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Composite graphics, animation, and video Flash and After Effects each include many capabilities that allow you to perform complex compositing of video and graphics. Which application you choose to use will depend on your personal preferences and the type of final output you want to create.
Flash is the more web-oriented of the two applications, with its small final file size. Flash also allows for run-time control of animation. After Effects is oriented toward video and film production, provides a wide range of visual effects, and is generally used to create video files as final output.
Both applications can be used to create original graphics and animation. Both use a timeline and offer scripting capabilities for controlling animation programmatically. Both applications allow you to place graphics on separate layers for compositing. These layers can be turned on and off as needed. Both also allow you to apply effects to the contents of individual layers. In Flash, composites do not affect the video content directly; they affect only the appearance of the video during playback in Flash Player.
In contrast, when you composite with imported video in After Effects, the video file you export actually incorporates the composited graphics and effects.
Because all drawing and painting in After Effects is done on layers separate from any imported video, it is always non-destructive. Flash has both destructive and nondestructive drawing modes. You can export a SWF file that can be played immediately in Flash Player or used as part of another rich media project. When you export a composition from After Effects as XFL for use in Flash, some of the layers and keyframes that you created in After Effects are preserved in the Flash version.
You can import SWF files into After Effects to composite them with other video or render them as video with additional creative effects. Interactive content and scripted animation are not retained. Animation defined by keyframes is retained. Each SWF file imported into After Effects is flattened into a single continuously rasterized layer, with its alpha channel preserved. Continuous Page: 41 To the top To the top rasterization means that graphics stay sharp as they are scaled up.
This import method allows you to use the root layer or object of your SWF files as a smoothly rendered element in After Effects, allowing the best capabilities of each tool to work together. After Effects is designed to create motion graphics, apply visual effects, composite visual elements, perform color correction, and perform other post-production tasks for movies.
See Import an Adobe Premiere Pro project. A dynamically linked composition appears as a clip in Adobe Premiere Pro. A dynamically linked sequence appears as a footage item in After Effects. Start After Effects from within Premiere Pro and create a new composition with settings that match the settings of your Premiere Pro project.
Adobe Encore uses a naming standard to define a button and the role of individual layers as subpicture highlights and video thumbnails.
When you select a group of layers in After Effects to use as an Adobe Encore button, After Effects precomposes the layers and names the precomposition according to the naming standards for buttons. See Template projects and example projects. Create a button for Adobe Encore 1.
In the Timeline panel, select the layers for use in the button. Enter a name for the button. Use the menus to assign up to three highlight layers and one video thumbnail layer, and then click OK. A new composition is created with the button name. The prefix ensures that Adobe Encore recognizes the file as a button. Assign a subpicture highlight and video thumbnail to a layer 1. Select the layer.
Export a button for use in Adobe Encore 1. Open the composition that represents the button, and move the current-time indicator to the desired frame. Edit audio in Adobe Soundbooth While working in After Effects, you may want to use the more comprehensive audio-editing capabilities of Adobe Soundbooth to fine-tune your audio. If you edit an audio-only file for example, a WAV file in Soundbooth, you change the original file. If you edit a layer that contains both audio and video for example, an AVI file , you edit a copy of the source audio file.
Select the layer that contains the audio that you want to edit. The item must be of a type that is editable in Soundbooth. After you save the file, import it into After Effects, add it to the composition, and mute the original audio in the audio-video clip by deselecting the Audio switch in the Timeline panel.
Edit in Adobe Audition CS5. If you edit an audio-only file for example, a WAV file in Adobe Audition, you change the original file. The item must be of a type that is editable in Adobe Audition. After you save the file, import it into After Effects. Then, add it to the composition, and mute the original audio in the audio-video clip by deselecting the Audio switch in the Timeline panel. Tutorials and resources about using Adobe Audition to modify audio from After Effects can be found on this post from the After Effects Region of Interest blog.
About Dynamic Link In the past, sharing media assets among post-production applications has required you to render and export your work from one application before importing it into another.
This workflow was inefficient and time-consuming. If you wanted to change the original asset, you rendered and exported the asset again. Multiple rendered and exported versions of an asset consume disk space, and they can lead to file-management challenges. Dynamic Link offers an alternative to this workflow. Creating a dynamic link is as simple as importing any other type of asset. Dynamically linked assets appear with unique icons and label colors to help you identify them. Dynamic links are saved in projects generated by these applications.
Create a composition from clips in Adobe Premiere Pro You can replace selected clips in Adobe Premiere Pro with a dynamically linked After Effects composition based on those clips. The new composition inherits the sequence settings from Adobe Premiere Pro.
In a sequence, select the clips you want in the composition. Right-click any of the selected clips. After Effects then creates a project and composition with the dimensions, pixel aspect ratio, frame rate, and audio sample rate of the originating project. If After Effects is already running, it creates a composition in the current project. When you create a dynamically linked After Effects composition, the composition duration is set to 30 seconds.
Click the Basic tab, and specify a new value for Duration. Link to an existing composition For best results, match composition settings such as dimensions, pixel aspect ratio, and frame rate to the settings in the Adobe Premiere Pro or Encore project.
