Looking for:
Adobe after effects cc classroom in a book pdf free free |
Adobe after effects cc classroom in a book pdf free free - Table of contents
Adobe after effects cc classroom in a book pdf free free - Collection and Use of Information
About the Graph Editor To view and manipulate all aspects of effects and animations, including effect property values, keyframes, and interpolation, use the Graph Editor. The Graph Editor represents changes in effects and animations as a two-dimensional graph, with playback time represented horizontally from left to right. In layer bar mode, on the other hand, the time graph represents only the horizontal time element, without a visual representation of changing values.
There are two types of graphs available in the Graph Editor: value graphs, which show property values; and speed graphs, which show rates of change of property values. You can view and work on one property at a time, or you can view multiple properties simultaneously. The gray numbers to the right of the Graph Editor indicate the values for the reference graph.
Panning and zooming in the Graph Editor To pan vertically or horizontally, drag with the Hand tool. To invoke the Hand tool momentarily, press and hold the spacebar. To pan vertically, spin the mouse scroll wheel. To pan horizontally, press the Shift key as you spin the mouse scroll wheel. To zoom in, click with the Zoom tool. Auto Zoom Height toggles Auto Zoom Height mode, which automatically scales the height of the graph so that it fits the height of the Graph Editor.
The horizontal zoom must still be adjusted manually. Fit Selection adjusts the value vertical and time horizontal scale of the graph to fit the selected keyframes in the Graph Editor. Fit All adjusts the value vertical and time horizontal scale of the graph to fit all of the graphs in the Graph Editor.
Answers 1 The Solo switch isolates the layer or layers, making other layers inactive. Soloing layers can speed animating, previewing, and rendering, as well as make it easier to focus on particular layers.
You can use it to stretch, shrink, skew, or twist an image, or to simulate perspective or movement that pivots from the edge of a layer, such as a door opening. They learn to create masks in After Effects using the Pen tool. Students can also use Illustrator to help them create and use masks in After Effects. Enhancing animation In a video production workflow, Illustrator has much more to offer than a role as a specialized application for still graphics.
The pen tool and Bezier paths that are fundamental to drawing in Illustrator are also used in video production applications to control motion paths and timelines. You can use Illustrator paths not just as source graphics, but also as motion paths in After Effects. You can also use the warping, blending, and layer features in Illustrator to prepare shapes for morphing and tweening. Creating motion paths in Illustrator The path-drawing features in Illustrator are well-suited to any task that involves drawing a path.
Motion graphics typically depend on motion paths, and you can draw motion paths more quickly and precisely in Illustrator than you can in After Effects.
In After Effects, you create a motion path by animating the Position property and setting a different position for each keyframe. You then refine the path by dragging handles on the path. As students saw in lesson 5, this method works well for freeform paths, but it can be time-consuming to edit a motion path into a regular shape, such as a perfect circle.
Instead of building a motion path from two original points, in Illustrator, you can draw a path using the tool that most efficiently creates the shape you want. For example, consider animating a layer along a perfect semicircular arc. For a quick alternative, draw the shape you want in Illustrator and copy and paste it into After Effects. The path becomes a motion path, and After Effects adds start and end keyframes to the layer in the Timeline panel.
If a motion path was already present, pasting a path replaces the previous motion path. To change the duration of the animation, drag either keyframe. Answers 1 Add is the default mask mode. It combines the transparency values of any masks that overlap on the same layer.
In Lesson 8, students use the Puppet tools to animate a character slipping on a banana peel. These notes give you additional information about the Puppet tools and other distortion effects. About the Puppet tools Use the Puppet tools to quickly add natural motion to raster images and vector graphics, including still images, shapes, and text characters.
Instead, use the Puppet tools in the Tools panel to directly apply and work with the effect in the Layer or Composition panel. The Puppet effect works by deforming part of an image according to the positions of Deform, Overlap, and Starch pins that you place and move. About the Puppet Pin tool With the Puppet Pin tool, you place and move Deform pins, which determine how much deformation takes place in particular areas of an image.
About the Puppet Overlap tool With the Puppet Overlap tool, you place Overlap pins, which determine which parts of an image appear in front of others when distortion causes parts of the image to overlap each other. You apply Overlap pins to the original outline, not to the deformed image. Each Overlap pin has the following properties: In Front—The apparent proximity to the viewer. The influence of Overlap pins is cumulative, meaning that the In Front values are added together for places on the mesh where extents overlap.
Extent—How far from the Overlap pin its influence extends. The influence ends abruptly; it does not decrease gradually. Apply Starch pins to the original outline, not to the deformed image. Each Starch pin has the following properties: Amount—The strength of the stiffening agent.
