > Flip Horizontal or Layer > Transform > Flip Vertical. To scale a layer proportionally in the Composition panel, Shift - drag any layer handle. To scale a layer freely in the Composition panel, drag a corner layer handle.
Note: To the top Note: Note: Note: When you use footage containing audio, the default audio level for playback is 0 dB, meaning that the level is unadjusted in After Effects. Setting a positive decibel level increases volume, and setting a negative decibel level decreases volume.
To the top Note: menu. To remove a parent from a layer, in the Parent column, click the menu of the layer to remove the parent from, and choose None. To extend the selection to include all child layer.
To the top Note: To the top Angie Taylor provides an extensive discussion and explanation of animation using parenting, expressions, and null object layers in a PDF excerpt from her book Creative After Effects 7: Workflow Techniques for Animation, Visual Effects, and Motion Graphics .
With Brainstorm, you can rapidly accomplish the following: Compare the results of multiple values for a single property so that you can find the value that works best. Explore the results of randomly modifying any number of properties to achieve a creative result.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: You can move back or forward a generation by clicking the arrow buttons on either side of the Brainstorm button at the bottom of the Brainstorm dialog box.
Blending modes and layer styles To the top Note: Note: To the top Work with layer blending modes Blending mode reference Layer styles Exclude channels from blending Work with layer blending modes Blending modes for layers control how each layer blends with or interacts with layers beneath it.
Normal category Subtractive category Additive category Complex category Difference category HSL category Matte category Utility category Note: Normal Dissolve Normal, Dissolve, Dancing Dissolve. The result color of a pixel is not affected by the color of the underlying pixel unless Opacity is less than 100% for the source layer.
Dancing Dissolve Darken Multiply Color Burn Classic Color Burn Linear Burn Darker Color Add Lighten Screen Color Dodge Classic Color Dodge Linear Dodge Lighter Color Overlay Soft Light Hard Light then the result color is the underlying color. Dissolve and Dancing Dissolve do not work on 3D layers.
Linear Light Vivid Light Pin Light Hard Mix Difference Classic Difference Exclusion Subtract Divide Hue Saturation Color Luminosity Stencil Alpha Stencil Luma Silhouette Alpha Silhouette Luma underlying color is darker than 50% gray, the layer darkens as if it were multiplied.
Alpha Add Note: Luminescent Premul To the top Note: Drop Shadow Inner Shadow Outer Glow Inner Glow Bevel And Emboss cause more transparency than the darker pixels. Painting with pure white creates 0% opacity. Painting with pure black produces no change.
Satin Color Overlay Gradient Overlay Stroke Align With Layer Altitude Choke Distance Highlight Mode, Shadow Mode Jitter Layer Knocks Out Drop Shadow Reverse Scale Spread Use Global Light Applies interior shading that creates a satiny finish. Fills the contents of the layer with a color.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top the Angle and Altitude settings for each individual layer style. This option is useful if you have multiple layer styles applied to the same layer and want to animate the position of the light for all of them.
3D layers To the top Note: 3D layers overview and resources Convert 3D layers Show or hide 3D axes and layer controls Move a 3D layer Rotate or orient a 3D layer Axis modes 3D layer interactions, render order, and collapsed transformations 3D object layers from Photoshop (CS5.
To the top To the top Alan Shisko provides a detailed video tutorial on his website , demonstrating how to create a complex 3D environment from 3D layers, beginning with simple 2D assets.
To the top To the top 3D axes are color - coded arrows: red for x, green for y, and blue for z. To show or hide 3D axes, camera and light wireframe icons, layer handles, and the point of interest, choose View > Show Layer Controls.
To the top Local Axis mode World Axis mode View Axis mode Note: To the top 3 . In the Composition panel, do one of the following: Drag the arrowhead of the 3D axis layer control corresponding to the axis around which you want to turn the layer. Drag a layer handle.
To the top Note: A shadow cast by a 3D layer does not affect a 2D layer or any layer that is on the other side of the 2D layer in the layer stacking order. Similarly, a 3D layer does not intersect with a 2D layer or any layer that is on the other side of the 2D layer in the layer stacking order.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: .kmz (compressed Keyhole Markup Language format, Google Earth) .obj (common 3D object format) .u3d (Universal 3D) Photoshop can also create 3D objects in basic, primitive shapes.
Cameras, lights, and points of interest To the top Note: Note: Create a camera layer and change camera settings Create a light and change light settings Adjust a 3D view or move a camera, light, or po.
Note: Note: Note: Type Name Preset Zoom Angle Of View Depth Of Field Focus Distance By default, new layers begin at the beginning of the composition duration.
Lock To Zoom Note: Aperture Note: F -Stop Blur Level Film Size Focal Length Units Measure Film Size Note: Link Focus Distance to Point of Interest Link Focus Distance to Layer Set Focus Distance to Layer Makes the Focus Distance value match the Zoom value.
To the top Note: Trish and Chris Meyer provide a tutorial for using 3D layers, lights, and cameras in a PDF excerpt from their book After Effects Apprentice on the Focal Press website .
Light Type Note: Intensity Color Cone Angle Note: Cone Feather Falloff None Smooth Inverse Square Clamped Radius (After Effects CS5.5 and later) Falloff Distance Casts Shadows Shadow Darkness Shadow Diffusion Change light settings Double - click a light layer in the Timeline panel or select the layer and choose Layer > Light Settings.
To the top Note: This control is active only if Casts Shadows is selected. Online resources about lights Eran Stern provides a video tutorial on the Creative COW website that demonstrates the use of lights as adjustment layers, to precisely control which layers are affected by which lights.
Orbit Camera Track XY Camera Track Z Camera Note: 2 . Activate a Camera tool. You can activate a Camera tool by selecting it in the Tools panel or pressing C to cycle through the Camera tools. The easiest way to switch between the various Camera tools is to select the Unified Camera tool and use the buttons on a three- button mouse.
To the top Casts Shadows Light Transmission Accepts Shadows Accepts Lights Ambient Diffuse Specular Shininess Trish and Chris Meyer provide a video tutorial on the ProVideo Coalition website that demonstrates the use of the Camera tools to adjust cameras and 3D views.
Metal To the top To the top Note: reflection with a small specular highlight. 0% specifies a reflection with a large specular highlight. The contribution of the layer color to the color of the specular highlight. 100% specifies that the highlight color is the color of the layer.
Configuration Stereo Scene Depth Note: Converge Cameras Converge To and Convergence Z Offset Note: Center places the left and right camera on either side of the master camera. Hero Left places the left camera in the same spot as the master camera with the right camera to the right.
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Views and previews 225.
Previewing To the top Note: Preview video and audio Use RAM preview to play video and audio RAM preview a specified number of frames Save a RAM preview as a movie Loop options for previews Preview onl.
Mute Audio Frame Rate Skip Resolution From Current Time Full Screen Note: Note: Include audio in or exclude audio from RAM preview. Choose Auto to use the composition frame rate. The number of frames to skip between a rendered frame and the next rendered frame.
Note: Loop Play Once Ping Pong Note: RAM preview doesn’t generate interlaced fields, so a saved RAM preview never contains fields. The 3D View of the active composition panel must be set to Active Camera for Save RAM Preview to work, even if the composition doesn’t contain 3D layers.
Units Slider Minimum To manually preview ( scrub ) video in the Timeline panel or go to a specific frame, drag the current - time indicator. To scrub audio in the Timeline panel, Ctrl+Alt - drag (Windows) or Command+Option - drag (Mac OS) the current- time indicator.
Note: To the top To turn pixel- aspect ratio correction on or off for previews, click the Toggle Pixel Aspect Ratio Correction button at the bottom of the panel. The quality of the pixel aspect ratio correction is determined by the Zoom Quality preference.
To the top Note: To the top Note: To the top Jeff Almasol provides a script that creates a panel with controls for moving the current - time indicator to different times in the composition.
Draft 3D Live Update Wireframe Adaptive Resolution—OpenGL Off OpenGL—Interactive or OpenGL—Always On Note: Note: Preview modes and Fast Previews preferences Each preview mode provides a differen.
Off (Final Quality) Adaptive Resolution Draft Fast Draft Wireframe Fast Previews is off. Use this mode when previewing the final quality of your composition.
Note: Note: To the top Note: To the top In the Previews preferences category, you can choose the quality and speed of color management and zoom operations used in previews. From the Zoom Quality or Color Management Quality menu, choose one of the following: Faster More Accurate More Accurate Except For RAM Previews.
To the top To the top Work area markers indicate the composition duration rendered for previews or final output. To move the work area, drag the center of the work area bar left or right. Dragging center of work area bar to move work area To expand the work area to the size of the composition, double - click the center of the work area bar.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Previews Mirror On Computer Monitor Interactions Renders Note: 4 . Set any of the following options: Displays RAM previews or standard previews on the external monitor only.
Modifying and using views To the top To the top Note: Choose a view layout and share view settings Choose a 3D view Show or hide layer controls in the Composition panel Zoom an image for preview Resol.
To the top To the top Note: Note: To the top Show or hide layer controls in the Composition panel You can assign different options to each view in the Composition panel, so that you can see any combination of camera and light wireframes, layer handles, mask and shape paths, effect control points, and motion path controls.
Auto Note: Full Half Third Quarter Custom Note: To the top Note: To the top image. For each view, there are two such ratios—one for the horizontal dimension and one for the vertical dimension. Each composition has its own Resolution setting, which affects the image quality of the composition when it’s rendered for previews and final output.
To the top You can adjust the exposure (in f -stop units) for previews with the Adjust Exposure control, which is located to the right of the Reset Exposure button at the bottom of a Composition, Layer, or Footage panel. Each viewer can have its own Adjust Exposure setting.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top You should always design from one edge of the frame to the other, because computer monitors and some television sets may show the entire frame.
Animation and Keyframes 242.
Animation basics To the top Note: About animation, keyframes, and expressions The Graph Editor About animation, keyframes, and expressions Animation is change over time. You animate a layer or an effect on a layer by making one or more of its properties change over time.
Note: To the top When a layer property that contains keyframes is collapsed, gray dots (summary keyframe indicators) for the property group show that there are keyframes contained within it. Some tools, such as Motion Sketch and the Puppet tools, automatically set keyframes for you to match motion that you sketch.
Show Selected Properties Show Animated Properties Show Graph Editor Set Note: Auto- Select Graph Type Edit Value Graph Edit Speed Graph Show Reference Graph Show Audio Waveforms Show Layer In/Out Poin.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Show Layer Markers Show Graph Tool Tips Show Expression Editor Allow Keyframes .
Setting, selecting, and deleting keyframes To the top Note: To the top Set or add keyframes Move the current -time indicator (CTI) to a keyframe Select keyframes Keyframe menu commands Delete or disab.
To the top Note: Note: To the top Value Edit Value To detach the keyframe navigator from the A/V Features column to function as its own column, choose Column > Keys from the Timeline panel menu. Keyframe navigator in Timeline panel A. Keyframe at current time B.
Select Equal Keyframes Select Previous Keyframes Select Following Keyframes Toggle Hold Keyframe Keyframe Interpolation Rove Across Time Keyframe Velocity Keyframe Assistant Convert Audio To Keyframes.
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Editing, moving, and copying keyframes To the top To the top Note: View or edit a keyframe value Copy and paste keyframes Edit keyframe values using a spreadsheet or text editor Move keyframes in time.
To the top To the top 4 . In the Timeline panel containing the destination layer, move the current - time indicator to the point in time where you want the keyframes to appear. 5 . Do one of the following: To paste to the same property of the copied keyframes, select the destination layer.
To the top Move keyframes in time You can move keyframes in time, either individually or as a group. Jeff Almasol provides a versatile script on his redefinery website that creates a panel with controls for moving various combinations of items in time —layer In point, layer Out point, layer source frames, keyframes, and markers.
To the top To the top Note: 5 . Move the current - time indicator to the composition marker at the time at which the first keyframe appeared before you cut the keyframes.
2 . If necessary, click the Graph Editor button or press Shift+F3 to enter Graph Editor mode. 3 . If necessary, add a keyframe at the point in time you want the change to occur. 4 . Drag the keyframe up or down to set a new value for the layer property.
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Assorted animation tools To the top Note: Motion paths Motion blur Smooth motion and velocity by removing extra keyframes Add randomness to a property with the Wiggler Convert audio to keyframes Motio.
Note: Note: 3 . In the Composition panel or Layer panel, use the Selection tool to drag a keyframe or its handles. The current- time indicator does not need to be located on a keyframe before you drag it. Drag a keyframe in the Composition panel to move one Position keyframe.
Show Wireframe Show Background Smoothing Note: Capture Speed At Note: You can draw a path for the motion of a selected layer using Motion Sketch, which records the position of the layer and the speed at which you draw. As you draw, a Position keyframe is generated at each frame.
To the top 1 . Copy a path to the clipboard: Select a Path property in the Timeline panel, and choose Edit > Copy. Select a path in Illustrator or Photoshop, and choose Edit > Copy. 2 . In the Timeline panel, select the property into which to paste the path.
Samples Per Frame Adaptive Sample Limit Shutter Angle Shutter Phase Same As Layer On Off To the top The minimum number of samples. This minimum is the number of samples used for frames for which After Effects is not able to determine an adaptive sampling rate based on layer motion.
Note: To the top Smooth Noise Although you can smooth a curve for any property, the Smoother is most useful when applied to curves that have been automatically generated by Motion Sketch, where you may have excess keyframes. Applying the Smoother to keyframes that have been set manually may result in unexpected changes to the curve.
Jagged Noise X, Y, or Z All Independently All The Same To the top Produces sudden changes. 5 . Select the dimensions of the property you want to affect: Adds deviations to only one dimension of the selected property. Choose the dimension from the menu.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Maltaannon (Jerzy Drozda, Jr.) provides a video tutorial on his website that shows how to use expressions to create a volume meter using the results of the Convert Audio To Keyframes command.
Keyframe interpolation To the top About spatial and temporal keyframe interpolation Keyframe interpolation methods Apply and change keyframe interpolation methods Modify Bezier direction handles in the Graph Editor About spatial and temporal keyframe interpolation Interpolation is the process of filling in the unknown data between two known values.
To the top Note: A. Linear B. Auto Bezier C. Continuous Bezier D. Bezier E. Hold In some cases, the Auto Bezier spatial interpolation for Position keyframes can cause undesired back- and -forth ( boomerang ) motion between two keyframes with equal values.
of the keyframes for a layer property. In practice, you can apply any available interpolation method to any keyframe. No interpolation No interpolation is the state in which a layer property has no keyframes—when the stopwatch is turned off and the I- beam icon appears in the Timeline panel under the current - time indicator.
Note: To the top Current Settings Linear, Bezier, Continuous Bezier, Auto Bezier, and Hold Current Settings Hold interpolation Hold interpolation is available only as a temporal interpolation method. Use it to change the value of a layer property over time, but without a gradual transition.
Linear, Bezier, Continuous Bezier, and Auto Bezier Current Settings Rove Across Time Lock To Time To the top Apply a spatial interpolation method using default values.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy or Option -drag (Mac OS) outside a keyframe to draw new handles, whether or not handles already exist.
Speed To the top Controlling speed between keyframes Smooth motion with roving keyframes Use Exponential Scale to change the speed of scaling Controlling speed between keyframes When you animate a property in the Graph Editor, you can view and adjust the rate of change (speed) of the property in the speed graph.
