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Select the video file you want to use in this task and click Open. Figure 56 Composition panel, clip with Lens Flare applied The video file appears in the Project panel. Drag the video clip to the Motion Tracker composition in the Timeline panel. The clip appears as a layer. Click the clip layer to display it in the Composition panel. Make sure the CTI is over the clip in the Timeline panel and the clip is showing in the Composition panel. Analyze Forward button A lens flare appears in the Composition panel Figure Briefly, it consists of a search region outer box , feature region inner box , and attach point plus sign.

After Effects Help explains how to adjust these features. Click Edit Target. The Motion Target dialog box appears Figure Note: If you had more than one object or effect to choose from, there would have been additional Effect Point Control selections.

Figure 59 Motion Target dialog box In the Layer panel, click in the search region of the Track Point 1 pointer the outer box and drag the pointer to the object you want to track. Figure 60 Track Point pointer feature region Check that the CTI is at the beginning of the video. The video plays and the Track Point 1 pointer follows the target you selected. In the Tracker Controls panel, click Apply. Play the Timeline and watch the Lens Flare follow the object on-screen Figure The technique was invented by Max Fleischer in , when he projected motion film images onto a frosted glass panel.

He traced the images on the glass, one frame at a time, creating realistic animation. His original equipment was called the rotoscope. For example, an object or character appears in color when everything else is black and white Figure 1. Anytime it looks like someone has drawn or painted over the movie, frame-by-frame, you are probably looking at the result of rotoscoping.

Figure 1 Rotoscoping before and after These days, rotoscoping refers to the technique of creating a matte for a moving element on one layer so that it can be composited over another background layer. The Roto Brush tool in After Effects makes this process a lot more efficient by helping you select and mask each frame in less time and with greater accuracy.

Keying and rotoscoping are not the same process, but understanding keying will help you understand what you hope to accomplish by rotoscoping. With keying, you have shot your footage with a foreground and background that you can easily separate and replace. For example, you may have shot your subjects in front of a blue or green screen.

Rotoscoping allows you to work with your existing footage that was shot in its natural environment. To complete the tasks in this guide, you will need to import one short video clip just a few seconds with some motion.

The best sort of video clip has at least one moving object in the foreground that you would like to isolate from the rest of the scene. To add the foreground and background layers: 1. Start After Effects. The Composition Settings dialog box appears Figure 2. Name the composition Rotoscoping, select an appropriate video preset, and click OK. Browse to locate your motion video clip, select it, and click Open.

The video file appears in the Project panel. Drag the video clip to the Rotoscoping composition in the Timeline panel. Figure 2 Composition Settings dialog box This copy of the clip will be the foreground. Drag a second copy of the video clip to the Rotoscoping composition in the Timeline panel.

This copy of the clip will be the background. There are now two copies of the same video in the Rotoscoping composition Timeline Figure 3. You can do this by using the Pen tool to carefully select objects in every frame.

To create a matte by rotoscoping: 1. Double-click the video clip in the top layer of the Rotoscoping composition Timeline. The video opens in the Layer panel Figure 4. Click the First Frame button in the Preview panel to move the current time indicator CTI to the first frame of the selected video clip Figure 5. Work with the Roto Brush in full resolution for more accurate selection. Select the Roto Brush tool in the Tools panel Figure 6. With the Roto Brush tool selected, the pointer changes to a green circle with a plus sign.

In the Layer panel, drag over an object you want to isolate in the foreground Figure 7. The Roto Brush paints in green, and After Effects selects an area. The alpha boundary for the matte is defined by a bright colored line pink by default. Drag over another part of the object to add to the selection. More of the object is selected. When you remove from the selection, the Roto Brush changes to a red circle with a minus sign and paints in red Figure Note: To paint small regions, you can click the Roto Brush instead of dragging it.

Figure 11 Roto Brush selection in Alpha Boundary view mode Refining a Roto Brush selection Before you move to the next frame and continue rotoscoping, you can refine your selection by using the options in the Effect Controls panel. To refine a Roto Brush selection: 1. Turning off Alpha Boundary view mode helps you see the boundary of the matte Figure Free courses and tutorials to download for free as PDF files.

Introduction After Effects CC is an application that allows you to create dynamic, visually stunning motion graphics and cinematic visual effects. Free courses and tutorials to download for free as PDF files. Introduction After Effects CC is an application that allows you to create dynamic, visually stunning motion graphics and cinematic visual effects. In the recent period more and more people are interested in taking adobe after effect courses and tutorials. The course includes tutorials that is adjusted for beginner level users which make it easy to learn and actually quite fun and entertaining.