The influence of Starch pins is cumulative, meaning that the Amount values are added together for places on the mesh where extents overlap. If you notice image tearing near a Deform pin, use a Starch pin with a very small Amount value less than 0. Extent—How far from the Starch pin its influence extends. The influence ends abruptly; it does not decrease gradually with distance from the pin.
You do not use it to place pins; instead, you use the Puppet Sketch tool to sketch the motion path of Deform pins in real time, or at a speed that you specify. In fact, if your composition contains audio, you can sketch the motion path of the pins in time with the audio.
To configure settings for recording, click Record Options in the Tools panel. The following options are available: Speed—The ratio of the speed of the recorded motion to playback speed. Smoothness—Determines how smooth the motion is. Creating fewer keyframes makes the motion smoother. Use Draft Deformation—Ignores Starch pins in the draft distortion displayed during recording. This can improve performance for a complex mesh. To use the Puppet Sketch tool to record animation, select the Deform pin or pins you want to animate and go to the time at which to begin recording motion.
Recording begins when you click to begin dragging, and it ends when you release the mouse button. The color of the outline for the mesh for which motion is being sketched is the same as the color of the pin. Using the Puppet mesh When you place the first pin, the area within an outline is automatically divided into a mesh of triangles.
To show the mesh, select Show in the Tools panel. When you move one or more Deform pins, the mesh changes shape to accommodate this movement, while keeping the overall mesh as rigid as possible.
The result is that a movement in one part of the image causes natural, life-like movement in other parts of the image. You can have multiple meshes on one layer. This is useful for deforming several parts of an image individually— such as text characters—as well as for deforming multiple instances of the same part of an image, each with a different deformation. The original, undistorted mesh is calculated at the current frame at the time at which you apply the effect. If a layer has none of these things, the Puppet effect uses Auto-trace to create paths from the alpha channel.
These paths are used by the Puppet effect only to determine outlines and do not appear as masks on the layer. For a complex image, or to configure Auto-trace settings, use Auto-trace before using the Puppet tools. To encompass a stroke within a mesh, increase the Expansion value. The default value of 3 pixels encompasses a stroke that extends 3 pixels or less from its path.
If a mask overlaps a text character or shape, outlines are created for the entire character or shape, for the portion that is inside the mask, and for the mask itself. Other distortion effects In addition to the Puppet effect, After Effects provides several other distortion effects. Invite students to experiment with some of the following effects: Bezier Warp—The Bezier Warp effect shapes an image using a closed Bezier curve along the boundary of a layer. The curve consists of four segments.
Each segment has three points a vertex and two tangents. Bulge—The Bulge effect distorts an image around a specified point, making the image appear to bulge toward or away from the viewer, depending on the options you select. Displacement Map—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.
Liquify—The Liquify effect lets you push, pull, rotate, enlarge and shrink areas in a layer. Several Liquify tools distort the brush area when you hold down the mouse button or drag.
The distortion is concentrated at the center of the brush area, and the effect intensifies as you hold down the mouse button or repeatedly drag over an area.
Magnify—The Magnify effect enlarges all or part of an image. Mesh Warp—The Mesh Warp effect applies a grid of Bezier patches over a layer, which you can manipulate to distort areas of an image.
Each corner of a patch includes a vertex and two to four tangents points that control the curvature of the line segment that makes up the edge of the patch. By moving the vertices and tangents, you can manipulate the shape of the curved line segment. Mirror—The Mirror effect splits the image along a line and reflects one side onto the other. Offset—The Offset effect pans the image within a layer. Visual information pushed off one side of the image appears on the opposite side.
At Best quality, the offset is performed with subpixel precision. This effect produces unusual and surprising distortions that can vary greatly depending on the image and the controls you select. Reshape—The Reshape effect transforms one shape into another shape on the same layer, dragging the underlying image with it. The image is distorted to fit the shape of the new area. Ripple—The Ripple effect creates the appearance of ripples in a specified layer, moving away from a center point in concentric circles.
The effect is similar to dropping a stone in a pond. You can also specify that ripples move toward the center point. Smear—Using the Smear effect, you define an area within an image and then move that area to a new location, stretching, or smearing, the surrounding part of the image with it. Use masks to define the area you want to distort. Spherize—The Spherize effect distorts a layer by wrapping a region of the image onto a sphere. Best quality samples the displaced pixels to subpixel precision; Draft quality samples to the nearest whole pixel.
Turbulent Displace—The Turbulent Displace effect uses fractal noise to create turbulent distortions in an image. For example, use it to create flowing water, funhouse mirrors, and waving flags. Twirl—The Twirl effect distorts an image by rotating a layer around its center. The image is distorted more sharply in its center than at the edges, causing a whirlpool result at extreme settings. Warp—Use Warp to distort or deform layers.