Linear interpolation (top) causes sharp changes; Bezier interpolation (bottom) creates smoother changes. Control speed between keyframes without using the speed graph In the Composition or Layer panel, adjust the spatial distance between two keyframes on the motion path.
Note: Shorter temporal distance between keyframes increases layer speed. Apply the Easy Ease keyframe assistant, which automatically adjusts the speed of change as motion advances toward and retreats from a keyframe. About the speed graph You can fine -tune changes over time using the speed graph in the Graph Editor.
Note: Control speed with the speed graph 1 . In the Timeline panel, expand the outline for the keyframe you want to adjust. 2 . Click the Graph Editor button and select Edit Speed Graph from the Graph Type And Options menu . 3 . Using the Selection tool, click the keyframe you want to adjust.
Start or stop change gradually Direction handles can create gradual starts and stops, such as a boat slowing to a stop and then starting again. When you use this technique, the speed graph resembles a smooth U shape. 1 . In the Timeline panel, expand the outline for the keyframe you want to adjust.
Note: To the top 1 . Display the speed graph for the keyframe you want to adjust. 2 . Select the keyframe you want to edit, and then choose Animation > Keyframe Velocity.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: 1 . In layer bar mode or in the Graph Editor, set up the keyframes for the motion you want to smooth. 2 . Determine the beginning and ending keyframes for the range you want to smooth.
Tracking and stabilizing motion To the top Note: Note: Motion tracking overview and resources Resources for mocha for After Effects (mocha AE) Motion tracking workflow Track or stabilize motion with t.
Feature region Search region Attach point Note: Layer panel with track point A. Search region B. Feature region C. Attach point The feature region defines the element in the layer to be tracked. The feature region should surround a distinct visual element, preferably one object in the real world.
To the top Note: Note: Planar tracking Motion tracking and compositing computer - generated elements into a scene Screen tracking and replacement Sean Kennedy provides a free script, TrackerViz, that makes tracking motion and applying tracking data to masks easier.
Note: To the top in After Effects. (See Resources for Imagineer mocha shape for After Effects (mocha shape AE).) The free trial version of Adobe After Effects software does not include some features that depend upon software licensed from parties other than Adobe.
Note: Attach point centered in feature region Attach point offset from feature region Adjust the feature region, search region, and tracking options Place each feature region control tightly around its tracked feature, completely enclosing the tracked feature, but including as little of the surrounding image as possible.
To the top Note: value. This combination of settings centers the motion blur on the attach point. Otherwise, the attached object may appear to lead or lag the object that it’s attached to. You can apply the tracking data to a null object layer and parent the layer that you want to animate to the null object layer.
Note: Motion Source Note: Current Track Track Type Motion Target After Effects creates keyframes for the target layer. When tracking position and applying this position data to a target, you can choose to apply only the x (horizontal) or y (vertical) component of motion.
Analyze buttons Note: Reset Apply Track Name Tracker Plug - in Channel Process Before Match Note: Track Fields Subpixel Positioning Adapt Feature On Every Frame If Confidence Is Below Note: Begins the.
Options Note: Feature Center Feature Size Search Offset Search Size Confidence Attach Point Attach Point Offset To the top Select Stop Tracking to stop the motion tracking.
To the top Track point components and Selection tool pointer icons A. Search region B. Feature region C. Keyframe marker D. Attach point E. Moves search region F. Moves both regions G. Moves entire track point H. Moves attach point I. Moves entire track point J.
To the top 3 . Click Edit Target, and choose the target. 4 . In the Tracker panel, click the Apply button. Correct a motion track As an image moves in a shot, the lighting, surrounding objects, and angle of the object can all change, making the once distinct feature no longer identifiable at the subpixel level.
To the top 2 . In the Tracker panel, click Options. 3 . Change settings in the Motion Tracker dialog box as appropriate. (See Motion tracking options .) 4 . In the Tracker panel, click the Analyze Forward or the Analyze Backward button. 5 . Watch the tracking to make sure that it is accurate.
Note: Result Smoothness Method Preserve Scale Framing Warp Stabilizer VFX / Warp Stabilizer settings Analyze There is no need to press this button when you first apply Warp Stabilizer, it is pressed for you automatically. The Analyze button remains dimmed until some change takes place.
Note: Auto- scale Additional Scale Detailed Analysis Rolling Shutter Ripple Crop Less < - > Smooth More Synthesis Input Range (seconds) Synthesis Edge Feather Synthesis Edge Cropping Hide Warning Banner Objective Smooth More property are disabled.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Target Layer Show Track Points Track Point Size Auto- delete Points Across Time stabilized motion onto a different layer.
Tracking 3D camera movement | CC, CS6 To the top Note: 3D camera tracker effect Ground plane and origin in 3D Camera Tracker effect | CC Auto- delete Points Across Time | CC 3D camera tracker effect The 3D camera tracker effect analyzes video sequences to extract camera motion and 3D scene data.
Moving the target to attach content to different location To move the target so that you can attach content to a different location, do the following: 1 . When above the center of the target, the "move" cursor appears for repositioning the target.
Analyze/Cancel Shot Type Horizontal Angle of View Show Track Points Render Track Points Note: Track Point Size Create Camera Advanced controls To the top Effects controls for the 3D camera tracker The effect has the following controls and settings: Starts or stops the background analysis of the footage.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Note: 4 . Right - click (Windows) or Control -click (Mac OS) the target and choose Set Ground Plane And Origin .
Time-stretching and time -remapping To the top Layer In - point Time- stretch a layer Reverse the playback direction of a layer Reverse keyframes without reversing layer playback Time- remapping Frame.
Current Frame Layer Out - point To the top Note: Holds the layer at the position of the current - time indicator (also the frame displayed in the Composition panel), and time - stretches the layer by moving the In and Out points. Holds the ending time of the layer at its current value and time - stretches the layer by moving its In point.
To the top To the top Reverse keyframes without reversing layer playback You can select and reverse keyframes across multiple layers and properties, but each set of keyframes for a property is reversed only within its original time range and not that of any other selected property.
Note: Layer panel for time remapping The Graph Editor provides a view of the changes you specify over time by marking your changes with keyframes and a graph like the one displayed for other layer properties.
You can time - remap all or part of a layer to create many different results, such as freeze- frame or slow - motion results. (See Time - remapping .) Freeze the current frame for the duration of the layer 1 . In a Composition or Timeline panel, select the layer.
8 . (Optional) To extend the layer so that its duration is increased to accommodate the time added by the freeze- frame operation, press the K key twice to move the current -time indicator to the last Time Remap keyframe, and press Alt+] (Windows) or Option+] (Mac OS).
2 . Choose Layer > Time > Enable Time Remapping. A second time ruler appears in the Layer panel above the default time ruler and the navigator bar. 3 . On the lower time ruler, move the current - time indicator to the first frame where you want the change to occur.
To the top To lower the pitch, drag the speed graph marker down. To increase the pitch, drag the speed graph marker up. Remove clicks from new In and Out points 1 . If necessary, choose panel > Audio. 2 . In the Timeline panel, select the audio (or audio and video) layer to which you applied time -remapping.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: The Quality setting you select also affects frame blending. When the layer is set to Best quality, frame blending results in smoother motion but may take longer to render than when set to Draft quality.
Animating with Puppet tools To the top Note: Puppet Pin tool Puppet Overlap tool Puppet Starch tool Note: Puppet tools overview and resources Manually animate an image with the Puppet tools Record ani.
Note: To the top If a single animated Deform pin is selected, its Position keyframes are visible in the Composition panel and Layer panel as a motion path. You can work with these motion paths as you work with other motion paths, including setting keyframes to rove across time.
Note: Note: To the top Speed Smoothing Use Draft Deformation Note: 2 . Using the Puppet Pin tool , do one of the following in the Composition panel or the Layer panel: Click any nontransparent pixel of a raster layer to apply the Puppet effect and create a mesh for the outline created by auto - tracing the alpha channel of a layer.
To the top 3 . In the Composition panel or Layer panel, hold the Ctrl (Windows) or Command (Mac OS) key to activate the Puppet Sketch tool. Ctrl- drag (Windows) or Command -drag (Mac OS) the pins to animate. Recording of motion begins when you click to begin the drag.
To the top To the top Outline for union of two shape paths, indicated by yellow highlight, visible because Puppet tool pointer is within area defined by outline Work with Puppet pins and the distortion mesh To show the mesh for the Puppet effect, select Show in the options section of the Tools panel.
In Front Extent To the top Amount Overlap pin with negative In Front value (top), and Overlap pin with positive In Front value (bottom) Each Overlap pin has the following properties: The apparent proximity to the viewer.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Extent If you notice image tearing near a Deform pin, use a Starch pin with a very small Amount value (less than 0.1) near the Deform pin.
Color 313.
Color basics To the top Color depth and high dynamic range color Select a color or edit a gradient Color correction, color grading, and color adjustment Resources for Synthetic Aperture Color Finesse .
Note: Note: This video from the After Effects CS5: Learn By Video series provides an introduction to color channels and color bit depth, and it shows how choosing the right color bit depth can often eliminate banding in gradients.
To the top Note: Additional resources about high dynamic range color Jonas Hummelstrand provides a collection of resources for understanding and using HDR color in After Effects on his General Specialist website . Chris Meyer explains what floating - point, 32 - bpc, HDR color is good for in a video overview on the Lynda.
Note: Note: H S B (in the HSB section) R G B (in the RGB section) 1 . Click the eyedropper button, and move the pointer to the pixel that you want to sample. The color swatch next to the eyedropper button dynamically changes to the color under the eyedropper.
Note: Note: To the top 4 . Do any of the following: Drag the triangles along the color slider, or click inside the color slider to adjust the colors displayed in the color spectrum. Click or drag inside the large square color spectrum to select a color.
You need to restrict colors to a particular range, such as the broadcast - safe range. The terms color correction and color grading are often used interchangeably, though the term color grading is sometimes used to refer distinctly to color adjustments made for creative purposes rather to correct problems with color.
To the top To the top Input sliders moved so that output uses full tonal range Histogram showing highlight clipping Histogram showing shadow clipping Resources for Synthetic Aperture Color Finesse The Synthetic Aperture Color Finesse plug -in included with After Effects includes excellent color - correction tools.
To the top Note: Adobe provides a white paper on color spaces and color management in After Effects, on the Adobe website . Charles Poynton provides an excellent set of resources on his website regarding color spaces, color management, and other color technology.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To disable this automatic color transformation, deselect Compensate For Scene- referred Profiles in the Project Settings dialog box (File > Project Settings).
Color management To the top Color management and color profiles Calibrate and profile your monitor Choose a working color space and enable color management Linearize working space and enable linear bl.
Note: By default when you use color management, After Effects automatically adjusts colors to compensate for the differences in gamma between scene - referred color profiles and output-referred color profiles.
Note: To the top Note: open the project on another system. The NTSC (1953) color profile corresponds to obsolete television equipment and should not be used.
To the top To the top For best results, use third - party software and measuring devices. In general, using a measuring device such as a colorimeter along with software can create more accurate profiles because an instrument can measure the colors displayed on a monitor far more accurately than the human eye can.
Note: To the top Note: If you have not enabled color management, you can still perform blending operations using a gamma of 1.0. By performing operations in a linear color space, you can prevent certain edge and halo artifacts, such as the fringing that appears when high - contrast, saturated colors are blended together.
To the top Note: sRGB IEC61966 - 2.1 SDTV NTSC or SDTV PAL Kodak 5218/7218 Printing Density If you don’t assign an input color profile, and After Effects doesn’t have a rule in the interpretation rules file with which to make an interpretation, the colors of the footage item are assumed to be in the working color space of the project.
To the top To the top 1. Colors are converted from working color space for the project to output color space. 2. Colors are converted from output color space to color space of simulated playback device. 3 . Read the information in the Description area of the dialog box to confirm that the conversion is the one that you want, and click OK.
Note: 3. Colors are converted from color space of simulated playback device to color space of your monitor. Note: Note: No Output Simulation Legacy Macintosh RGB (Gamma 1.8) Internet Standard RGB (sRGB) Kodak 5218 To Kodak 2383 Note: Custom simulated device also performs color management and will convert colors for display.
Input Profile Output Profile Intent Input Profile Output Profile Intent To the top and Simulation Profile. To preview how a movie will look if you output the movie to one device and then view it on another, color - managed device, use different values for Output Profile and Simulation Profile, and deselect Preserve RGB.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: If you notice that colors of imported footage look wrong—blacks don’t look black enough, and whites don’t look white enough—make sure that you’ve assigned the correct input color profile.
Drawing, painting, and paths 333.
Paint tools: Brush, Clone Stamp,and Eraser To the top Note: Note: Paint tools and paint strokes Brushes and the Brushes panel Paint with the Brush tool Clone Stamp tool Eraser tool Animate and edit paint strokes Paint tools and paint strokes The Brush tool , Clone Stamp tool , and Eraser tool are all paint tools.
Opacity Flow Mode Channels Duration To the top To rename a paint stroke, select the paint stroke in the Timeline panel and press Enter on the main keyboard (Windows) or Return (Mac OS); or right - click (Windows) or Control - click (Mac OS) the name and choose Rename.
Note: Diameter Angle Roundness Hardness Spacing Preset brushes are saved in the preferences file, so they persist between projects. Brush properties Ctrl- drag (Windows) or Command - drag (Mac OS) the brush in the Layer panel to adjust Diameter; release the key and continue to drag to adjust Hardness.
Brush Dynamics To the top Note: Note: Decrease spacing for continuous strokes (left); increase spacing for dashed strokes (right). These settings determine how the features of a pressure - sensitive digitizing tablet—such as a Wacom pen tablet—control and affect brush marks.
Note: To the top Paint on individual frames with the Brush tool You can paint on individual frames over a series of frames to create an animation or to obscure unwanted details in your footage. If your output will be interlaced, double the frame rate of your composition before painting on individual frames.
Note: Note: Displaying the clone source overlay while cloning between two different layers A. Clone source overlay B. Current stroke point C. Current sample point To specify settings for a paint stroke before you apply it, use the Paint and Brushes panels.
Clone Source Clone Position Clone Time Clone Time Shift To the top Note: Each clone stroke includes properties in the Timeline panel that are unique to the Clone Stamp tool and correspond to settings made in the Paint panel before the clone stroke is created: The sampled layer.
To the top Note: Animate and edit paint strokes You animate a paint stroke by setting keyframes or expressions for its properties. After Effects animates paint stroke properties—even the Path property of a paint stroke—by interpolating values for all frames between keyframes.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 4 . Using the Selection tool, select the paint stroke. To momentarily activate the Selection tool, press and hold V. 5 . Press SS to show the selected paint stroke in the Timeline panel.
Overview of shape layers, paths, and vector graphics To the top To the top About vector graphics and raster images About paths About shapes and shape layers Groups and render order for shapes and shap.
for creating and editing these various kinds of paths overlap, but each kind of path has its own unique aspects. A path consists of segments and vertices . Segments are the lines or curves that connect vertices. Vertices define where each segment of a path starts and ends.
Note: To the top To the top For shape paths, you can use the Merge Paths path operation (similar to the Pathfinder effects in Adobe Illustrator) to combine multiple paths into one path. (See Merge Paths options.) When you want text or an effect to follow a path, the path must be a mask path.
own set of transform properties. By assembling shapes into groups, you can work with multiple shapes simultaneously—such as scaling all shapes in the group by the same amount or applying the same stroke to each shape. You can even place individual shapes or individual shape attributes within their own groups to isolate transformations.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy path operations.) Paint operations within a group are performed from the bottom to the top in the Timeline panel stacking order.