Learning has never been so simple and easy. The best part is that our list of computer courses is growing every day. We know that these useful tutorials are updated and upgraded all the time, so we are adding new courses and tutorials as soon as possible. With this adobe after effect tutorial you will master this important program and increase your chances for getting the job position that you have always wanted!

When OpenGL does not support a feature, it simply creates a preview without using that feature. For example, if your layers contain shadows and your OpenGL hardware does not support shadows, the preview will not contain shadows. Complex compositions can require a large amount of memory to render, and the rendered movies can take a large amount of disk space to store.

The Paint and Brushes panels open. The Composition panel is replaced by the Layer panel, for easy access to the tools and controls you need to paint in your compositions. Saving a custom workspace You can save any workspace, at any time, as a custom workspace.

You can click Default to restore the default brightness setting. You can narrow the results to view only Adobe Help and support documents. You can easily obtain these updates through Adobe Application Manager, as long as you have an active Internet connection.

Adobe Application Manager automatically checks for updates available for your Adobe software. Click Done to accept the new settings. Compositions include one or more layers—video, audio, still images—arranged in the Composition panel and in the Timeline panel. A standard preview plays your composition from the current-time indicator to the end of the composition, usually more slowly than real time.

A RAM preview allocates enough RAM to play the preview with audio as fast as the system allows, up to the frame rate of the composition. You can use them to create great-looking animations quickly and easily. You will animate the travel show ID so that it fades to become a watermark that can appear in the lower-right corner of the screen during other TV programs. In this exercise, you will jump to Adobe Bridge to import the still image that will serve as the background of your composition.

If you receive a message about adding an extension to Adobe Bridge, click OK. Adobe Bridge opens, displaying a collection of panels, menus, and buttons. Click the arrows to open nested folders. You can also double-click folder thumbnail icons in the Content panel. The Content panel updates interactively. In Lesson 1, you created the composition based on footage items that were selected in the Project panel.

You can also create an empty composition, and then add your footage items to it. This preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition to NTSC standards. Importing the foreground element Your background is now in place. You should now see both the background image and the logo in the Composition panel and in the Timeline panel. The composition opens in its own Timeline and Composition panels.

Leave all other options in the Character panel at their defaults. Leave all other options in the Paragraph panel at their defaults. Show Grid to make the nonprinting grid visible to help you position objects. Then click the triangle next to Stylize to expand the category. The text appears, letter by letter, until the words travel Europe are fully onscreen at Precomposing is a way to nest layers within a composition. Precomposing moves the layers to a new composition.

This new composition takes the place of the selected layers. When you want to change the order in which layer components are rendered, precomposing is a quick way to create intermediate levels of nesting in an existing hierarchy.

Then click OK. This new, precomposed layer contains the three layers that you selected in step 1. Press the spacebar to stop playback at any time. Adding transparency Many TV stations display logos semi-transparently in the corner of the frame to emphasize the brand. Click the stopwatch icon to set an Opacity keyframe at this location. When you place your composition in the render queue, it becomes a render item that uses the render settings assigned to it.

You will prepare this animation for two formats so that it can be used for broadcast purposes as well as on a website. The Render Queue panel opens automatically. The SWF format is a widely used vector graphics and animation format for the web—a compact, binary format that can contain audio and vector objects.

Before exporting to SWF, you need to adjust the composition a bit for online display. So you need to reposition and resize the layers for the new output medium, including moving the logo to the top of the composition. Leave all other settings at their defaults, and then click OK.

Nested layers are rasterized. Precomposing moves the layers to a new composition, which takes the place of the selected layers. This lesson will take approximately 2 hours to complete. You can animate text layers by manually creating keyframes in the Timeline panel, using animation presets, or using expressions. You can even animate individual characters or words in a text layer.

Importing the footage You need to import two footage items to begin this lesson. Arrange the layers so that compass. You can create and edit text directly on the screen in the Composition panel, and quickly change the font, style, size, and color of the text.

You can add horizontal or vertical text anywhere in a composition. The Tools, Character, and Paragraph panels contain a wide range of text controls. Use point text to enter a single word or a line of characters; use paragraph text to enter and format text as one or more paragraphs.

As with layers imported from Illustrator, text layers are continuously rasterized, so when you scale the layer or resize the text, it retains crisp, resolution-independent edges. The text you enter appears in a new text layer. The small line through the I-beam marks the position of the text baseline.

