By Mark Christiansen
This is often the one booklet out there to concentration completely at the construction of visible results for After results clients, and is a one-stop source for a person who wishes in-depth reasons that demystify the world of visible results and the way they have been created, due to veteran writer Mark Christiansen's pleasant and obtainable sort. A completely packed, informative learn, this masterful advisor makes a speciality of explaining the fundamental options, positive aspects, and methods which are key to making seamless movie-quality visible results. clients who're happy with After results will discover a valuable evaluation of the basics - handling photos, viewing and enhancing layers, animating style, and extra - to allow them to paintings smarter and extra successfully. Readers of all degrees will examine center ideas for results compositing together with colour matching, keying, rotoscoping, movement monitoring, emulating the digital camera, and concluding with utilizing expressions in After results, written by way of contributor and specialist Dan Ebberts. an extremely beneficial appendix on scripting in After results is integrated to boot, written via Adobe engineer Jeff Almasol. the ultimate component to the e-book delves into artistic explorations, demonstrating expert results which are regularly visible in motion pictures and video games which readers can re-create. Readers also will locate entire assurance of all that is new and makes this model of Adobe's results programa must-have replace, together with the progressive new Roto Brush, all new results resembling the recent Refine Matte impression, new aid for colour Look-Up Tables, workflows that reap the benefits of the all-new 64-bit aid, inclusion of third-party instruments for added creativity, and masses extra.
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Additional resources for Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques
It’s generally considered good form to: . Use standard Unix naming conventions (replacing spaces with underscores, intercaps, dashes, or dots). Put the version number at the end of the project name and the output file, and make them match. tif for version 1. Pad sequential numbers (adding zeros at the beginning) to keep things in order as the overall number moves into multiple digits. And remember, After Effects itself doesn’t always handle long filenames and paths particularly well, so a system that is concise makes key information easier to find in the Project panel.
97 fps, don’t round those to 24 and 30, or strange things are bound to happen: motion tracks that don’t stick, steppy playback, and more. 14). 14 Useful information about any selected item appears atop the Project panel. The caret to the right of the filename reveals specific compositions in which it is used. 21 Chapter 1 Composite in After Effects Fields, Pulldown, and Pixel Aspect Ratio Why an Image Sequence? mov), have the following flaws compared with image sequences: . A bad frame in a rendered image sequence can typically be quickly isolated and replaced; a bad frame will sink an entire QuickTime movie, sometimes costing hours of rework.
You’ll see violet-colored hit areas—six of them—on each panel, and at the four edges of the screen, teal-colored gutters. If you actually drop the Info panel into any of these areas you may notice a pretty major ﬂaw in all of this freedom— poorly placed, the Info panel can generate a lot of extra wasted space. You can drag it elsewhere or Ctrl (Cmd) drag and drop it to tear it off again. You can combine it with the Preview panel to save space: Drag the Info panel over the Preview panel or vice versa using the tab at the upper left.