Creating shapes and masks To the top Creating masks Create a rectangular or elliptical mask numerically Create a mask from channel values with Auto -trace Creating shapes and shape layers Vector Art F.
To the top To the top Current Frame Work Area When creating or editing masks, look in the Info panel for information such as the mask name and the number of vertices in the mask. To create a mask that you can move independently of the primary layer that it is masking, do the following: 1 .
Invert Blur Tolerance Threshold Minimum Area Corner Roundness Apply To New Layer Preview To the top Note: 5 . Set any of the following options: Inverts the input layer before searching for edges. Blurs the original image before generating the tracing result.
To the top To the top Note: information about creating masks, see Creating masks . Aharon Rabinowitz provides a video tutorial on the Creative COW website that shows how to combine multiple paths into a single compound shape using the Merge Paths path operation.
Note: Note: Note: To reposition a shape or mask as you are drawing, hold the spacebar or the middle mouse button while dragging. To scale a circle, ellipse, square, rounded square, rectangle, or rounded rectangle around its center while drawing, hold the Ctrl (Windows) or Command (Mac OS) key after you begin dragging.
To the top Note: Shift -drag to scale the polygon or star as you draw it, preventing rotation. 2 . (Optional) Do the following before releasing the mouse button: To add or remove points, press the Up Arrow key or the Down Arrow key, or roll the mouse wheel forward or backward.
click, you create a path made of straight line segments connected by corner points. Clicking with Pen tool creates straight segments. 1 . Place the Pen tool where you want the straight segment to begin, and click to place a vertex. (Do not drag.) 2 . Click again where you want the segment to end.
To the top To the top A. Starting to drag B. Dragging away from previous direction line, creating a C curve C. Result after releasing mouse button To create an S -shaped curve, drag in the same direction as the previous direction line, and then release the mouse button.
To the top To create shapes for all characters in a text layer, select the text layer in the Timeline panel or Composition panel. To create shapes for specific characters, select the characters in the Composition panel. 2 . Do one of the following: Choose Layer > Create Shapes From Text.
Note: To the top Note: Path drawn in Adobe Illustrator (left) and pasted into After Effects as a mask (right) 1 . In Illustrator, Photoshop, or Fireworks, select an entire path, and then choose Edit > Copy. 2 . In After Effects, do one of the following to define a target for the paste operation: To create a new mask, select a layer.
To the top To the top difference may cause the pasted path to be offset, requiring you to reposition the path after pasting it. (See Coordinate systems: composition space and layer space .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Creating Contrasting Color for Mask Path When the Use Contrasting Color For Mask Path preference (under Preferences > Appearance) is enabled, After Effects analyzes the colors near the point where you start drawing a mask.
Managing and animating shape paths and masks To the top Note: Rotoscoping introduction and resources View mask paths and shapes Select shape paths, shapes, and shape groups Select masks, segments, and.
To the top To the top Layer selection mode Group selection mode Free -transform mode Path - editing mode In After Effects CC and CS6, use the variable - width mask feather feature for more control when feathering objects.
Selection modes for shapes on shape layers A. Layer selection B. Group selection C. Free -transform D. Path editing For information on selecting masks, see Select masks, segments, and vertices . Press Ctrl+A (Windows) or Command+A (Mac OS) with a shape vertex selected to select all vertices on that path.
To the top Note: To the top Select all points on a path and enter free - transform mode Double - click a path segment while in path - editing mode or in group selection mode for a single shape. Select the Path property in the Timeline panel and press Ctrl+T (Windows) or Command+T (Mac OS).
Note: To the top Note: To the top Lock or unlock masks Locking a mask prevents you from selecting it in the Timeline, Composition, and Layer panels or setting it as a target in the Layer panel. Use this feature to avoid unwanted changes to the mask. 1 .
To the top Convert a path between manual Bezier and RotoBezier You can convert any manual Bezier mask path or manual Bezier shape path to a RotoBezier path.
To the top To the top Note: Toggle a vertex between a smooth point and a corner point Click the vertex with the Convert Vertex tool . To activate the Convert Vertex tool when the Pen tool is selected, hold down Alt (Windows) or Option (Mac OS). Adjust the tension of a RotoBezier mask 1 .
Note: To the top Note: Keyframe Rate Note: Keyframe Fields Use Linear Vertex Paths Bending Resistance Quality Add Mask Path Vertices 2 . In the Timeline panel, move the current - time indicator to the point where you want to designate a new first vertex.
Note: Matching Method Note: Use 1:1 Vertex Matches First Vertices Match Note: To the top result. Smart Mask Interpolation does not modify the original keyframes. Only the new mask path keyframes computed by Smart Mask Interpolation have additional vertices.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy When you use the Pan Behind (Anchor Point) tool in the Composition panel, After Effects automatically makes two adjustments.
Shape attributes, paint operations, and path operations for shape layers To the top To the top Note: None Adding attributes to shape layers Strokes and fills for shapes Alter shapes with path operatio.
Solid color Linear gradient Radial gradient The entire fill or stroke consists of one color. The fill or stroke consists of colors and opacity values defined by a linear gradient and then mapped onto the composition along a single axis from the Start Point to the End Point.
Butt Cap Round Cap Projecting Cap Miter Join Round Join Bevel Join 1 . Select the group in which the gradient is contained. 2 . With the Selection tool active, drag the Start Point, End Point, or Highlight controls in the Composition panel. The Selection tool turns to a gradient control pointer or when placed over a gradient control.
Even - odd fill rule Nonzero winding fill rule To the top Merge Paths Offset Paths Fill rules for shapes A fill operation works by painting color in the area defined as inside a path. Determining what is considered inside a path is easy when the path is something simple, like a circle.
Pucker & Bloat Repeater Round Corners Trim Paths Twist Wiggle Paths Wiggle Transform Zig Zag Pulls the vertices of a path outward while curving the segments inward (Pucker), or pulls the vertices inward while curving the segments outward (Bloat). Creates multiple copies of a shape, applying a specified transformation to each copy.
Merge Add Subtract Intersect Exclude Intersections Merge Paths options The Merge Paths path operation takes all of the paths above it in the same group as input.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Original shape (upper - left), one instance of the Repeater operation applied (.
Mask Tracking Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy The rigid mask tracker transforms a mask so that it follows the motion of an object (or objects) in a movie.
Text 378.
Creating and editing text layers To the top About text layers Best practices for creating text and vector graphics for video Scripts and expressions for working with text Enter point text Enter paragr.
To the top To the top Best practices for creating text and vector graphics for video Text that looks good on your computer screen as you are creating it can sometimes look bad when viewed in a final output movie. These differences can arise from the device used to view the movie or from the compression scheme used to encode the movie.
To the top Note: Note: To the top (for example, (c) is converted to the copyright symbol, © ). Jeff Almasol provides a script on his redefinery website that sets keyframes for the Source Text property of a text layer and sets the values to text from a text file; the keyframes are placed at times specified by layer markers on the text layer.
Note: Note: To the top To the top Alt - drag (Windows) or Option -drag (Mac OS) to define a bounding box around a center point. The pointer for a type tool changes depending on whether it is over a text layer in the Composition panel.
To the top To the top Note: Note: To the top 1 . With a type tool active, select the text layer in the Composition panel to display the bounding box handles. 2 . Position the pointer over a handle—the pointer turns into a double arrow —and do one of the following: Drag to resize in one direction.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top A. Horizontal point text B. Horizontal point text converted to vertical C. Horizontal paragraph text D. Horizontal paragraph text converted to vertical 1 .
Formatting characters and the Character panel Note: To the top Windows Mac OS Fonts Spacing between characters and lines: non - breaking spaces, kerning, tracking, and leading Text fills and strokes T.
Note: To the top Note: Note: When choosing fonts and styles from the menus in the Character panel, press Enter (Windows) or Return (Mac OS) to accept an entry, or press Esc to exit the menu without applying a change.
Note: Note: To the top 1 . Select the characters you want to prevent from breaking. 2 . Choose No Break from the Character panel menu. You open the panel menu by clicking the panel menu button in the upper- right tab of the panel. Specify leading In the Character panel, do one of the following: Choose the desired leading from the Leading menu .
Note: Stroke Over Fill, Fill Over Stroke All Strokes Over All Fills, All Fills Over All Strokes multiple selected layers. You can also control the compositing order of the fill and stroke for a text l.
Note: To the top To the top Note: Note: To the top Note: Choose Miter, Round, or Bevel from the Line Join menu. Blend overlapping characters in a text layer 1 . In the Timeline panel, expand the text layer and the More Options group. 2 . Choose a blending mode from the Inter - Character Blending menu.
To the top Note: Note: Chinese, Japanese, and Korean text After Effects provides several options for working with Chinese, Japanese, and Korean (CJK) text. Characters in CJK fonts are often referred to as double -byte characters because they require more than one byte of information to express each character.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: as you do to other characters. Smart quotes Smart quotes , or printer’s quotation marks , use a curved left or right quotation mark instead of straight quotation marks.
Examples and resources for text animation Example: Animate characters with per -character 3D properties Example: Offset characters Example: Animate characters with the Wiggly selector Example: Animate.
To the top To the top Example: Animate characters with per -character 3D properties This example illustrates how you can easily animate individual characters in 3D so that each character steps out of line and takes a bow. 1 . Create a new composition.
To the top Animating the offset values for the characters in the word Galaxy 1 . Create a new composition. 2 . Create a new text layer with the word Galaxy . 3 . Choose Animation > Animate Text > Character Offset. 4 . In the Timeline panel, set the Character Offset value to 5.
Note: To the top 4 . In the Timeline panel, drag the y value of the Position property to the left until all of the characters are out of the frame. 5 . Expand Range Selector 1. 6 . Click the Start stopwatch and leave it at 0% at 0 seconds; then move the current- time indicator to 5 seconds and set Start to 100%.
To the top 4 . Choose View > Show Grid. 5 . In the Timeline panel, select the text layer and choose Animation > Animate Text > Tracking. 6 . Make sure that Before & After is specified in the Track Type menu. 7 . Click the Tracking Amount stopwatch and leave the value 0 at 0 seconds.
To the top Note: To the top 6 . Make sure the current - time indicator is at 0 seconds and click the End stopwatch. 7 . In the Composition panel, drag both selector bars to the left side of the S in Speeding . 8 . Move the current - time indicator to 2 seconds and drag the right selector bar to the right side of the g in Speeding .
To the top 3 . In the Timeline panel, choose Opacity from the Animate menu for the text layer. 4 . Expand the text layer and its animator in the Timeline panel. 5 . Select the Range Selector and delete it. 6 . Choose Add > Selector > Wiggly next to the Animator property group for the text layer.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top 8 . Set the vertical position value. The greater the value, the more the characters wiggle. 9 . Preview your composition.
Animating text To the top To the top About text animation Text animation presets Animate text with text animators Text animator properties Text selectors Text anchor point properties Per -character 3D.
To the top Note: Note: Text animation presets in the Paths category automatically replace the source text with the name of the animation preset and change the font color to white.
To the top 4 . Expand the Range Selector property group and set keyframes for Start or End properties by clicking the stopwatch for the property and doing one of the following: Set the values for Start and End in the Timeline panel.
Anchor Point Position Scale Skew Rotation, X Rotation, Y Rotation, Z Rotation All Transform Properties Line Anchor Line Spacing Character Offset Character Value Character Range Blur To the top To add .
Mode Amount Units and Based On Each animator group includes a default range selector. You can replace the default selector, add additional selectors to an animator group, and remove selectors from a group. Selectors are a lot like masks: You use selectors to specify which part of a range of text you want to affect, and by how much.
Start and End Offset Shape Smoothness Ease High and Ease Low Randomize Order Random Seed Range selector properties Range selectors include the following properties, in addition to properties common with other selectors: The beginning and end of the selection.
Max Amount and Min Amount Wiggles/Second Correlation Temporal and Spatial Phase (revolutions + degrees) Lock Dimensions Random Seed textIndex textTotal selectorValue Note: Specifies the amount of variation from the selection. How many variations from the set selection occur per second.
To the top Fill color changes randomly using an expression animator. Text anchor point properties Text animators animate character position, rotation, and size -related properties relative to an anchor point.
To the top To the top Lower the Grouping Alignment values to move each anchor point up and to the left. Raise the Grouping Alignment values to move each anchor point down and to the right. To center the anchor point in a string of capital letters, try a Grouping Alignment value of 0%, - 50%.
Note: Reverse Path Perpendicular To Path Force Alignment First Margin Last Margin When you have a mask on a text layer, you can make the text follow the mask as a path. You can then animate the text along that path, or animate the path itself. You can use open or closed masks to create paths for text.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Examples and resources for text animation Expression basics Example: Animate ch.
Extruding text and shape layers | CC, CS6 To the top To the top To the top About beveled and extruded text and shape layers Video tutorial: Ray - traced, extruded text and shapes - part 1 The Ray -tra.
To the top To the top Note: To the top To the top Limitations of the Ray -traced 3D renderer The following features are not rendered by the Ray- traced 3D renderer: Blending modes Track mattes Layer s.
To the top To the top To the top To the top Creating beveled and extruded text and shape layers In the Ray -traced renderer, 3D text and shape layers can have an extrusion or bevel. For a beveled and extruded text or shape layer, do the following: 1 .
Materials are used for the surfaces of 3D objects, and material options are the properties for the surfaces that dictate how the objects interact with light. After Effects has several material options properties, and ways to apply materials to extruded text and shape layers.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: reflectiveness, shininess, and transparency of a text object, and also add animators.
Formatting paragraphs and the Paragraph panel Note: To the top Align and justify text Indent and space paragraphs Hanging punctuation for Roman fonts Text composition methods A paragraph is any range of text with a carriage return at the end.
To the top To the top Note: Note: To the top : Justifies all horizontal lines except the last, which is center- aligned. : Justifies all horizontal lines except the last, which is right - aligned. : Justifies all horizontal lines including the last, which is force -justified.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Adobe Single -line Composer Adobe Every -line Composer The appearance of text on the page depends on a complex interaction of processes called text composition .
Transparency and compositing 419.
Roto Brush, Refine Edge, and Refine Matte effects | CC To the top Roto Brush & Refine Edge tools Roto Brush & Refine Edge workflow Freezing (caching, locking, and saving) Roto Brush segmentati.
To the top Note: the Roto Brush Matte and Refine Edge Matte properties to improve the matte. Strokes, spans, and base frames Roto Brush tool, Roto Brush strokes, and similarities to paint tools and strokes Tips for working with the Roto Brush and Refine Edge tools Roto Brush & Refine Edge workflow 1 .
Draw a background stroke to exclude an area 6 . Repeat the steps of drawing foreground and background strokes on the base frame until the segmentation is as precise and complete as possible.
To the top Note: Draw a Refine Edge stroke to mark areas of partial transparency 12 . Repeat and use the Refine Edge tool on other frames until the refinement is as precise and complete as possible.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Refine Edge X - ray Alpha Alpha Boundary Alpha Overlay Note: To the top Refine Hard Matte Refine Soft Matte To the top saved with the project.
Roto Brush and Refine Matte | CS6 Note: To the top To the top Online resources for the Roto Brush tool and Refine Matte effect Roto Brush and Refine Matte overview and workflow Tips for working with t.