Then press Enter on the numeric keypad to exit text-editing mode and to select the text layer in the Composition panel. Or, you can select the layer name to exit text-editing mode. Animating Text Using the Character panel The Character panel provides options for formatting characters. If no text is highlighted and no text layers are selected, the changes you make in the Character panel become the new defaults for the next text entry.

If a type layer is selected, the text in the Composition panel takes on the newly selected font. Using the Paragraph panel Use the Paragraph panel to set options that apply to an entire paragraph, such as alignment, indentation, and leading. For point text, each line is a separate paragraph.

You can use the Paragraph panel to set formatting options for a single paragraph, multiple paragraphs, or all paragraphs in a text layer. This aligns horizontal text to the center of the layer, not to the center of the composition. Now you can position the text layer using a grid.

Press Shift after you start dragging to constrain the movement and help you position the text. After applying an animation preset, you can customize it and save it to use again in other projects. To help you choose the right animation preset for your projects, you can preview them in Adobe Bridge. Adobe Bridge plays a sample of the animation in the Preview panel. Nothing appears to change in the composition. Previewing a range of frames Now, preview the animation.

The letters appear to evaporate into the background. It looks great—but you want the letters to fade in and remain onscreen, not disappear. So you will customize the preset to suit your needs. Customizing an animation preset After you apply an animation preset to a layer, all of its properties and keyframes are listed in the Timeline panel. The letters now fade into rather than disappear from the composition.

Previewing the scale animation Now, preview the change. The scale animation ends shortly before The movie title fades in and then scales to a smaller size. In nature, nothing comes to an absolute stop. Instead, objects ease into and out of starting and stopping points. The keyframe becomes a leftpointing icon.

The keyframe becomes a right-pointing icon. Animating using parenting The next task is to make it appear as if the virtual camera is zooming away from the composition.

The text scale animation you just applied gets you halfway there, but you need to animate the scale of the compass as well. Road Trip. This sets the Road Trip text layer as the parent of the compass layer, which in turn becomes the child layer. As the child layer, the compass layer inherits the Scale keyframes of its parent layer Road Trip. Not only is this a quick way to animate the compass, but it also ensures that the compass scales at the same rate and by the same amount as the text layer.

Road Trip because Road Trip is now the second layer. Alternatively, you can select the compass layer in the Timeline panel and press P to reveal its Position property. Then enter , Both the text and the compass scale down in size, so that it appears that the camera is moving away from the scene. If you entered Position values for the compass, select the compass layer, and press P to hide the Position property, too.

Creating a parenting relationship between layers synchronizes the changes in the parent layer with the corresponding transformation values of the child layers, except opacity. For example, if a parent layer moves 5 pixels to the right of its starting position, then the child layer also moves 5 pixels to the right of its starting position. A layer can have only one parent, but a layer can be a parent to any number of 2D or 3D layers within the same composition. Parenting layers is useful for creating complex animations such as linking the movements of a marionette or depicting the orbits of planets in the solar system.

Animating imported Photoshop text If all text animations involved just two short words, such as Road Trip, life would be easy. But in the real world, you may often have to work with longer blocks of text, and they can be tedious to enter manually. Because you imported the credits. Click OK if you see a warning about missing fonts. Then change the k to a c in documentary. This is because the original layer name was created in Photoshop. We used Myriad Pro.

Leave all other settings as they are. Then select layer 2 again. Then, in the Text Color dialog box, select a green color. The easiest way to do this is to use another text animation preset. You should see two keyframes for Range Selector 1 Start: one at , and one at These presets also provide placeholder text with formatting when you apply them, so in this exercise, you will enter and format your text after you apply the animation preset.

The text on the path is obscured by the movie title. Customizing the preset path First, you need to change the placeholder word pipes to directed by. By animating tracking, you can make words appear to expand outward as they appear onscreen from a central point.

Before you animate it, change it to your own name. Currently, the text is onscreen for the duration of the composition. That will change once you animate it. The animation should also occur faster. The letters expand as they appear onscreen, and stop animating at the last keyframe. Then click the stopwatch icon to set an Opacity keyframe. Using a text animator group Text animator groups let you animate individual letters within a block of text in a layer.

Then expand the layer to see its Text property group name. Using a combination of animator properties and selectors, you can create complex text animations that would otherwise require painstaking keyframing. Most text animations require you to animate only the selector values—not the property values. Consequently, text animators use a small number of keyframes even for complex animations.

