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Adobe after effects cs3 professional classroom in a book pdf free.Minnetonka Community Education: Fall 2022
About selectors Each animator group includes a default Range selector. You can add additional Range selectors to an animator group or add multiple animator properties that use the same Range selector. In addition to this Range selector, you can add a Wiggly selector. Use the Wiggly selector to create selections that wiggle—vary within a specified amount—over time.
You can add one or more Wiggly selectors to an animator group, and that animator group can contain one or more properties. You can set values for the Start and End properties by changing the values in the Timeline panel or by using the selector bars in the Composition panel. About the Expression selector The Expression selector lets you dynamically specify how much you want characters to be affected by an animator property through the use of expressions.
You can add one or more Expression selectors to an animator group, and that animator group can contain one or more properties. By default, a shape consists of a path, a stroke, and a fill.
Shape layers provide a straightforward way of creating filled shapes in a composition, without having to create a solid layer and then mask it.
In Lesson 4, students use shape layers to create the background for the introduction of a reality series. These notes provide additional information about shapes and shape layers. About shapes You create a shape layer by drawing in the Composition panel with one of the shape tools the Rectangle, Rounded Rectangle, Ellipse, Polygon, or Star tool or the Pen tool.
Shape layers are not based on footage items. Layers that are not based on footage items are sometimes called synthetic layers. Text layers are also synthetic layers and are also composed of vector graphics objects, so many of the rules and guidelines that apply to text layers also apply to shape layers.
There are two varieties of shape paths: parametric shape paths and Bezier shape paths. Parametric shape paths are defined numerically, by properties that you can modify and animate after drawing, in the Timeline panel. Bezier shape paths are defined by a collection of vertices path points and segments that you can modify in the Composition panel.
When you create a shape by dragging with a shape tool in the Composition panel, you create a parametric shape path. You can release the key before you complete the drag operation. You work with Bezier shape paths in the same way that you work with mask paths. All mask paths are Bezier paths. You apply a stroke to a path or fill the area defined by a path with color by applying paint operations.
Shape paths, paint operations, and path operations for shapes are collectively called shape attributes. You add shape attributes using the Add menu in the Tools panel or in the Timeline panel. Each shape attribute is represented as a property group in the Timeline panel, with properties that you can animate, just as you do with any other layer property.
You can save custom shapes as animation presets. Creating shapes and shape layers To create a shape layer, draw in the Composition panel with a shape tool or the Pen tool. By default, if you draw in the Composition panel when a shape layer is selected, you create a new shape within that shape layer, above the selected shapes or group of shapes.
If you draw in the Composition panel using a shape tool or Pen tool when an image layer other than a shape layer is selected, you create a mask. To create a new shape layer, first press F2 to deselect all layers, and then draw in the Composition panel. A polygon is a star without an Inner Radius or Inner Roundness property, so when you create either a polygon or a star, After Effects calls the shape a polystar.
To change the fill and stroke, select the shape, and change the Fill and Stroke settings in the Tools panel. Each shape tool retains the settings of the most recent drawing operation with that tool. For example, if you draw a star and modify the number of points to be 10, the next star you draw will also have 10 points.
To draw a mask on a shape layer, select a shape or Pen tool, and then click the Tool Creates Mask button in the Tools panel. Then, draw the mask. 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 cancel the drawing operation, press Esc. To create a shape the size of the layer, select an existing shape layer or deselect all layers to create a new layer, and then double-click a shape tool in the Tools panel. Creating shapes from text characters You can convert individual text characters into shapes.
To create shapes for all the characters in a text layer, select the text layer in the Timeline panel or the Composition panel; to create shapes for specific characters, select only those characters in the Composition panel. The Create Outlines command extracts the outlines for each character, creates shapes from the outlines, and puts the shapes on a new shape layer.
You can then use these shapes as you would any other shape. The new shape layer is created at the top of the layer stacking order. The new layer contains one shape group for each selected character, plus fill and stroke properties that match those of the text.