Note: To the top 4 . Drag in the Layer panel to draw a foreground stroke on the object that you want to define as a foreground object. When you are drawing a foreground stroke, the Roto Brush tool’s pointer is a green circle with a plus sign in the middle.
To the top Work with resolution set to Full when using the Roto Brush tool. Fast Previews modes, such as Adaptive Resolution, don’t work well with the Roto Brush tool, because switching resolutions requires a full recalculation of the segmentation information.
To the top Propagation Search Radius Motion Threshold and Motion Damping View Search Region Edge Detection Use Alternate Color Estimation Invert Foreground/Background Smooth Roto Brush strokes are in a Strokes property group within the Roto Brush property group in the Timeline panel.
Feather Choke Reduce Chatter Use Motion Blur Decontaminate Edge Colors Extend Where Smoothed Increase Decontamination Radius View Decontamination Map To the top Note: Softness of the segmentation boundary. This property does nothing if Smooth is 0. In contrast to Smooth, Feather applies across the edge.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Alpha Alpha Boundary Alpha Overlay Layer panel view options You can choose these view modes from the Show Channel menu in the Layer panel, by clicking the buttons in the Layer panel, or by using keyboard shortcuts.
Alpha channels, masks, and mattes To the top About alpha channels and mattes About masks Online resources about masks Copy, cut, save, reuse, and delete masks Copy, cut, duplicate, or paste a mask Sav.
Note: To the top Some programs can store multiple alpha channels in one image, but After Effects only interprets the fourth channel as an alpha channel. The term alpha channel technically refers to the fourth (A) channel in an RGBA image file, regardless of whether that channel is used for communicating transparency information.
To the top Note: Note: Apprentice: Real- World Skills for the Aspiring Motion Graphics Artist . This sample chapter from the After Effects CS5 Classroom in a Book on the Peachpit Press website shows how to create, use, and modify masks.
To the top To the top Delete masks To delete one mask, select the mask in the Timeline panel and press Delete. To delete all masks, select the layer containing the masks you want to remove and choose Layer > Masks > Remove All Masks.
None Add Subtract Intersect Lighten Darken Difference To the top Compound masks that result when different modes are applied to the circle mask. The masks in this illustration have different Mask Opacity values. A. Original masks B. None C. Add D. Subtract E.
To the top Note: To the top 2 . Drag the underlined value for Mask Expansion. Todd Kopriva provides a visual aid and further explanation regarding mask expansion—and why it creates rounded corners—on his blog on the Adobe website .
Note: Earlier versions of After Effects had the ability to add a feathered edge to a closed mask, but the width (extent) of the feather was the same around the mask. A new Mask Feather tool (available in the same tool menu as the Pen tool) has been added to let you define points along a closed mask that should have varying widths.
To the top Tips for variable - width mask feathering (Mask Feather tool) Temporarily switch between Pen and Mask Feather tools by holding down the 'G' shortcut. You can turn this behavior off in Edit > Preferences > General (Windows), or After Effects > Preferences > General (Mac OS).
No Track Matte Alpha Matte Alpha Inverted Matte Luma Matte Luma Inverted Matte Traveling matte A. Track matte layer: a solid with a rectangular mask, set to Luma Matte. The mask is animated to travel across the screen. B. Fill layer: a solid with a pattern effect.
Note: To the top To the top Note: matte layer, and adds a track matte icon next to the name of the track matte layer in the Timeline panel. Although the video is turned off for the matte layer, you can still select the layer to reposition, scale, or rotate it.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy You don’t apply the mocha shape effect to a layer directly. Rather, you copy path data to the clipboard in the mocha - AE application and then paste it onto a layer in After Effects.
Compositing and transparency overview and resources To the top To the top Compositing overview Online resources for compositing Compositing fire, explosions, muzzle flashes Compositing fog, smoke, and.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top Compositing fire, explosions, muzzle flashes Mark Christi.
Keying To the top Note: Note: Keying introduction and resources Use a garbage matte Use a hold - out matte Keying introduction and resources When a background is not of a consistent and distinctive color, you can’t remove the background with keying effects.
Note: Jeff Foster provides free sample chapters from his book The Green Screen Handbook: Real World Production Techniques . The sample chapters cover basic compositing, color keying, garbage mattes, hold -out mattes, and how to avoid common problems with greenscreen shots.
To the top To the top Range key. Add the Spill Suppressor and other effects to refine the matte. If you are not completely satisfied with the results, try starting with or adding the Linear Color Key. To key dark areas or shadows, use the Extract Key on the Luminance channel.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: 3 . On the duplicate layer, create masks to mask out everything in the image except the area that you want to preserve. 4 . Make sure that the copy (the hold - out matte) is positioned directly on top of the keyed layer.
Effects and animation presets 448.
Effects and animation presets overview To the top Note: Animation presets overview and resources Effects overview and resources Resources for Cycore FX (CC) effects Compound effects and control layers.
Note: To the top Note: behind another panel, the animation presets are not initialized. After Effects CS5 can use animation presets created by After Effects 6.0 and later versions. Save an animation preset 1 . Select any combination of properties (for example, Position and Scale) and property groups (for example, Paint and Transform).
Note: Note: You can apply multiple instances of the same effect to a layer, rename each instance, and set the properties for each instance separately. For a video tutorial on applying and working with effects and animation presets, go to the Adobe website .
To the top The order in which After Effects renders masks, effects, layer styles, and transform properties—called the render order —may affect the final result of an applied effect. By default, effects appear in the Timeline panel and Effect Controls panel in the order in which they were applied.
To the top To the top Note: Note: Compound effects and control layers Several effects rely on a control layer (or layer map ) as input. These compound effects use the pixel values of the control layer to determine how to affect the pixels of the layer that the effect is applied to (the destination layer ).
To the top To the top Show Effects For All Color Depths Show Effects Show Animation Presets Effect Controls panel When you apply an effect to a layer, the Effect Controls panel opens, listing the effect you applied and controls to change the property values for the effect.
To the top Note: Note: To the top Note: & Presets panel. Apply an effect or animation preset Chris & Trish Meyer give tips on applying and using effects in an article on the ProVideo Coalition website .
To the top To the top Delete Effect or Edit > Undo Remove All Effects to restore the effects and keyframes. To temporarily disable one effect, select the layer in the Effect Controls or Timeline panel, and then click the Effect switch to the left of the effect name.
Note: To the top To the top Note: composition space and layer space and Render order and collapsing transformations.) Vector layers (including shape layers and text layers) are always continuously rasterized, so their effect control points are always in composition space.
Creepy Curtain Deep Tissue Fog Lights Germs Green Crystals Indigestion Infection Lightning Bend Magma Orb Pixels Racing Rectangles Red Speed River Rose Light Silk Smoke Rising Sweeping Curves Behavior.
Bloom - brights+darks Bloom - brights Bloom - crystallize Colorize - blue wash Colorize - gold dip Colorize - infrared Colorize - moonshadows Colorize - red hand tint Colorize - royal purple Colorize .
Image - Utilities Compress- Expand Dynamic Range Crop Edges Flip + Flop Flip Flop Invert Alpha Keying - blue blur Keying - green blur Levels - computer to video Levels - video to computer Reduce DV bl.
Elements 2* Box Grid* Crosshatch Focus* Deconstructionist* Deploy* Geo Logo* Graph Paper* Honeycomb* Iris Flare* Kaleidorganic* Kaleidoscopic Seaweed* Light Bulb Sign* Mandathorns* Neon Flower* Protec.
Phase Scope SpiroMandala TwinkleStar Sprites - Animated 2* Pulsing Circles* Spiralgear* Sunflower - animated* Sprites - Still Alien Calligraphy Alien Face Box - dashed lines Bullseye Circular - half r.
Schematic* (antennas, batteries, capacitors, diodes, grounds, inductors, logic symbols, resistors, transformers, transistors, tubes) Sound Effects Blaster Busy CallAdobe DialTone -US DTMF PhoneCompany.
3D Fly Down & Unfold 3D Fly Down Behind Camera 3D Fly Down Random & Rotate Y 3D Lines Zoom In 3D Rain Down Words & Colors 3D Random Spike Tumble 3D Resolve Position 3D Rotate around Circle.
Fade Up Characters Fade Up Lines Fade Up Words Fly In From Bottom Fly In With A Twist Pop Buzz Words Raining Characters In Random Fade Up Random Shuffle In Random Word Shuffle In Slow Fade On Smooth M.
Jiggy Transporter Curves and Spins Bloom Flower Clockwise Entry Counter Rotate Dust Devil Lasso Tumble Lasso Musical Chairs Newton Pinwheel Radial Flare Retrograde Rotate Somersault Spin Fast Spiral E.
Pulse Blue Pulse Orange Pulsing Strokes Rotate Hue Sliding Color Flicker Stroke Ease Down Wiggly Stroke Width By Line Wiggly Stroke Width Graphical Bars Blinky Bars Lime Blue Note Cut Shapes Exchange .
Algorithm Loop Algorithm Automation Bad Reception Doppler Electro Magnet Helicopter Insert Text Kinematic Mechanical Pistons Rack & Pinion Roadtrip Scale Bounce Screen Roll Stairstep Submarine Underscore Warp 9.8 Miscellaneous Angle Fly -In Back Flip Blow Away Bounce In Bungee Chaotic Clay Pigeons Dot.
Squeeze Superhero Swing Up Twisty Ribbons Vanishing Point Wiggly Lines Yo -Yo Multi- Line Alphabet Soup Contract - Expand Currents Data Packet Data Stream Dealer Encryption Fly In By Characters Fly In.
Fish Bait Flutter Flying Formation Horsefly Hummingbird Insect Wipe Insects Labrador Leapfrog Loose Line Ocean Tide Quiver Ripple Rubber Floor Rubber Sea- Sick Shuffle Simmer Slice And Dice Sprouts Ta.
Frenzy Hurdles Karate Chop Loop On And Off Lyrical Organism Paper Clip Pipes Raquetball Rat Nest Reel To Reel Rope Bridge Serpent Slippery Slope Spiral Long Spiral Springy Squirmy Stairwell Symmetry T.
Wiggly Scale Wipe Zoom Away Zoom Forward Tracking Contract Decrease Tracking Extend Increase Tracking Magnify Spasm Stretchy Transform Separate XYZ Position See Separate dimensions of Position to animate components individually.
Ovals - concentric PAL Ovals - random NTSC Ovals - random PAL Transitions - Movement Card Wipe - 2D fractured Card Wipe - 3D pixelstorm Card Wipe - 3D swing Fly to Inset Slide - drop Slide - straight .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Iris - points Iris - round Iris - square Iris - star unfold Iris - star Iris - .
Detail-preserving Upscale effect Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy The Detail- preserving Upscale effect is capable of scaling up images by large amounts while preserving details in the image and the sharpness of sharp lines and curves is preserved.
Effect list Note: To the top To the top 3D Channel effects Blur & Sharpen effects Channel effects Color Correction effects Distort effects Expression Controls effects Generate effects Keying effec.
To the top To the top Directional Blur effect Fast Blur effect Gaussian Blur effect Lens Blur effect Radial Blur effect Reduce Interlace Flicker effect Sharpen effect Smart Blur effect Unsharp Mask ef.
To the top Broadcast Colors effect Change Color effect Change To Color effect Channel Mixer effect Color Balance effect Color Balance (HLS) effect Color Link effect Color Stabilizer effect Colorama ef.
To the top To the top Optics Compensation effect Polar Coordinates effect Reshape effect Ripple effect Smear effect Spherize effect Transform effect Turbulent Displace effect Twirl effect Warp effect Warp Stabilizer effect (CS5.
To the top 4- Color Gradient effect Advanced Lightning effect Audio Spectrum effect Audio Waveform effect Beam effect Cell Pattern effect Checkerboard effect Circle effect Ellipse effect Eyedropper Fi.
To the top To the top To the top CC Simple Wire Removal effect Keylight Matte effects Matte Choker effect Roto Brush and Refine Matte Simple Choker effect Third- party effects: mocha shape Noise &.
To the top To the top Simulation effects Card Dance effect Caustics effect Foam effect Particle Playground effect Shatter effect Wave World effect Third- party effects: CC Ball Action effect CC Bubbles effect CC Drizzle effect CC Hair effect CC Mr.
To the top To the top To the top Third- party effects: CC Block Load effect (CS6) CC Burn Film effect CC Glass effect CC Kaleida effect CC Mr. Smoothie effect CC Plastic effect (CS6) CC RepeTile effec.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. To the top To the top Third- party effects: CC Glass Wipe effect CC Grid Wipe effect CC Image Wipe effect CC Jaws eff.
3D Channel effects To the top About 3D Channel effects, including ProEXR effects 3D Channel Extract effect Depth Matte effect Depth Of Field effect Fog 3D effect ID Matte effect Third- party effects in this category included with After Effects: EXtractoR effect IDentifier effect ID Matte See Third- party plug - ins included with After Effects.
To the top White Point, Black Point 3D Channel Z -Depth Note: Object ID Texture UV OpenEXR plug - in will use the information in this file to tag channels when it imports an OpenEXR file. An OpenEXR_channel_map.txt file is not included with After Effects, but you can download one as part of the ProEXR package from the fnord software website .
Surface Normals Coverage Background RGB Unclamped RGB Material ID To the top Depth Feather Invert To the top channel is not anti -aliased. This channel can be used to check your UV maps or as input for the Displacement Map effect. This channel maps the direction vector of each point on the surface of an object to the RGB channels.
Focal Plane Maximum Radius Focal Plane Thickness Focal Bias To the top Note: Depth Of Field effect The Depth Of Field effect simulates a camera that’s focusing at one depth (focal plane) in a 3D scene, blurring objects at other depths. This effect uses the depth information from the auxiliary channel of an imported file representing a 3D scene.
Fog Start Depth Fog End Depth Scattering Density Foggy Background Gradient Layer Layer Contribution To the top Aux. Channel ID Selection Feather Invert Use Coverage Where along the z axis the diffuse scattering begins.
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Audio effects To the top To the top To the top Delay Time Delay Amount Feedback Dry Out, Wet Out To the top Backwards effect Bass & Treble effect Delay effect Flange & Chorus effect High -Low .
Voice Separation Time Voices Modulation Rate Modulation Depth Voice Phase Change Invert Phase Stereo Voices Dry Out, Wet Out To the top Cutoff Frequency Dry Out, Wet Out To the top Flange is an audio effect caused by mixing the original audio with a copy that is delayed by a varying amount that cycles over time.
Modulation Type Modulation Rate Modulation Depth Amplitude Modulation To the top Band Enabled Frequency Bandwidth Boost/Cut To the top Reverb Time Diffusion Decay Brightness Dry Out, Wet Out The Modulator effect adds both vibrato and tremolo to audio by modulating (varying) the frequency and amplitude.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Invert Phase To the top Note: Waveform Options Frequency Level Note: Stereo Mixer effect The Stereo Mixer effect mixes the left and right channels of audio and pans the entire signal from one channel to the other.
Blur and Sharpen effects To the top Note: To the top About Blur & Sharpen effects Bilateral Blur effect Box Blur effect Camera Lens Blur effect (CS5.
Threshold Radius Colorize To the top Iterations To the top Note: Iris Properties Diffraction Fringe The result of the Bilateral Blur effect is very similar to the result of the Surface Blur filter in Adobe Photoshop. Eran Stern provides a demonstration of the Bilateral Blur effect on the Motionworks website .