Each animator group includes a default range selector. Range selectors constrain the animation to particular letters in the text layer.

You can add additional selectors to an animator group, or apply multiple animator properties to the same range selector. Skewing the range of text Now, make that middle name shake and shimmy by setting Skew keyframes. The other names in the line of text remain steady. This adds an Easy Ease to all keyframes. To remove only one animator, select its name in the Timeline panel and press Delete. Then press N to set the end bracket for the work area at the end of the composition.

Animating Text Cleaning up the path animation Currently, the words directed by fade in and out as they wind along the Pipes path preset. Now, directed by will be visible throughout the composition. Because the middle keyframe now the last keyframe is set to Easy Ease, the words directed by come gently to rest above your name. Adding motion blur Motion blur is the blur that occurs as an object moves. Now, apply motion blur to the layers in the credits composition.

Then click the Enable Motion Blur button at the top of the Timeline panel so that you can see the motion blur in the Composition panel.

This process may take a while, depending on the size of the project. Give yourself a pat on the back. You just completed some hard-core text animations. You can animate the text in a text layer using special text animator properties and selectors. Navigate to folders containing categories of text animation presets, such as Blurs or Paths, and watch samples in the Preview panel. When a layer is made a parent to another layer, the other layer is called the child layer.

Creating a parenting relationship between layers synchronizes the changes in the parent layer with corresponding transformation values of the child layers. This lesson will take approximately an hour to complete. You can animate shapes, apply animation presets, and add Repeaters to intensify their impact. You can customize and transform an individual shape or its entire layer to create interesting results.

In this lesson, you will use shape layers to build a dynamic background for the introduction of a reality series called DJ Quad Master. The period indicates that there are no units in that position. To specify 10 minutes, type Shape attributes are all represented in the Timeline panel, and you can animate each setting over time. The same drawing tools can create both shapes and masks.

Masks are applied to layers to hide or reveal areas of an image, while shapes have their own layers. When you select a drawing tool, you can specify whether the tool draws a shape or a mask. Press Enter or Return to accept the new layer name.

Drawing a polygon By default, the Polygon tool draws a shape using the settings of the last shape drawn with that tool. However, by adjusting the points, position, rotation, outer radius, outer roundness, and other values, you can dramatically alter the initial shape. Select the Solid Color icon , and then click OK. Click OK. Twisting a shape The Twist path operation rotates a path more sharply in the center than at the edges.

Positive values twist clockwise; negative values twist counterclockwise. To move the shapes closer together, use a smaller value for the x axis; to move them farther apart, use a larger value. Now the shapes are farther apart.

To move all of the shapes, you need to move the entire shape layer. Change the Position to , The shape layer is now in the upper-left corner of the composition. Rotating shapes The suns should rotate on the background. This setting causes the shape to rotate three times in 10 seconds.

Blending shapes with the background The rotating suns look good, but they contrast with the background too much. The value would apply to all the duplicates as well. Press Enter or Return again to accept the new name. A polygon is simply a star without an Inner Radius or Inner Roundness property; both tools create shapes called polystars.

Drawing a star The Star tool is grouped with the other shape tools. To draw a star, drag the Star tool in the Composition panel. The radius values change the shape of the star. Negative values pucker a shape; positive values bloat it. This star shape will go well in the background. Now you can duplicate and animate it. Now there are six stars on the screen. When you change the Transform properties for the Repeater, the change is multiplied by the number of copies created.

The same concept applies to each of the Transform properties. Each star is more transparent than the one before it. Each duplicate star will be smaller than the one before it.

Now you want to animate each star to rotate around its own axis. Incorporating video and audio layers The background is in place. Now you can add the video of the DJ and the audio track that accompanies it.

The DJ. Trimming the work area The DJ. If you rendered this movie now, the DJ would disappear halfway through the movie. You can drag the current-time indicator in the Timeline panel, or click the Current Time box and then type

 
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Add text and work with type objects.Adobe After Effects CS5 Tutorials –

 
Then add other effects по этой ссылке the Effects panel to see how they look. An open path has a beginning point that is not the same as its end point; for example, a straight line is an open path. The footage items appear in the Project panel. You can /8592.txt the image with the Hand tool. For example, a common use of rotoscoping is to trace an object, using the path as a mask to separate it from the background so you can work with it separately. This course is adobe after effects cs5 tutorials for beginners pdf free for a strictly personal use, the file is of format pdf level Beginnerthe size of this file is Orange corner tabs appear around the active view.

 
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