The Video switch for the text layer is turned off. About groups and render order for shapes Though the default is for a shape to consist of a single path, a single stroke, and a single fill—arranged from top to bottom in the Timeline panel—much of the power and flexibility of shape layers arises from your ability to add and reorder shape attributes and create more complex compound shapes.
A group is a collection of shape attributes: paths, fills, strokes, path operations, and other groups. Each group has its own blending mode and its 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. For example, you can scale a path without scaling its stroke by grouping the path by itself.
When you add a shape attribute using the Add menu in the Tools panel or Timeline panel, the attribute is added within the group that is selected. You can drag groups and attributes to reorder them in the Timeline panel. By reordering and grouping shapes and shape attributes, you can affect their rendering order with respect to other shapes and shape attributes.
It starts from a layered, imported Photoshop file. These notes provide additional background and teaching material on how After Effects works with Photoshop and Illustrator files. This option, Composition, is helpful when you need to align layers manually.
After Effects imports attributes that were applied in Photoshop, including position, blending modes, opacity, visibility, transparency alpha channel , layer masks, layer groups imported as nested compositions , adjustment layers, common layer styles Drop Shadow, Inner Shadow, Outer Glow, Inner Glow, Bevel and Emboss, and Color Fill , layer clipping paths, vector masks, image guides, and clipping groups.
Preparing layered Photoshop files You can also create a new Photoshop file and add it as the top layer in a composition from within After Effects, or use After Effects to create a new Photoshop file without adding it to a specific composition. Before you import a layered Photoshop file, prepare it thoroughly to reduce preview and rendering time.
Avoid problems importing and updating Photoshop layers by naming them properly. Before you import them into After Effects, do the following: When you import an Illustrator file, After Effects makes all empty areas transparent by converting them into an alpha channel.
However, After Effects does not read embedded color profiles from Illustrator files. To ensure color fidelity, assign an input color profile to the Illustrator footage item that matches the color profile with which the Illustrator file was created.
This option, Composition - Cropped, makes it easier to Importing layers into After Effects makes it possible to prearrange a composition in Photoshop using layers and preserve those layers in After Effects so that they are ready for animation.
Preserving layers is also useful if you want to use a single Photoshop file as a source for both print and dynamic media. If you change a layer name in a Photoshop file after you have imported it into After Effects, After Effects retains the link to the original layer.
However, if you delete a layer, After Effects is unable to find the original layer and lists it as Missing in the Project panel. Photoshop adjustment layers affect the appearance of all layers below them. When you import a Photoshop file containing one or more adjustment layers as a composition, After Effects directly converts the Photoshop adjustment layers to After Effects adjustment layers. Transparency in Photoshop files To continuously rasterize an Illustrator file Photoshop supports a transparent area and one optional layer mask alpha channel for each layer in a file.
You can use these layer masks to specify how different areas within a layer are hidden or revealed. If you import one layer, After Effects combines the layer mask if present with the transparent area and imports the layer mask as a straight alpha channel.
When you import a vector file, After Effects automatically rasterizes it. You can continuously rasterize an Illustrator file or any other vector file at any time while designing your project. Continuously rasterizing causes After Effects to rasterize the file as needed based on the transformation for each frame. A continuously rasterized file generally produces higher quality results, but it may preview and render slower than a rasterized image.
If you import a layered Photoshop file as a merged file, After Effects merges the transparent areas and layer masks of all the layers into one alpha channel that is premultiplied with white. If the layered Photoshop file contains clipping groups, After Effects imports each clipping group as a composition nested within the main composition. After Effects automatically applies its Preserve Underlying Transparency option to each layer in the clipping-group composition, maintaining transparency settings.
When you import a Photoshop file as a composition, any vector masks convert to After Effects masks. You can then modify and animate these masks within After Effects. After Effects also supports any blending modes applied to the file. For more details about how After Effects works with transparency in Photoshop files, visit the support area of the Adobe website. When you apply an effect to a continuously rasterized layer, the results may be different than when you apply the effect to a nonrasterized layer.