Blur Map Layer Channel Blur Focal Distance Highlight Gain Threshold Saturation Edge Behavior Use Linear Working Space Note: To the top Note: To the top A control layer can be used as a blur map to affect Camera Lens Blur effect properties. Layer to use as the blur map.
Maximum Blur Stretch Map To Fit To the top Direction To the top especially with animated blur layers such as those generated with the Turbulent Noise effect.
To the top To the top Depth Map Layer Depth Map Channel Blur Focal Distance Original (left), and with effect applied (right) Gaussian Blur effect The Gaussian Blur effect blurs and softens the image and eliminates noise. The quality setting of the layer doesn’t affect Gaussian Blur.
Iris Shape Iris Blade Curvature Iris Rotation Iris Radius Specular Threshold Specular Brightness Noise controls Stretch Map To Fit To the top Type To the top Note: To the top The polygon to use as the iris shape. The roundness of the edges of the iris.
To the top Radius Threshold Mode To the top Radius The Sharpen effect increases the contrast where color changes occur. The quality setting of the layer doesn’t affect Sharpen.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Threshold The greatest difference between adjacent pixels for which contrast isn’t adjusted. A lower value produces a greater result.
Channel effects To the top To the top Operator And, Or, and Xor Add, Subtract, Multiply, and Difference Max Min Additional resources about Channel effects Arithmetic effect Blend effect Calculations e.
Block Above Block Below Slice Screen Clip Result Values To the top Blend With Layer Note: Mode Note: Blend With Original If Layer Sizes Differ To the top Set the channel value of the pixel to zero if the original value of the pixel is greater than the value specified; otherwise, leave the original value.
Input Channel Invert Input Second Layer Second Layer Channel Second Layer Opacity Invert Second Layer Stretch Second Layer To Fit Preserve Transparency To the top Note: Use 2nd Layer From To Invert Solid Alpha The channel to extract and use as input to the blending operation.
To the top Second Source Layer Operator Operate On Channels Overflow Behavior Clip Wrap Scale Stretch Second Source To Fit Blend With Original To the top Channel RGB/Red/Green/Blue HLS/Hue/Lightness/Saturation Compound Arithmetic effect The Compound Arithmetic effect mathematically combines the layer to which it is applied with a control layer.
YIQ/Luminance/In Phase Chrominance/Quadrature Chrominance Alpha Blend With Original To the top Operation Direction To the top To the top YIQ inverts all three NTSC luminance and chrominance channels. Y (luminance), I (in - phase chrominance), and Q (quadrature chrominance) each invert an individual channel.
To the top Take Matte From Layer Use For Matte Invert Matte Stretch Matte To Fit Composite Matte With Original Premultiply Matte Layer To the top Set Channels effect The Set Channels effect copies channels from control layers (source layers) to the red, green, blue, and alpha channels of the effect layer.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Take Channel From To the top Source Opacity Color Opacity Blending Mode The channel to use as a source.
Distort effects To the top Additional resources for Distort effects Resources for Digieffects FreeForm Bezier Warp effect Bulge effect Corner Pin effect Displacement Map effect Liquify effect Magnify .
To the top Note: To the top To the top Aharon Rabinowitz provides a project on his All Bets Are Off website that demonstrates the use of the CC Page Turn effect to tear a piece of paper. Resources for Digieffects FreeForm Digieffects FreeForm is not included with the free trial version of After Effects.
Horizontal Radius and Vertical Radius Bulge Height Taper Radius Antialiasing Pin All Edges To the top To the top Original (upper -left), and with variations of Bulge applied (lower -left and right) The width and height of the distorted area, in pixels.
To the top The Displacement Map effect distorts a layer by displacing pixels horizontally and vertically based on the color values of pixels in the control layer specified by the Displacement Map Layer property. The type of distortion created by the Displacement Map effect can vary greatly, depending on the control layer and options you select.
Freeze Area Mask Mask Opacity Mask Feather Warp Turbulence Twirl Clockwise Twirl Counterclockwise Pucker Bloat Shift Pixels Original (upper -left), and with variations of Liquify applied (lower - left.
Reflection Clone Reconstruction Revert Displace Amplitwist Affine Copies pixels to the brush area. Copies the distortions from around a source location to the current mouse location. Set the source location by Alt - clicking (Windows) or Option - clicking (Mac OS) the source point.
To the top Shape Center Magnification Link None Size To Magnification Size & Feather To Magnification Size Feather Opacity Scaling Standard Soft Scatter Magnify effect The Magnify effect enlarges all or part of an image.
Blending Mode Resize Layer To the top Rows, Columns Quality Distortion Mesh Note: To the top Reflection Center Reflection Angle The blending mode used to combine the magnified area with the original layer. The None option displays transparent pixels around the magnified area.
To the top Shift Center To Blend With Original To the top Field Of View (FOV) Reverse Lens Distortion FOV Orientation View Center Optimal Pixels Resize Offset effect The Offset effect pans the image within a layer. Visual information pushed off one side of the image appears on the opposite side.
To the top Interpolation Type of Conversion Rect To Polar Polar To Rect To the top 1 . Select the layer with the distortion, and choose Effect > Distort > Optics Compensation. 2 . In the Effect Controls panel, adjust the FOV until a distorted edge or line appears straight.
Source Mask Destination Mask Boundary Mask Percent Elasticity Correspondence Pairs Interpolation Method Chris Zwar provides a tutorial on the Creative COW website that demonstrates the use of the Reshape effect to morph one face into another. This tutorial provides many useful tips regarding the use and editing of correspondence points.
Discrete Linear Smooth To the top Requires no keyframes because it calculates the distortion at each frame. Discrete produces the most accurate results but requires more rendering time. (Default) Requires two or more keyframes and performs a straight- line interpolation between the keyframes.
Radius Center Of Ripple Type Of Conversion Wave Speed Wave Width Wave Height Ripple Phase To the top Source Mask Note: Boundary Mask Mask Offset This effect works with 8- bpc and 16 - bpc color. Controls the distance the ripples travel from the center point.
Note: Mask Rotation Mask Scale Percent Elasticity Interpolation Method To the top To the top right of the Offset button. To set an offset location, click the Offset button, and then click the image in the desired location. To set the offset position numerically, type a new value for each axis.
Note: Skew Skew Axis To the top Displacement Amount Size Offset (Turbulence) Complexity Evolution Note: Evolution Options Cycle Evolution Transform effect The Transform effect applies two- dimensional geometric transformations to a layer. This effect supplements the transform properties available for each layer in the Timeline panel.
Cycle Note: Random Seed Note: Pinning Resize Layer Note: To the top Angle The number of revolutions of the Evolution setting that the fractal cycles through before it repeats. The amount of time between Evolution keyframes determines the timing of the Evolution cycles.
Twirl Radius To the top To the top To the top Wave Type Wave Height Wave Width Direction Wave Speed Pinning Phase How far the twirl extends from the twirl center. This value is a percentage of width or height of the layer, whichever is greater. A value of 50, for example, produces a twirl that extends to the edges of the layer.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Antialiasing Sets the amount of anti - aliasing, or edge smoothing, to perform on the image. In many cases, lower settings produce satisfactory results; a high setting can greatly increase rendering time.
Utility effects To the top Note: To the top Apply Color LUT effect Cineon Converter effect Color Profile Converter effect Grow Bounds effect HDR Compander effect HDR Highlight Compression effect Third.
Note: Conversion Type Note: 10 Bit Black Point Internal Black Point 10 Bit White Point Internal White Point Gamma Highlight Rolloff To the top Note: Perceptual Each computer monitor has unique display characteristics that affect your perception of color.
Saturation Relative Colorimetric Absolute Colorimetric On Off Use Project Setting Note: To the top Note: Attempts to produce vivid colors in an image at the expense of color accuracy. This rendering intent is suitable for images, such as graphic logos, in which bright saturated colors are more important than the exact relationship between colors.
To the top To the top HDR Compander effect The HDR Compander (compressor/expander) effect gives you a way to work with tools that don’t support high - dynamic -range color—such as 8 - bpc and 16 - bpc effects—without sacrificing the high dynamic range of footage.
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Transition effects To the top To the top Online resources about transitions and Transition effects About Transition effects and the Transition Completion property Block Dissolve effect Card Wipe effec.
To the top To the top Note: Transition Width Back Layer Block Dissolve effect The Block Dissolve effect makes a layer disappear in random blocks. The width and height of the blocks, in pixels, can be set independently.
Rows & Columns Rows Columns Note: Card Scale Flip Axis Flip Direction Flip Order Gradient Layer Timing Randomness Camera System X Rotation, Y Rotation, Z Rotation X, Y Position Z Position Focal Le.
Auto Focal Length Focal Length Position Jitter Rotation Jitter To the top Transition Softness Gradient Placement Controls the perspective of the effect during the animation.
Tile Gradient Center Gradient Stretch Gradient To Fit Invert Gradient To the top To the top Wipe Angle Uses multiple tiled copies of the gradient layer. Uses a single instance of the gradient layer in the center of the layer. Resizes the gradient layer horizontally and vertically to fit the entire area of the layer.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. To the top Start Angle Wipe To the top In a video tutorial on the Artbeats website , Steve Holmes demonstrates the use of non - animated instances of the Linear Wipe effect to crop a layer from various angles with softly feathered edges.
Stylize effects To the top Brush Strokes effect Cartoon effect Color Emboss effect Emboss effect Find Edges effect Glow effect Mosaic effect Motion Tile effect Posterize effect Roughen Edges effect Sc.
Stroke Angle Brush Size Stroke Length Stroke Density Stroke Randomness Paint Surface Paint On Original Image Paint On Transparent Paint On White/Paint On Black Blend With Original To the top The direction in which the strokes are made. The image is effectively shifted in this direction, potentially causing some clipping at the layer boundaries.
scene with many subjects and a lot of detail. Before applying the Cartoon effect, consider either setting the composition to a lower frame rate or using the Posterize Time effect on the layer if you're trying to make a movie look like a cartoon. Consider that cartoons have much lower frame rates than live action footage.
Render Detail Radius Detail Threshold Fill Edge Threshold Width Softness Opacity Advanced Edge Enhancement Edge Black Level Cartoon effect applied with Render set to Fill & Edges Cartoon effect properties Fill, Edges, or Fill & Edges. Determines which operations to perform and which results to display.
Edge Contrast Performance To the top To the top Direction Relief Contrast Blend With Original To the top The contrast in the grayscale representation of the edges. If your computer includes a display card with a GPU that supports OpenGL, the Cartoon effect can use the GPU to accelerate its processing.
Invert To the top Glow Based On Glow Threshold Glow Radius Glow Intensity Composite Original Glow Colors Color Looping Color Loops Inverts the image after the edges are found. If Invert isn’t selected, edges appear as dark lines on a white background.
Note: Color Phase A & B Midpoint Color A, Color B Glow Dimensions To the top Horizontal/Vertical Blocks Sharp Colors To the top Tile Center Tile Width, Tile Height Output Width, Output Height Mirror Edges Phase You can create an arbitrary map (.
Horizontal Phase Shift To the top Level To the top Edge Type Edge Color Border Edge Sharpness Fractal Influence Scale Stretch Width or Height Offsets tiles horizontally instead of vertically.
Offset (Turbulence) Complexity Note: Evolution Note: Evolution Options Cycle Evolution Cycle Note: Random Seed Note: To the top Grain Scatter Randomness To the top Determines the portion of the fractal shape that is used to create the roughness. Determines the level of detail in the roughness.
Strobe Color Blend With Original Strobe Duration (secs) Strobe Period (secs) Random Strobe Probability Strobe Strobe Operator To the top Texture Layer Strobe Light effect applied The Strobe Light effect performs an arithmetic operation on a layer or makes the layer transparent at periodic or random intervals.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Light Direction Texture Contrast Texture Placement Tile Texture Center Texture Stretch Texture To Fit To the top The angle at which light hits the texture.
The Rolling Shutter Repair effect | CC, CS6 Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: A common problem for DSLR and other CMOS sensor - based cameras is that they typically have a lag time between scanning lines of video.
Text effects To the top Type Number Number [Leading Zeros] Timecode [30], Timecode [25], and Timecode [24] Time Numerical Date, Short Date, and Long Date Note: Hexadecimal Random Values Value/Offset/R.
Display Options Size Tracking Proportional Spacing Composite On Original To the top Display Format Time Source (CS5.5 and later) Time Units Drop Frame Specifies the use of a fill or stroke or a combination of both on the text. Fill Only fills the characters with a color.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Starting Frame Text Position Text Size Text Color Show Box (CS5.5 and later) Box Color (CS5.5 and later) Opacity (CS5.5 and later) Composite on Original (CS5.
Simulation effects Note: To the top Light Type Light Intensity Light Color Common Lighting controls and Material controls Card Dance effect Caustics effect Foam effect Particle Playground effect Shatt.
Light Position Light Depth Ambient Light Diffuse Reflection Specular Reflection Highlight Sharpness To the top Note: Specifies the position of the light in x,y space. To position the light interactively, Alt - drag (Windows) or Option -drag (Mac OS) the effect point for the light.
Rows & Columns Rows Columns Note: Back Layer Gradient Layer 1 Gradient Layer 2 Rotation Order Transformation Order Original (left), gradient layer (center), and with Card Dance applied (right) Apply Card Dance to the layer to use for the front of the cards.
Source Multiplier Offset Camera System X Rotation, Y Rotation, Z Rotation X, Y Position Z Position Focal Length Transform Order Upper Left Corner, Upper Right Corner, Lower Left Corner, Lower Right Corner Auto Focal Length Focal Length To the top Note: inherent depth—hence the absence of z scaling.
Note: Bottom Scaling Repeat Mode If Layer Size Differs Blur Water Surface Wave Height Eran Stern provides a video tutorial on the Creative COW website in which he demonstrates how to use the Caustics effect with the Wave World effect. The Caustics effect ignores masks and alpha channels on the layer to which it is applied.
Smoothing Water Depth Refractive Index Surface Color Surface Opacity Caustics Strength Sky Repeat Mode If Layer Size Differs To the top Lower values smooth the Caustics surface. Specifies the roundness of the waves by blurring the water surface layer.
Note: Draft Draft + Flow Map Rendered Producer Point Producer X Size, Producer Y Size Producer Orientation Zoom Producer Point Production Rate Size Size Variance Lifespan Original (upper -left), with .
Bubble Growth Speed Strength Initial Speed Initial Direction Wind Speed Wind Direction Turbulence Wobble Amount Repulsion Pop Velocity Viscosity Stickiness Zoom were hitting a wall. Rather, this value is a target lifespan; some bubbles pop early, and others may last until the end.
Universe Size Blend Mode Bubble Texture Note: Bubble Texture Layer Note: Bubble Orientation Environment Map Reflection Strength Reflection Convergence Flow Map Note: Sets the boundaries of the bubble universe. When bubbles completely leave the universe, they pop and are gone forever.
Flow Map Steepness Flow Map Fits Simulation Quality To the top Note: have excessively abrupt edges. Controls the difference between white and black as they are used to determine steepness. If the bubbles are ricocheting randomly off the flow map, decrease this value.
Position Barrel Radius Particles Per Second Direction Direction Random Spread layer in the Timeline panel animates the entire layer of particles. 3 . Set up a particle generator to determine how particles are created.