Wave Warp—The Wave Warp effect produces the appearance of a wave traveling across an image. You can produce a variety of different wave shapes, including square, circular, and sine waves. Specifying more triangles results in smoother animation, but can also increase rendering time. Lesson 9: Using the Roto Brush Tool Lesson 9 introduces students to the process of rotoscoping, which is commonly used in video production to remove the background of a clip so that you can place the subject in another environment.
The Roto Brush tool makes rotoscoping much faster than the method of manually drawing Bezier masks on most frames individually. In most cases, the Roto Brush tool is also a more efficient alternative to traditional keying methods. After students use the Roto Brush tool, you may want to show students other methods for removing the background and compare them to the Roto Brush tool. The Roto Brush tool isolates the foreground pixels from the background pixels and creates an alpha channel that defines the transparent background.
The resulting alpha channel can be included in certain video formats, such as FLV, for use in other applications. For example, draw a stroke through the middle of the boy, rather than along the edges. The Roto Brush tool defines representative regions; After Effects extrapolates from those regions to determine the boundaries. Instead, draw additional strokes to teach Roto Brush how to recognize the region. You can also use adjust the matte using other features in After Effects, such as by painting on the alpha channel.
Freezing Roto Brush segmentation Click the Freeze button in the lower right corner of the Layer panel to cache and lock segmentation for all Roto Brush spans for the layer within the composition work area.
Frames with frozen segmentation information are represented by blue bars in the Roto Brush span view in the Layer panel. If you click Stop in the Freezing Roto Brush dialog box, After Effects stops adding frames to the cache, but Roto Brush segmentation is still locked with the segmentation information cached up until the point that you clicked Stop. When Roto Brush segmentation is frozen, the pointer for the Roto Brush tool has a slash through it. The rest of the time bar for the layer disappears in the Timeline panel.
All that remains for the layer is the freeze frame icon at the point you froze the frame. About color depth Color depth is the number of bits per channel bpc used to represent the color of a pixel. Channels contain color information: RGB images have channels for red, green, and blue.
The more bits per channel, the more colors can be represented. In After Effects, you can work in 8-bpc, bpc or bpc color mode for each project. Many effects support 16 and 32 bits per channel. Even if your output is 8-bpc Millions Of Colors , you can obtain better rendering quality by having the project or render color depth set at bpc or bpc because of the added precision achieved by calculating color values at higher bit depths.
The headroom provided by working in 32 bpc prevents many kinds of data loss during operations such as color correction and color profile conversion. Transitions between colors are smoother with less visible banding, and more detail is preserved than with 8-bpc color though less than with bpc color. You can import bpc images, including those from Adobe Photoshop, and composite and color-correct footage in bpc mode.
Take advantage of bpc color when performing most After Effects tasks, including layer adjustment, frame blending, 3D compositing, and Cineon file import. The Info panel displays bpc color values with exact precision. For example, an image displayed on a computer monitor may look different from the same image displayed on a video monitor or projected onto a movie screen. Colors shift because different devices use different methods to create color and produce different ranges of colors.
In After Effects, you can compensate for color output between different display devices by first calibrating and profiling your monitor and then specifying color profiles for use with the project. For in-depth information about color management, refer to After Effects Help.
After your monitor is calibrated, the profiling utility lets you save a color profile. The profile describes the color behavior of the monitor—what colors can be reproduced on the monitor and how the color values in an image must be converted so that colors are displayed accurately. Before you calibrate and profile your monitor, make sure that your work environment provides a consistent light level and color temperature. For example, the color characteristics of sunlight change throughout the day and alter the way colors appear on your screen, so keep shades closed or work in a windowless room.
Make sure your monitor has been turned on for at least half an hour. This gives it sufficient time to warm up and produce more consistent output. Make sure your monitor is displaying millions of colors or bits-per-pixel or higher. Remove colorful background patterns on your monitor desktop and set your desktop to display neutral grays.
Busy patterns or bright colors surrounding a document interfere with accurate color perception. 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. Color tab. Most profiling software automatically assigns the new profile as the default monitor profile.
For instructions on how to manually assign the monitor profile, refer to the Help system for your operating system. Answers 1 The gamma values between a computer monitor and a broadcast monitor vary greatly.
What may look good on a computer screen may appear too bright and washed out on a broadcast monitor. In Lesson 12, students also work with 3D elements, adding them to a video using the 3D Camera Tracker. These 3D image files contain red, green, blue, and alpha RGBA channels, as well as auxiliary channels with optional information, such as z depth, object IDs, texture coordinates, and more. After Effects can also import baked camera data, including focal length, film size, and transformation data, from Maya project files as a single composition or two compositions.
That data is incorporated into camera layers that After Effects creates in the Timeline panel. Camera settings You can set up cameras in After Effects to simulate the capabilities of real-world cameras. Use camera settings to configure the camera view to match the settings you use to record video footage or to look at the footage from a new perspective. Name—Specifies the name of the camera.