This is because the default rendering order for the layer changes. The default rendering order for a nonrasterized layer is masks, effects, and then geometrics transformations , whereas the default rendering order for a continuously rasterized layer is masks, geometrics transformations , and then effects.
You can change the default rendering order. Make sure to check the results of the effect before continuing to work on your project. For general information about rasterizing, see Illustrator Help. Note: You cannot paint interactively on a continuously rasterized layer. However, you can apply a paint effect by copying and pasting or using the Favorites menu. You can set the default Artboard Size to match your most frequently used After Effects composition size.
In addition, you can customize the contents of any palette. You can use templates to create frequently used documents that differ from your customized new document profile. Open a template using the same methods you use to open a document. By default, an Illustrator CS3 document imports using the largest area covered by all objects, not the artboard size.
This command sets the outer bounds of the document to the size of the rectangle. Areas outside the artboard are still clipped even if you extended the rectangle past the artboard. 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 showing 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. Note: Shift-dragging the current-time indicator also snaps to the items in the list above. To pan and zoom 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. Note: You cannot pan or zoom vertically when Auto Zoom Height is selected. 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. Students can also use Illustrator to help them create and use masks in After Effects. Enhance animation 1. In Illustrator CS3, draw the arc you need using the Arc tool or by cutting an ellipse with the Scissors or Knife tools. In a video production workflow, Illustrator CS3 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 CS3 are also used in video production applications to control motion paths and timelines. You can use Illustrator CS3 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 CS3 to prepare shapes for morphing and tweening. Create motion paths in Illustrator CS3 The path-drawing features in Illustrator CS3 are wellsuited 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 CS3 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.
Topics: adobe, speedgrade, cs6, speedgrade cs6, adobe speedgrade cs6. Get all the state-of-the-art editing, compositing, and painting capabilities in industry-standard Adobe Photoshop CS5 software plus tools that let you create and enhance 3D images and motion-based content.
I've been meaning to do one of these for over a YEAR now! Topics: Youtube, video, Entertainment, paint tool sai, sai, photoshop, cs6, art, speedpaint, digital, Yuri The Helper - Happy Halloween! Check out my official website! Topics: Youtube, video, Entertainment, paint tool sai, halloween, art, digital art, digital, speedpaint, It's cold outside Stay warm during the holidays, everyone! Topics: Youtube, video, Entertainment, art, digital, digital art, paint tool sai, photoshop cs6, cold, On our season finale We look inside, and a look through the biggest stories of the last year with some great friends.
Topics: season finale, finale, technight, radio, physics, xerox, cispa, podcast, wuog, friends, NAB, Topics: my chemical romance, green day, rage against the maching, music, adobe audition, cs6. Even bad code can function. But if code isn't clean, it can bring a development organization …. Skip to main content. Start your free trial. Book description Visual effects and motion graphics pros of all stripes--from broadcast professionals to VFX supervisors to Web designers who need to produce occasional video segments--will welcome the dramatically accelerated features provided in the brand-new After Effects CS3 This best-selling book has been revised to cover all that's new in this upgrade: Shape layers, which enables users to easily create and animate shapes; Puppet tool, which you can use to animate a 2D image like a marionette; powerful integration with Photoshop CS3; new support for Flash designers; the new Brainstorm panel, which lets you preview an array of different visual possibilities in one gorgeous panel; complete color management workflow; Adobe Clip Notes, which lets you attach comments directly to a composition; Adobe Device Central CS3, which lets you preview and test animations for mobile devices, and more.
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Designed around a single complex project that's broken down into manageable lessons, this book-and-DVD package mimics a real-world workflow--but one that readers tackle at their own pace. The DVD contains all the lesson files and footage readers need to complete the lessons. Educational instructor notes—created to help teachers plan, organize, and time their lessons—are available for this book and for other Classroom in a Book titles at www.
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