Velocity Velocity Random Spread Color Particle Radius Note: Position Width, Height Particles Across, Particles Down Note: Color Particle Radius/Font Size Specifies the initial speed of particles in pixels per second as they emanate from the Cannon. Specifies the amount of random velocity of particles.
Explode Layer Radius Of New Particles Velocity Dispersion Affects Note: Use Layer Time Offset Type source of the layer is transparent. To change the position of the exploding layer, precompose the layer with its new position (use the Move All Attributes Into The New Composition option), and then use the precomposed layer as the exploding layer.
Time Offset Affects Starts playing the layer from a frame chosen at random, within the range between the current time of the effect layer and the Random Time Max you specify.
Note: Speed Direction Area Appearance specified by the Particle Across and Particle Down controls. Deselect to generate only one instance of the text. (This option is available only if you select Use Grid alignment.) 3 . Type text in the box. If Use Grid alignment is selected and you want to skip a grid intersection, type a space.
Rotation Note: Force Force Random Spread Direction Affects Note: Force Force Radius Repeller Affects Boundary At particle creation, the Cannon and Grid set no rotation; the Particle Exploder takes rotation from the exploded dot, layer, or character.
Particles From Selection Map Note: Characters Older/Younger Than Age Feather Specifies the particle generator or combination of particle generators whose particles you want to affect. Specifies the layer map that influences which particles are affected.
Note: None Red, Green, Blue Kinetic Friction Static Friction Angle Angular Velocity Torque Scale X Scale, Y Scale X, Y Gradient Velocity X Speed, Y Speed 4 . Specify the minimum and maximum values you want the layer map to produce for each Map To group.
Gradient Force X Force Y Force Opacity Mass Lifespan Character Note: Font Size Time Offset Scale Speed Copies the force adjustment based on areas of a layer map on both the x and y planes of motion.
Note: You use a layer map to affect the Scale property of particles and find that the smallest particles aren’t small enough while the largest resulting particles are too large. In this case, the entire output range needs to be shifted down; lower both the Min and Max values.
To the top Note: Note: The alpha channel in a control layer modifies the color values in the control layer before Particle Playground uses the control layer’s pixel values. Areas where the alpha channel value is 0 (transparent areas of a control layer) don’t affect particle values.
Rendered Wireframe Front View Wireframe Wireframe Front View + Forces Wireframe + Forces Original (upper -left), and as Shatter is applied over time to reveal another layer (lower - left and right) On.
Pattern Custom Shatter Map White Tiles Fixed Repetitions Direction Origin Extrusion Depth Position Depth Radius Note: Strength Shape controls specify the shape and appearance of the shattered pieces. Specifies the preset pattern to use for the exploded pieces.
Note: Shatter Threshold Gradient Layer Note: Invert Gradient Rotation Speed Tumble Axis Note: Randomness Viscosity Mass Variance A shatter piece is made up of vertices (points or dots that define the corners of the shape), edges (lines that connect the dots), and planes (walls of the shape).
Gravity Gravity Direction Gravity Inclination Color Opacity Front Mode, Side Mode, Back Mode Note: Front Layer, Side Layer, Back Layer Note: Camera System X Rotation, Y Rotation, Z Rotation X, Y Position Z Position Determines what happens to the pieces after they break up and blow apart.
Focal Length Transform Order Upper Left Corner, Upper Right Corner, Lower Left Corner, Lower Right Corner Auto Focal Length Focal Length Note: Note: To the top The zoom factor.
Height Map Wireframe Preview Horizontal Rotation Vertical Rotation Vertical Scale Wireframe view (upper - left), Height Map view (lower - left), and resulting image (lower - right). Result is used as Water Surface source for Caustics effect example. Wireframe view (left), Height Map view (center), and resulting image (right).
Note: Brightness Contrast Gamma Adjustment Render Dry Areas As Transparency Grid Resolution Grid Res Downsamples Wave Speed Damping Wave Speed, Damping Note: Reflect Edges Pre -roll (seconds) Height Map controls Height Map controls specify the appearance of the height map.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Ground Steepness Height Wave Strength Note: Type Position Height/Length Width Angle Amplitude Frequency Phase Ground controls The Ground controls specify the appearance of the ground layer.
Perspective effects To the top 3D Glasses effect Bevel Alpha effect Bevel Edges effect Drop Shadow effect Radial Shadow effect CC Cylinder effect CC Environment effect (CS6 or later) CC Sphere effect CC Spotlight effect Third- party effects in this category included with After Effects: See Third- party plug - ins included with After Effects.
Left View, Right View Convergence Offset (Scene Convergence in CS5.5 and later) Note: Vertical Alignment (CS5.5 and later) Units (CS5.5 and later) Swap Left- Right 3D View Stereo Pair (Stereo Pair (Side by Side) in CS5.5 and later) Over Under (CS5.5 and later) Interlace Upper L Lower R Difference (CS 5.
Balance To the top To the top Specifies the level of balance in a balanced 3D view option. Use this control to reduce shadows and ghost effects. The default balance that 3D Glasses sets when you select the Balanced Colored Red Blue option is the ideal value: If you set Balance to 0.
To the top Note: To the top Shadow Color Note: Opacity Light Source Original (left), and with effect applied (right) Drop Shadow effect The Drop Shadow effect adds a shadow that appears behind the layer. The alpha channel of the layer determines the shape of the shadow.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Projection Distance Softness Render Note: Regular Glass Edge Color Influence Shadow Only Resize Layer The distance from the layer to the surface on which the shadow falls.
Obsolete effects To the top Swivel Tilt Distance To Image Specular Highlight Preview To the top Note: Basic 3D effect Basic Text effect Lightning effect Path Text effect Effects in the Obsolete category are retained for compatibility with projects created with previous versions of After Effects.
Position Note: To the top Start Point, End Point Segments Amplitude Detail Level, Detail Amplitude Branching Rebranching Branch Angle Branch Seg. Length Branch Segments Branch Width Speed Stability Fixed Endpoint Width, Width Variation Core Width Outside Color, Inside Color The position of the text on the layer.
Pull Force, Pull Direction Random Seed Blending Mode Rerun At Each Frame To the top Note: Note: Note: Shape Type Bezier on top of existing colors in the composition, primary colors often produce the best results. Bright colors often become much lighter, sometimes becoming white, depending on the brightness of colors beneath.
Circle Loop Line Control Points Tangent 1/Circle Point Vertex 1/Circle Center Tangent 2 Vertex 2 Custom Path Reverse Path Size Tracking Kerning Kerning Pair Kerning Value Orientation Character Rotation Perpendicular To Path Vertex 2). Characters that don’t fit on the path are placed off the end in a straight line.
Vertical Writing Rotate Roman Characters Horizontal Shear Horizontal Scale, Vertical Scale Alignment Left Right Center Force Left Margin, Right Margin Line Spacing Baseline Shift Visible Characters Note: Fade Time Rotates each character so it’s vertical along the path.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Mode Jitter Settings Baseline Jitter Max Kerning Jitter Max Rotation Jitter Max Scale Jitter Max displayed with greater and greater opacity as the value of Visible Characters increases between whole numbers.
Noise and Grain effects To the top Work with Grain effects Work with noise samples in Grain effects Working with added or matched grain Add Grain effect Dust & Scratches effect Fractal Noise effec.
Preview Blending Matte Final Output Each grain effect is applied with default settings and is displayed in Preview viewing mode, which has a preview region framed by a white border and centered on the image. The preview region displays the results of the grain effect on a portion of your image, for speed and comparison purposes.
Screen Multiply Screen Multiply 4 . If you’re using both a color matte and a layer mask, choose one of the following from the Combine Match And Mask Using menu: Makes the matte white wherever either the mask or the color match is white. Makes the matte white where both of the inputs are white.
Center Stretch To Fit Screen Multiply 9 . Choose Final Output from the Viewing Mode control. Generate a layer matte In some cases, you may want to use a different layer or track as a mask for the layer that uses a grain effect. This type of mask allows unlimited control over exactly which parts of an image are modified and by how much.
To the top pixels. (Larger preview regions can result in slower rendering.) 4 . Select Show Box if you want to outline the preview region in color. If you want to change the outline color, next to Box Color do one of the following: Click the color swatch and select a color in the Color Picker dialog box.
Note: To the top The samples appear as small white squares (24x24 pixels) overlaid on the source image. 2 . Choose Manual from the Sample Selection pop - up menu in the Sampling controls group. 3 . To remove the least desirable samples from the image, try reducing the Number Of Samples value.
Monochromatic Tint Amount Adjusting the tones of added or matched grain The precise grain pattern present in any frame of film isn’t uniform throughout the frame but may depend on the tonal values of the content at each pixel. For example, in chemical film grain, the sizes of the silver halide crystals vary with the exposure level.
Tint Color Saturation Film Multiply Add Screen Overlay To the top Note: Controls the color the added noise shifts toward. Controls the amount and vividness of the color.
Note: Intensity Channel Intensities Size Channel Size Softness Aspect Ratio To the top a Blending Mode in the Application controls group. To define how much grain is added to each tonal area in your image and the midpoint, adjust the Shadows, Midtones, Highlights, and Midpoint values in the Application controls group.
Radius Threshold To the top Note: Fractal Type Noise Type Invert Contrast Overflow Clip Soft Clamp Wrap Back How far the effect searches for differences among pixels. High values make the image blurry. Use the smallest value that eliminates the defects.
Allow HDR Results Transform Complexity Note: Sub Settings Sub Influence Sub Scaling, Rotation, and Offset Center Subscale Evolution Evolution Options Cycle Evolution Cycle (in Revolutions) Note: Random Seed Opacity No remapping is performed. Values outside the range of 0- 1.
Blending Mode None Hue Saturation Note: To the top The blending operation between the fractal noise and the original image. These blending modes are identical to the ones in the Modes column in the Timeline panel, with the following exceptions: Renders the fractal noise only and does not composite on the original layer.
Note: Noise Samples The Match Grain effect uses noise sampling as its starting point. Basically, entire frames of new noise are synthesized to match the noise samples.
Compensation Samples Preview Blending Matte Final Output To the top in the Composition panel, with its noise sample squares displayed. Shows the noise samples that have been automatically extracted from the destination image. Displays the current settings of the applied effect in a 200x200 pixel area.
To the top Amount Of Noise Noise Type Clipping To the top Noise Amount Original Alpha Add Clamp Scale Edges This effect works with 8- bpc and 16 - bpc color. Original (left), and with effect applied (right) Noise effect The Noise effect randomly changes pixel values throughout the image.
Overflow Clip Wrap Back Wrap Random Seed Noise Phase Noise Options (Animation) Cycle Noise Cycle To the top Noise Hue Lightness Saturation How the effect remaps values that fall outside the grayscale range of 0 - 255: Values above 255 are mapped to 255.
Grain Size Noise Phase (Noise HLS only) Noise Animation Speed (Noise HLS Auto only) To the top Note: This control is active only for the Grain type of noise. An input value to the random number generator for the noise. When you set keyframes for Noise Phase, the effect cycles through the phases to create animated noise.
Note: Multichannel Single Channel Chroma Suppression Texture Noise Size Bias Clean Solid Areas Noise Samples Preview Blending Matte 3 . Adjust the Passes value to control the maximum noise radius that can be detected: If your grain is large and chunky, try increasing the Passes value.
To the top Note: Add temporal filtering to a layer 1 . Apply the Remove Grain effect to your image. 2 . Place the Remove Grain preview region over the area of the image that has the most subtle changes from frame to frame or that has the most moving image detail.
Fractal Type Noise Type Invert Contrast Overflow Clip Soft Clamp Wrap Back Allow HDR Results Transform Complexity Note: Sub Settings Sub Influence Sub Scaling Evolution The Evolution controls create subtle changes in the shape of the noise.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Turbulence Factor Random Seed Opacity Blending Mode None Hue Saturation You can specify how much the noise evolves over a period of time by animating Evolution.
Matte effects To the top Geometric Softness Choke Matte Choker effect Simple Choker effect For information on the Refine Matte effect and the Roto Brush effect, see Roto Brush effect and Refine Matte effect reference.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Gray Level Softness To the top Specifies how soft to make the edges of the matte. At 0%, the matte edges contain only fully opaque and fully transparent values.
Keying effects Note: To the top Note: Note: Color Difference Key effect Color Key effect Color Range effect Difference Matte effect Extract effect Inner/Outer Key effect Linear Color Key effect Luma K.
Note: To the top Note: described in step 10. 3 . Select the appropriate key color: To key out a bluescreen, use the default blue color. To key out a nonblue screen, select a key color in one of the following ways: Thumbnail eyedropper: Select and then click in the Composition panel or the original thumbnail image on an appropriate area.
To the top Note: For information about keying in general, including links to tutorials and other resources, see Keying introduction and resources. The Color Key effect keys out all image pixels that are similar to a specified key color. This effect modifies only the alpha channel of a layer.
Note: To the top 2 . Choose Lab, YUV, or RGB from the Color Space menu. If you have trouble isolating the subject using one color space, try using a different one. 3 . Select the Key Color eyedropper, and then click in the matte thumbnail to select the area that corresponds to a color in the Composition panel you want to make transparent.
Note: Center Stretch To Fit Note: To the top Note: The imported image becomes the difference layer. Make sure that its duration is at least as long as the duration of the source layer.
Note: To the top Note: Note: Using the transparency control bar beneath the histogram, you can adjust the range of pixels that are made transparent. The position and shape of the bar in relation to the histogram determine transparency.
Note: To the top Note: 3 . To extract more than one object, or to create a hole in an object, draw additional masks and then select them from the Additional Foreground and Additional Background menus.
Source Only Matte Only 3 . Choose a color space from the Match Colors menu. In most cases, use the default RGB setting. If you have trouble isolating the subject using one color space, try using a different color space. 4 . In the Effect Controls panel, choose Final Output from the View menu.
To the top To the top time to get the results you need. Luma Key effect For information about keying in general, including links to tutorials and other resources, see Keying introduction and resources. The Luma Key effect keys out all the regions of a layer with a specified luminance or brightness.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Original greenscreen (upper - left) leaves green glow when keyed out (lower - left). Spill Suppressor removes glow (lower -right).
Generate effects To the top Blend Jitter Opacity Blending Mode 4- Color Gradient effect Advanced Lightning effect Audio Spectrum effect Audio Waveform effect Beam effect Cell Pattern effect Checkerboa.
To the top Lightning Type Origin Direction, Outer Radius Not In Use Outer Radius Direction Conductivity State Core Settings Glow Settings Alpha Obstacle Turbulence Forking Decay Decay Main Core Composite On Original Advanced Lightning effect The Advanced Lightning effect creates simulations of electrical discharges.
Complexity Min. Forkdistance Termination Threshold Main Core Collision Only Fractal Type Core Drain Fork Strength Fork Variation To the top Note: visible. Specifies the complexity of the turbulence in the lightning. Specifies the minimum pixel distance between new forks.
Audio Layer Start Point, End Point Path Use Polar Path Start Frequency, End Frequency Frequency Bands Maximum Height Audio Duration Audio Offset Thickness Softness Inside Color, Outside Color Blend Ov.
Audio Layer Start Point, End Point Path Displayed Samples Maximum Height Audio Duration Audio Offset Thickness Softness Inside Color, Outside Color Waveform Options Display Options Composite On Original To the top This effect works with 8- bpc, 16 - bpc, and 32 - bpc color.