By default, After Effects assigns the name Camera 1 to the first camera you create in a composition, and all subsequent cameras are numbered in ascending order. Follow the instructions in the book's "Getting Started" section to unlock access to: Downloadable lesson files you need to work through the projects in the book Web Edition containing the complete text of the book, interactive quizzes, and videos that walk you through the lessons step by step What you need to use this book: Adobe After Effects release software, for either Windows or macOS.
Show and hide more. Table of contents Product information. Getting to Know the Workflow Getting started Creating a project and importing footage Creating a composition and arranging layers Adding effects and modifying layer properties Animating the composition Previewing your work Optimizing performance in After Effects Rendering and exporting your composition Customizing workspaces Controlling the brightness of the user interface Collaborating in After Effects Finding resources for using After Effects Review questions Review answers 2.
Creating a Basic Animation Using Effects and Presets Getting started Creating a new composition Working with imported Illustrator layers Applying effects to a layer Applying an animation preset Precomposing layers for a new animation Previewing the effects Adding transparency Rendering the composition Review questions Review answers 3. Working with Shape Layers Getting started Creating the composition Adding a shape layer Creating a self-animating shape Duplicating a shape Creating custom shapes with the Pen tool Positioning layers with snapping Animating a shape Animating using parenting Using nulls to connect points Previewing the composition Review questions Review answers 5.
Animating a Multimedia Presentation Getting started Adjusting anchor points Parenting layers Precomposing layers Keyframing a motion path Animating additional elements Applying an effect Animating precomposed layers Animating the background Adding an audio track Review questions Review answers 6.
Animating Layers Getting started Simulating lighting changes Duplicating an animation using the pick whip Using a track matte to confine animation Animating using the Corner Pin effect Simulating a darkening sky Viewing render times for layers Retiming the composition Review questions Review answers 7.
Working with Masks About masks Getting started Creating a mask with the Pen tool Editing a mask Feathering the edges of a mask Replacing the content of the mask Adjusting the opacity Adding a shadow Creating a vignette Review questions Review answers 8. Performing Color Correction Getting started Adjusting color balance with levels Adjusting color with the Lumetri Color effect Replacing the background Color-correcting using Auto Levels Motion tracking the clouds Replacing the sky in the second clip Color grading Review questions Review answers Creating Motion Graphics Templates Getting started Preparing a master composition Setting up a template Adding properties to the Essential Graphics panel Protecting the timing of a section Exporting the template Review questions Review answers Working with the 3D Camera Tracker About the 3D Camera Tracker effect Getting started Tracking the footage Creating a ground plane, a camera, and the initial text Creating additional text elements Locking an image to a plane with a solid layer Tidying the composition Adding a final object Creating realistic shadows Adding ambient light Adding an effect Previewing the composition Review questions Review answers Learn algorithms for solving classic computer science problems with this concise guide covering everything from fundamental ….
Skip to main content. Start your free trial. Book description Gain hands-on experience creating, manipulating, and optimizing motion graphics for film, video, the web, and mobile devices. Follow the instructions in the book's "Getting Started" section to unlock access to: Downloadable lesson files you need to work through the projects in the book Web Edition containing the complete text of the book, interactive quizzes, and videos that walk you through the lessons step by step What you need to use this book: Adobe After Effects release software, for either Windows or macOS.
Show and hide more. Table of contents Product information. Getting to Know the Workflow Getting started Creating a project and importing footage Creating a composition and arranging layers Adding effects and modifying layer properties Animating the composition Previewing your work Optimizing performance in After Effects Rendering and exporting your composition Customizing workspaces Controlling the brightness of the user interface Collaborating in After Effects Finding resources for using After Effects Review questions Review answers 2.
Creating a Basic Animation Using Effects and Presets Getting started Creating a new composition Working with imported Illustrator layers Applying effects to a layer Applying an animation preset Precomposing layers for a new animation Previewing the effects Adding transparency Rendering the composition Review questions Review answers 3.
Working with Shape Layers Getting started Creating the composition Adding a shape layer Creating a self-animating shape Duplicating a shape Creating custom shapes with the Pen tool Positioning layers with snapping Animating a shape Animating using parenting Using nulls to connect points Previewing the composition Review questions Review answers 5. Animating a Multimedia Presentation Getting started Adjusting anchor points Parenting layers Precomposing layers Keyframing a motion path Animating additional elements Applying an effect Animating precomposed layers Animating the background Adding an audio track Review questions Review answers 6.
Animating Layers Getting started Simulating lighting changes Duplicating an animation using the pick whip Using a track matte to confine animation Animating using the Corner Pin effect Simulating a darkening sky Viewing render times for layers Retiming the composition Review questions Review answers 7.
❿
Comments
Post a Comment