To the top Cell Pattern Invert Contrast/Sharpness Overflow Clip Soft Clamp Wrap Back Original (left), and with a simulated beam (right) The Length control specifies the length of the beam based on a percentage of the Time specified. For example, a setting of 100% means that the visible beam length is at its maximum when the Time control is 50%.
Disperse Size Offset Tiling Options Evolution Evolution Options Cycle Evolution Cycle Random Seed To the top Anchor Size From Corner Point Width Slider Width & Height Sliders Feather Color How randomly the pattern is drawn. Lower values cause more uniform or gridlike cell patterns.
Opacity Blending Mode To the top Edge Edge Radius Thickness Thickness * Radius Thickness & Feather * Radius Feather Invert Circle Blending Mode To the top To the top Sample Point Sample Radius The opacity of the colored rectangles. The blending mode to use to composite the checkerboard pattern on top of the original layer.
Average Pixel Color Skip Empty All All Premultiplied Including Alpha Maintain Original Alpha Blend With Original To the top To the top Set Choice Mandelbrot, Julia Which color values are sampled: Samples the average RGB color values, excluding the color values of transparent pixels.
Color Overlay Transparency Palette Hue Edge Highlight High Quality Settings Oversample Method Oversample Factor To the top Mandelbrot or Julia set. Magnification specifies the magnification of the effect. Escape Limit specifies how many times the calculation looks for a color for a given pixel before it assigns the color black.
Note: To the top Anchor Size From Corner Point Width Slider Width & Height Sliders Border Feather Invert Grid Color Opacity Blending Mode To the top The Gradient Ramp effect creates a color gradient. You can create linear or radial ramps, and vary the position and colors of the ramp over time.
To the top Fill Point Fill Selector Color & Alpha Straight Color Transparency Opacity Alpha Channel Tolerance View Threshold Stroke Antialias Feather Spread Single lens flare (lower - left) and mu.
Choke Stroke Color Opacity Blending Mode To the top Producer Point Parameters Are Set At Render Quality Wave Type Polygon Contracts the area of the fill color. The Spread Radius value indicates the number of pixels the fill color shrinks from the edge of the fill area.
Sides Curve Size Curvyness Star Star Depth Mask Source Layer Source Center Value Channel Invert Input Value Threshold Pre -Blur Tolerance Contour Frequency Expansion Orientation Three sides create a triangle, four create a square, and so on. Size values above 64 result in a smooth circle.
Direction Velocity Spin Lifespan (sec) Reflection Profile Color Opacity Fade- in Time Fade- out Time Start Width To the top Note: To the top Specifies the initial direction of a wave if Velocity is greater than 0. By default, particles are emitted from the producer point in an expanding radial pattern.
Brush Hardness Spacing Paint Style To the top Stroke Image Contours Input Layer Invert Input If Layer Sizes Differ Channel The Stroke effect creates a stroke or border around the path defined by one or more masks. You can also specify stroke color, opacity, and spacing, as well as brush characteristics.
Threshold Pre -Blur Tolerance Render Selected Contour Shorter Contours Have Mask/Path Segments Length Segment Distribution Rotation Random Phase Blend Mode Color Width Hardness Start, End Opacity Mid -point Opacity Mid -point Position The percentage value at which everything below or above is mapped to either white or black.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Brush Position Stroke Length (secs) Brush Spacing (secs) Paint Time .
Color Correction effects To the top Auto Color and Auto Contrast effects Auto Levels effect Black & White effect Brightness & Contrast effect Broadcast Colors effect Change Color effect Change.
Temporal Smoothing Scene Detect Black Clip, White Clip Snap Neutral Midtones (Auto Color only) Blend With Original To the top To the top Auto Color effect. This is useful, for example, in reducing the flicker of old film or for correcting for the flickering color of a light source.
To the top To the top Note: Note: Broadcast Locale How To Make Color Safe Reduce Luminance Reduce Saturation Maximum Signal Amplitude (IRE) To the top View Hue Transform Lightness Transform Brightness & Contrast effect The Brightness & Contrast effect adjusts the brightness and contrast of an entire layer (not individual channels).
Saturation Transform Color To Change Matching Tolerance Matching Softness Match Colors Invert Color Correction Mask To the top From To Change Change By Tolerance Note: Positive values increase saturation of matched pixels (moving toward pure color); negative values decrease saturation of matched pixels (moving toward gray).
Softness View Correction Matte To the top output channel] -[input channel output channel] -Const Monochrome To the top To the top To the top The amount of feather to use for the edges of the correction matte. Higher values create smoother transitions between areas affected by the color change and unaffected areas.
Source Layer Sample Clip Stencil Original Alpha Opacity Blending Mode To the top Set Frame Stabilize Brightness Levels Curves Black Point Mid Point White Point Sample Size To the top The layer from which to sample colors.
Get Phase From Add Phase Add Phase From Add Mode Wrap Clamp Average Screen Phase Shift Use Preset Palette Output Cycle tint an image or radically change its color palette. Colorama works by first converting a specified color attribute to grayscale and then remapping the grayscale values to one or more cycles of the specified output color palette.
Note: Cycle Repetitions Interpolate Palette Modify Modify Alpha Note: Change Empty Pixels Matching Color Matching Tolerance Matching Softness Matching Mode Mask Layer To duplicate a triangle, Ctrl- drag (Windows) or Command - drag (Mac OS) the triangle.
Composite Over Layer Blend With Original To the top To the top Equalize Shows modified pixels composited on top of the original layer. Deselect this option to show only modified pixels. The transparency of the effect. The result of the effect is blended with the original image, with the effect result composited on top.
Amount To Equalize To the top Master Individual Channels Exposure Offset Gamma Correction Bypass Linear Light Conversion To the top To the top Channel Control pixel. Photoshop Style equalizes by redistributing the brightness values of the pixels in an image so that they more evenly represent the entire range of brightness levels.
Channel Range Master Hue Master Saturation, Master Lightness Colorize Colorize Hue, Colorize Saturation, Colorize Lightness The definition of the color channel chosen from the Channel Control menu. Two color bars represent the colors in their order on the color wheel.
To the top Amount To Decolor Tolerance Edge Softness Match Colors To the top 2 . Do any of the following: Drag one or both of the white triangles to adjust the amount of feather without affecting the range. Drag one or both of the vertical white bars to adjust the range.
Note: Channel Histogram Input Black and Output Black Input White and Output White Gamma Clip To Output Black and Clip To Output White To the top To the top The Levels (Individual Controls) effect func.
Warming Filter (85) and Cooling Filter (80) Warming Filter (81) and Cooling Filter (82) Individual Colors To the top Phase Apply Phase Map To Alpha To the top Note: To ensure that the image isn’t darkened by the effect, select Preserve Luminosity.
Note: To the top Auto Amounts Shadow Amount Highlight Amount Temporal Smoothing Scene Detect Blend With Original Even though Selective Color uses CMYK colors to adjust an image, you can use it on RGB images. This effect works with 8- bpc and 16 - bpc color.
Shadow Tonal Width and Highlight Tonal Width Shadow Radius and Highlight Radius Color Correction Note: Midtone Contrast Black Clip, White Clip To the top To the top Blend With Original To the top The range of adjustable tones in the shadows and highlights.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Vibrance effect The Vibrance effect adjusts saturation so that clipping is minimized as colors approach full saturation.
Markers 662.
Layer markers and composition markers Note: Composition markers Layer markers Web links, chapter links, cue points, and markers Scripts and utilities for working with markers Online resources about markers Use composition markers and layer markers to store comments and other metadata and mark important times in a composition or layer.
To the top Note: Note: To the top Note: markers, expressions and scripts can work with XMP metadata. Composition markers Composition markers appear as small triangles in the time ruler in the Timeline panel. You can have any number of composition markers in a composition.
Note: To the top Note: To the top To replace all layer markers with markers containing temporal metadata from the source file for the layer, right - click (Windows) or Control - click (Mac OS) a layer marker and choose Update Markers From Source.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Jeff Almasol provides scripts on his redefinery website that do the following: rd_CopyMarkers copies layer markers from one layer to any number of other layers.
XMP metadata To the top Note: About XMP metadata XMP metadata in After Effects About file, clip, and project XMP metadata Show or hide XMP metadata Edit XMP metadata About XMP metadata Metadata is—in the simplest sense—data about data.
To the top Embedding XMP metadata versus including XMP metadata in sidecar files In most cases, XMP metadata for a file is stored in the file itself. If it isn’t possible to write the information directly into the file, XMP metadata is stored in a separate file called a sidecar file , with the filename extension .
Note: Note: XMP ID values are written to source files when they are imported into After Effects if the Write XMP IDs To Files On Import preference is selected in the Media & Cache preferences category. This preference setting affects other Adobe applications, too; see the helpful text in the Preferences dialog box for details.
Note: Note: Note: Note: To the top To write all of the XMP metadata to the output file, select Include Source XMP Metadata in the output module settings for the output file. If Include Source XMP Metadata is deselected, the only XMP metadata that is written to the output file is a unique ID.
Adobe Premiere Pro Clip File After Effects Project Files Soundbooth File Clip To the top the unique workflow stage that each application addresses. When using applications in tandem, an understanding of these slightly different approaches can help you get the most out of metadata.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Integer Real Text Boolean To the top Note: To save a customized set of displayed metadata, click Save Settings . Then enter a name, and click OK.
Memory, storage, performance 673.
Memory and storage | CS5.5 and earlier To the top RAM Reserved For Other Applications Memory (RAM) usage in 64 - bit After Effects Advantages of a 64 - bit application and 64 - bit address space Memor.
Note: Note: Note: RAM Allocation Per Background CPU CPUs Reserved For Other Applications Adobe Media Encoder .) If you know that you will be using a specific application along with After Effects, check its system requirements and set this value to at least the minimum amount of RAM required for that application.
Note: computer system and compositions. When After Effects temporarily disables multiprocessing with Render Multiple Frames Simultaneously If After Effects can’t use background processes to render multiple frames simultaneously, a message appears in the Info panel, and After Effects uses only the main foreground process to render all frames.
Note: Note: Note: An example of a practical result of the shared memory pool is that starting Premiere Pro will decrease the amount of RAM available to After Effects for RAM previews; quitting Premiere Pro will immediately free RAM for After Effects and extend the possible duration of RAM previews.
Note: Note: To the top Note: Error: “Unable to allocate enough memory to render the current frame....” Either decrease the memory requirements for the rendering of this frame, or install more RAM. Error: “Unable to allocate [n] MB of memory....” Either decrease the memory requirements for the rendering of this frame, or install more RAM.
To the top Layer Cache Indicators (CS5.5 and later) Note: Note: Caches: RAM cache, disk cache, and media cache As you work on a composition, After Effects temporarily stores some rendered frames and source images in RAM, so that previewing and editing can occur more quickly.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: Note: Note: with limitations regarding inadequate RAM to hold or render a single frame of your composition.
Improve performance To the top To the top Improve performance before starting After Effects Improve performance by optimizing memory, cache, and multiprocessing settings Improve performance using Glob.
To the top To the top To the top Allocate adequate memory for other applications. See Memory & Multiprocessing preferences. Use multiple processors to render multiple frames simultaneously by selecting the Render Multiple Frames Simultaneously preference.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Display (Windows) or After Effects > Preferences > Display (Mac OS), and select Hardware Accelerate Composition, Layer, And Footage Panels.
GPU (CUDA, OpenGL) features | CC, CS6 To the top Note: Note: Note: To the top OpenGL, the GPU, and After Effects OpenGL is a set of standards for high - performance processing of 2D and 3D graphics on the graphics processing unit (GPU) for a wide variety of applications.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: When working with ray - traced 3D compositions, it is important to have the proper hardware installed in your computer to work smoothly.
Memory and storage | CC, CS6 To the top Memory (RAM) usage in 64 - bit After Effects Advantages of a 64 - bit application and 64 - bit address space Memory & Multiprocessing preferences Memory poo.
RAM Reserved For Other Applications Note: Note: Note: RAM Allocation Per Background CPU CPUs Reserved For Other Applications Todd Kopriva provides information about optimum memory and processor settings on the Adobe website .
Note: Note: multiprocessing, even when you have enough RAM for all of the processors. After Effects is a multi -threaded application that can also use other forms of multiprocessing beyond just Render.
Note: Note: preferences panel by the icons for each of these applications at the top of the panel. The icons are dimmed for the applications that are not running. A memory balancer prevents swapping of RAM to disk by dynamically managing the memory allocated to each of the applications.
Note: Note: To the top Note: an out -of - memory alert, free memory or reduce the memory requirements of the most memory- intensive layers, and then try again.
To the top Layer Cache Indicators (CS5.5 and later) Note: To the top Because video is typically compressed during encoding when you render to final output, you can’t just multiply the amount of memo.
Note: Global RAM cache Note: Note: Effects Team blog. In this video by Todd Kopriva and video2brain, learn about the global performance cache and persistent disk cache, and see how these features make rendering and re -rendering layers much quicker and easier.
Note: Note: Note: Note: Reusable frames are recognized on duplicated layers or duplicated compositions; Cache is not automatically destroyed by a render queue render at anything other than Current Settings.
Note: Note: 1 . Set the work area in each composition you want to cache. 2 . Select the compositions in the Project panel. 3 . Do one of the following: Choose Composition > Cache Work Area in Backg.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy A faster graphics pipeline enhances the Global Performance Cache by drawing interface items much more quickly. Previously, the operating system handled this.
Expressions and automation 696.
Plug -ins Note: To the top Note: To the top Installing and loading plug -ins Third-party plug - ins included with After Effects C/C++ plug - ins and the After Effects SDK Pixel Bender effect plug - in.
Foundry Keylight Synthetic Aperture Color Finesse fnord ProEXR Digieffects FreeForm Note: CycoreFX (CC) CycoreFX HD Imagineer mocha shape AE Note: To the top To the top Note: Third-party plug-ins included with After Effects After Effects comes with several third - party plug - ins.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top The Pixel Bender language is also used to write effects and filters for use with other Adobe software, including Flash and Photoshop.
Automation Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy After Effects and other Adobe software with which it’s integrated provide many different means for automating various processes.
Expression basics To the top Note: Note: About expressions Add, edit, and remove expressions Example: Use the expression language reference to write an expression Show expressions and the expression g.
To the top When you are animating text, you can use the Expression selector to specify how much you want an animator property to affect each text character. You can add one or more Expression selectors to an animator group, and that animator group can contain one or more properties.
Note: menu is helpful for determining valid elements and their correct syntax; use it as a reference for available elements. When you choose any object, attribute, or method from the menu, After Effects automatically inserts it in the expression field at the insertion point.
Note: Note: Note: To the top If the layer, mask, or effect that you drag the pick whip to does not have a unique name in its local context, After Effects renames it. For example, if you have two or more masks named “Mask” on the same layer, and you drag the pick whip to one of them, After Effects renames it “Mask 2”.
To the top 3 . Select the Position property for Solid 2 and choose Animation > Add Expression or Alt - click (Windows) or Option -click the stopwatch button for the property. The following expression appears by default: transform.position 4 . Type the following directly over transform.
To the top To the top To the top Writing expressions for source text The Source Text property of a text layer is interpreted by expressions as a JavaScript String. You can use the pick whip to retrieve the source text from another text layer; however, only the style of the first character of the destination layer is used.
Note: Note: To the top Save and reuse expressions Once you have written an expression, you can save it for future use by copying and pasting it into a text - editing application or by saving it in an animation preset or template project.
To the top To the top You apply Expression Controls effects to a layer in the same ways that you apply other effects, such as dragging the effect onto the layer from the Effects & Presets panel.
The value of an expression is the value of the last statement evaluated. JavaScript is a case - sensitive language. Semicolons are required to separate statements or lines. Spaces between words are ignored, except within a string. In JavaScript, a value stored in an object is called a property .
surrounded by brackets, as in this example: [10, 23] You can assign an Array object to a variable, making it easy to refer to array values in other areas of the expression. For example: myArray = [10, 23] The dimension of an Array object is the number of elements in the array.
If you want to write an expression that keeps the y value of an animation of Position but fixes the x value at 9, you would use the following: y = position[1]; [9,y] The following is even more succinct: [9, position[1]] This is an important point, so let’s look at one more example.
Note: To the top Note: Time within an expression is always in composition time (not layer time) and is measured in seconds. The default time for any expression is the current composition time at which the expression is being evaluated. The following expressions both use the default composition time and return the same values: thisComp.
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Expression language reference To the top comp(name) footage(name) thisComp thisLayer Global objects, attributes, and methods (expression reference) Time conversion methods (expression reference) Vecto.
thisProperty time colorDepth posterizeTime(framesPerSecond) value To the top timeToFrames(t = time + thisComp.displayStartTime, fps = 1.0 / thisComp.frameDuration, isDuration = false) framesToTime(frames, fps = 1.0 / thisComp.frameDuration) timeToTimecode(t = time + thisComp.
timeToCurrentFormat(t = time + thisComp.displayStartTime, fps = 1.0 / thisComp.frameDuration, isDuration = false) To the top add(vec1, vec2) sub(vec1, vec2) mul(vec, amount) div(vec, amount) clamp(value, limit1, limit2) dot(vec1, vec2) cross(vec1, vec2) normalize(vec) Return type: String.
length(vec) length(point1, point2) lookAt(fromPoint, atPoint) To the top Note: seedRandom(offset, timeless=false) random() random(maxValOrArray) random(minValOrArray, maxValOrArray) Normalizes the vector so that its length is 1.0. Using the normalize method is a short way of performing the operation div(vec, length(vec)) .
gaussRandom() gaussRandom(maxValOrArray) gaussRandom(minValOrArray, maxValOrArray) noise(valOrArray) To the top linear(t, tMin, tMax, value1, value2) linear(t, value1, value2) If minValOrArray and maxValOrArray are Numbers, this method returns a number in the range from minValOrArray to maxValOrArray .
ease(t, value1, value2) ease(t, tMin, tMax, value1, value2) easeIn(t, value1, value2) easeIn(t, tMin, tMax, value1, value2) easeOut(t, value1, value2) easeOut(t, tMin, tMax, value1, value2) To the top.
radiansToDegrees(radians) To the top layer(index) layer(name) layer(otherLayer, relIndex) marker Note: marker.key(index) marker.key(name) marker.nearestKey(t) marker.numKeys Argument type: degrees is a Number. Converts degrees to radians. Return type: Number.
numLayers activeCamera width height duration ntscDropFrame displayStartTime frameDuration shutterAngle shutterPhase bgColor pixelAspect name To the top width Returns the total number of composition markers in the composition. Return type: Number. Returns the number of layers in the composition.
height duration frameDuration ntscDropFrame pixelAspect name To the top Note: source sourceTime(t = time) effect(name) effect(index) mask(name) mask(index) Returns the width of the footage item, in pixels. Return type: Number. Returns the height of the footage item, in pixels.
To the top width height index parent hasParent inPoint Note: outPoint startTime hasVideo hasAudio active enabled audioActive sampleImage(point, radius = [.5, .5], postEffect=true, t=time) Layer General attributes and methods (expression reference) Return type: Number.
Note: To the top anchorPoint position scale rotation opacity audioLevels timeRemap marker.key(index) marker.key(name) Argument type: point is an Array [2], radius is an Array [2], postEffect is a Boolean, and t is a Number.
marker.nearestKey(t) marker.numKeys name To the top orientation rotationX rotationY rotationZ lightTransmission castsShadows acceptsShadows acceptsLights ambient diffuse Argument type: name is a String. Returns the MarkerKey object of the layer marker with the specified name.
specular shininess metal To the top toComp(point, t=time) fromComp(point, t=time) toWorld(point, t=time) fromWorld(point, t=time) toCompVec(vec, t=time) Returns the diffuse component value as a percentage. Return type: Property. Returns the specular component value as a percentage.
fromCompVec(vec, t=time) toWorldVec(vec, t=time) fromWorldVec(vec, t=time) fromCompToSurface(point, t=time) To the top pointOfInterest zoom depthOfField focusDistance aperture blurLevel active Transforms a vector from layer space to composition space.
To the top pointOfInterest intensity color coneAngle coneFeather shadowDarkness shadowDiffusion To the top active param(name) param(index) To the top Note: in the Timeline panel.
maskOpacity maskFeather maskExpansion invert To the top value valueAtTime(t) Note: velocity velocityAtTime(t) speed speedAtTime(t) wiggle(freq, amp, octaves=1, amp_mult=.5, t=time) for direct numerical manipulation through expressions. Return type: Property.
temporalWiggle(freq, amp, octaves=1, amp_mult=.5, t=time) smooth(width=.2, samples=5, t=time) loopIn(type="cycle", numKeyframes=0) amp_mult is the amount that amp is multiplied by for each octave. This value controls how fast the harmonics drop off.
loopOut(type="cycle", numKeyframes=0) loopInDuration(type="cycle", duration=0) loopOutDuration(type="cycle", duration=0) key(index) key(markerName) nearestKey(t) numKeys .
name To the top value Returns the index of a property relative to other properties in its property group, including property groups within masks, effects, text animators, selectors, shapes, trackers, and track points. Return type: String. Returns the name of the property or property group.
time index To the top duration comment chapter url frameTarget eventCuePoint Return type: Number. Returns the time of the keyframe. Return type: Number. Returns the index of the keyframe. MarkerKey attributes (expression reference) You can access values for composition markers and layer markers using the same methods.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy cuePointName parameters Return type: String. Contents of cue point Name field in marker dialog box. Return type: associative array of String values.
Expression examples To the top To the top Online resources for expression examples Expression example: Make a layer revolve in a circle Expression example: Rotate the hands of a clock Expression examp.
To the top To the top You can create an expression without using properties from other layers. For example, you can make a layer revolve in a perfect circle. 1 . Select a layer, press P to reveal its Position property in the Timeline panel, and Alt -click (Windows) or Option -click (Mac OS) the stopwatch to the left of the property name.
To the top To the top To the top (thisComp.layer(1).position + thisComp.layer(2).position)/2 Expression example: Create a trail of images This example expression instructs a layer to be at the same position as the next higher layer in the Timeline panel, but delayed by a specified amount of time (in this case, 0.
To the top To the top To the top To the top Apply the following expression to the Opacity property of a 3D layer: startFade = 500; // Start fade 500 pixels from camera. endFade = 1500; // End fade 1500 pixels from camera. try{ // Check whether there's a camera.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Expression example: Start or stop wiggle at specific time You can use any expression in place of the wiggle expression used here, to begin and end the influence of any expression at a specific time.
Scripts To the top Note: Loading and running scripts Scripts included with After Effects Writing and modifying scripts Where to find additional useful scripts A script is a series of commands that tells an application to perform a series of operations.
To the top To the top To the top You can use this command - line technique—together with the software that comes with a customizable keyboard—to bind the invocation of a script to a keyboard shortcut.
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Rendering and Exporting 743.
Basics of rendering and exporting To the top Note: Rendering and exporting overview Supported output formats Render and export with the Render Queue panel Collect files in one location Specify filenam.
Note: Note: Note: The Render Queue panel The primary way of rendering and exporting movies from After Effects is through the Render Queue panel. (See Render and export with the Render Queue panel .) You do not need to render a movie multiple times to export it to multiple formats with the same render settings.
Note: To the top Note: 3 . Encode the file as you normally would by choosing presets and an output location in Adobe Media Encoder. In After Effects CC, you can add a composition to Adobe Media Encoder from After Effects.
FLV, F4V H.264 and H.264 Blu - ray MPEG - 2 MPEG - 2 DVD MPEG - 2 Blu - ray MPEG - 4 MXF OP1a (After Effects CS5.5 and later) Export support for additional video codecs in an MXF OP1a wrapper: (After .
To the top Render and export with the Render Queue panel Use the Render Queue panel to render compositions, apply render settings and output module settings, and obtain information on the rendering process. When you place a composition into the Render Queue panel, it becomes a render item .
Unqueued Queued Needs Output Failed User Stopped Done After an item has been rendered, you can import the finished movie as a footage item by dragging its output module from the Render Queue panel into the Project panel.
Message RAM Renders Started Total Time Elapsed Most Recent Error and then resume rendering and exporting. To pause rendering, click Pause. To resume rendering, click Continue. While rendering is paused, you cannot change settings or use After Effects in any other way.
To the top All For All Comps For Selected Comps For Queued Comps None (Project Only) Generate Report Only Obey Proxy Settings Note: Reduce Project Change Render Output To Enable ‘Watch Folder’ Render Christopher Green provides a script (Queue_Comp_Sections.
Maximum Number Of Machines Note: To the top folder rendering over a network. After Effects also includes a render control file called [project name] _RCF.txt, which signals to watching computers that the project is available for rendering. After Effects and any installed render engines can then render the project together across a network.
Note: Note: To the top To the top Note: To make a file naming template the default template, hold down Ctrl (Windows) or Command (Mac OS) as you choose the template from the Output To menu. 1 . In the Render Queue panel, choose Custom from the Output To menu.
Note: Note: Log Click the triangle to open the Render Settings menu, or click the underlined text to open the Render Settings dialog box. Change render settings To change render settings for a render .
Quality Resolution Note: Disk Cache Use OpenGL Renderer (CS5.5, and earlier) Proxy Use Effects Solo Switches Guide Layers Color Depth Frame Blending Field Render 3:2 Pulldown Motion Blur Time Span Fra.
To the top Note: Note: Output modules and output module settings Output module settings apply to each render item and determine how the rendered movie is processed for final output. Use output module settings to specify file format, output color profile, compression options, and other encoding options for final output.
Note: Format Include Project Link Include Source XMP Metadata Post - Render Action Format Options Channels Note: Depth Color Starting # Resize To edit an existing output module settings template, choose a template from the Settings Name menu, click Edit, and specify output module settings.
Crop Audio Output Note: To the top Note: To the top frame. Select Low Resize Quality when rendering tests, and select High Resize Quality when creating a final movie. (See Scaling a movie down and Scaling a movie up.) Used to subtract or add rows or columns of pixels to the edges of the output movie.
Quality Key Frame Every Frame Reordering To the top Note: None Import Import & Replace Usage QuickTime (MOV) encoding and compression settings 1 . In the Render Queue panel, click the underlined name of the output module. 2 . Choose QuickTime from the Format menu.
Set Proxy To the top Note: Note: Note: Sets the rendered file as a proxy for the specified item. Drag the pick whip to the item in the Project panel item to specify it. Render with OpenGL OpenGL is a set of standards for high - performance processing of 2D and 3D graphics on the graphics processing unit (GPU) for a wide variety of applications.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Blur, Ramp, Sharpen, Tint, and Turbulent Noise All blending modes except .
Converting movies To the top Note: Convert footage items between video formats Convert DV footage from PAL to NTSC using pulldown Scaling a movie down Scaling a movie up Create a composition and rende.
To the top To the top Nest the composition Resize the composition 9 . Click the Render button to render your movie. Convert DV footage from PAL to NTSC using pulldown Because After Effects can easily convert film (24 fps) to video (29.
Note: Crop the composition Note: Crop to a region of interest Note: Render the composition at a reduced resolution Note: To the top Nest the composition Note: Resize the composition Note: Crop the com.
To the top Note: Note: To the top Note: To the top frames to Photoshop to change the image size and then import the frames back into After Effects. For a list of plug - ins that provide high -quality scaling—including some designed to create high - definition images from standard - definition sources— see the Toolfarm website .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: When you render a composition containing separated footage, set the Field Rendering option to the same field order as your video equipment.
Export an After Effects project as an Adobe Premiere Pro project Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: You can export an After Effects project as an Adobe Premiere Pro project without rendering.
Rendering and exporting for Flash Professional and Flash Player To the top Export a composition as an XFL file to Flash Professional Render and export a composition as a SWF file Render and export a composition as an FLV or F4V file You can render and export movies from After Effects as movies that can play in Adobe Flash Player.
Ignore Rasterize To Note: This video from the After Effects CS5: Learn By Video series demonstrates export to XFL. Exporting a composition to XFL format 1 . To export the selected composition as an XFL file, choose File > Export > Adobe Flash Professional (XFL).
Note: appearance of the document in Flash Professional matches the appearance of the composition in After Effects. Scale values in the XFL file preserve the appearance of the layers.
To the top To be rasterized as an individual layer, a layer must meet these requirements: The layer is either based on a video footage item (including a solid) or is a shape layer or text layer. (The layer is not a camera layer, light layer, or audio - only layer.
Note: JPEG Quality Unsupported Features Audio Bit Rate Loop Continuously Prevent Editing Include Object Names Flatten Illustrator Artwork Include Layer Marker Web Links created for each frame in which the layer is visible.
_blank _parent _self _top _level0 _level1 Layers Masks Effects Resolution Adobe Illustrator files To the top Target commands for web links in a SWF file Loads the web link into a new browser window. Loads the web link into the parent frame of the frame in which the current file is playing.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: After Effects CS4 and earlier also provided the option to encode video data in FLV files using the Sorenson Spark video codec.
Rendering and exporting still images and still -image sequences To the top To the top Rendering and exporting a sequence of still images Render and export a single frame of a composition Rendering and.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To export a single frame as an Adobe Photoshop file with layers, choose Composition > Save Frame As > Photoshop Layers.
Automated rendering and network rendering To the top Automating rendering with aerender Network rendering with watch folders and render engines Render a still -image sequence with multiple computers Segment settings Automating rendering with aerender The executable file aerender (aerender.
ERRORS : Reports only fatal and problem errors. ERRORS_AND_PROGRESS : (default) Reports errors and progress of rendering. –reuse Reuse the currently running instance of After Effects (if found) to perform the render.
To the top Lloyd Alvarez provides a script on his After Effects Scripts website that takes items that are ready to render in the render queue and sends them to render in the background using aerender.
Windows locations: C:Users<username>Documents C:UsersPublicDocumentsAdobe You cannot use a watch folder and multiple render engines to simultaneously render a single movie file. However, you can use multiple render engines to render a movie as a sequence of still - image files.
Note: Note: Does the license agreement for the plug -in allow installing multiple copies on a network for the purposes of rendering ? Are there any other limitations or tips that apply to using the pl.
Note: Note: To the top Note: Note: Track dependencies of a watch - folder render You can track render dependencies when you render over a network by setting Post - Render Action options. When you set these options, After Effects confirms that all of the items that it needs to render are ready and available.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: Effects. When using third - party plug - ins, also be sure that the same plug - ins are available on all computers and that you have sufficient licenses for the plug - ins.
Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté Adobe After Effects c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du Adobe After Effects - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation Adobe After Effects, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le Adobe After Effects va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le Adobe After Effects, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du Adobe After Effects.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le Adobe After Effects. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei Adobe After Effects ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