Choose an After Effects project file. Then choose a composition in the displayed dialog box and click OK. If the After Effects project file contains multiple compositions, the Import Composition dialog box opens. In an Adobe Encore project, however, you can link to an After Effects composition only once.
If you create a dynamically linked composition from Encore, turn off subpicture highlight layers in After Effects, so that you can control their display in Encore. Once the composition is open in After Effects, you can change the composition without having to use the Edit Original command again. Change the composition in After Effects.
Then, switch back to Adobe Premiere Pro or Encore to view your changes. Adobe Premiere Pro stops using any preview files rendered for the clip before the changes. Note: 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. You can delete a linked composition from an Adobe Premiere Pro project at any time, even if the composition is used in a project. You can delete linked clips from the timeline of an Adobe Premiere Prosequence or from an Encore menu or timeline at any time.
Adobe Premiere Pro then creates a project and sequence with the dimensions, pixel aspect ratio, frame rate, and audio sample rate of the originating project. If Adobe Premiere Pro is already running, it creates a sequence in the current project. Link to an existing sequence For best results, match sequence settings and project settings in Adobe Premiere Pro such as dimensions, pixel aspect ratio, and frame rate to those settings in the After Effects project. Choose an Adobe Premiere Proproject, and then choose one or more sequences.
Dynamic Link performance A linked clip can refer to a complex source composition. Actions you perform on the complex source composition require additional processing time. After Effects takes time to apply the actions and make the final data available to Adobe Premiere Pro or Encore. In some cases, the additional processing time delays preview or playback. To reduce playback delays, do one of the following: Page: 46 take the linked composition offline disable a linked clip to temporarily stop referencing a composition render the composition and replace the dynamically linked composition with the rendered file If you commonly work with complex source compositions, try adding RAM or a faster processor.
See Improve performance by optimizing memory, cache, and multiprocessing settings. Page: 47 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. The main window of a program is the application window. Panels are organized in this window in an arrangement called a workspace. Each application includes several predefined workspaces that optimize the layout of panels for specific tasks. You can also create and customize your own workspaces by arranging panels in the layout that best suits your working style for specific tasks.
You can drag panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the application window. As you rearrange panels, the other panels resize automatically to fit the window. Example workspace A. Application window B. Grouped panels C. Individual panel To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on the main monitor, and you place floating windows on the second monitor.
Monitor configurations are stored in the workspace. Workspaces are stored in XML files in the preferences folder. With some caveats regarding monitor size and layout, these workspaces can be moved to another computer and used there. See this video tutorial about workspaces by Andrew Devis on the Creative Cow website for more details. Online resources about panels and workspaces For a video about panels and workspaces, go to the Adobe website: www.
Page: 48 Choose a workspace from the Workspace menu in the Tools panel. Save, reset, or delete workspaces Save a custom workspace As you customize a workspace, the application tracks your changes, storing the most recent layout.
To store a specific layout more permanently, save a custom workspace. Saved custom workspaces appear in the Workspace menu, where you can return to and reset them.
Type a name for the workspace, and click OK. Note: After Effects, Premiere Pro, Encore If a project saved with a custom workspace is opened on another system, the application looks for a workspace with a matching name. Reset a workspace Reset the current workspace to return to its original, saved layout of panels.
Delete a workspace 1. Choose the workspace you want to delete, and then click OK. Note: You cannot delete the currently active workspace. Dock, group, or float panels You can dock panels together, move them into or out of groups, and undock them so they float above the application window.
As you drag a panel, drop zones—areas onto which you can move the panel—become highlighted. The drop zone you choose determines where the panel is inserted, and whether it docks or groups with other panels. Docking zones Docking zones exist along the edges of a panel, group, or window.
Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new 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. Page: 49 Dragging panel A onto grouping zone B to group it with existing panels C Dock or group panels 1. If the panel you want to dock or group is not visible, choose it from the Window menu.
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. Undock a panel in a floating window Page: 50 When you undock a panel in a floating window, you can add panels to the window and modify it similarly to the application window.
You can use floating windows to use a secondary monitor, or to create workspaces like the workspaces in earlier versions of Adobe applications. Undock Frame undocks the panel group. When you release the mouse button, the panel or group appears in a new floating window. In this Adobe After Effects CC training course, expert author Jeff Sengstack teaches you how to get the most out your post-production effects and compositing with this powerful software from Adobe.
Designed for the beginner, you will learn how to use After Effects CC from the ground up, no previous experience is necessary! You will start this video based tutorial with an overview of the After Effects workflow, and a tour of the interface to become familiar with the location of the tools you will use.
Jeff then immediately gets you working hands-on with projects; importing video, importing assets, creating and arranging your layers and working with text. HOW do you zoom in to see your picture better on the screen? I found one way, but I know someone said there's a short-cut. The book tells you up-front that it's not the definitive guide.
I'd like to know what is, though; Adobe's Help files aren't. Still a good product and a lot of good learning. I'm upgrading my review to 4 stars. It does have a lot of good knowledge densely packed in the book. And by the end of the lessons I feel pretty darn comfortable moving around in AE. Now I just need to put in the playing around time to see what all I can get it to do for me! I know I'll be going back to the book again and again for how it walked us through various effects and I can create from there.
This book is an incredibly weak companion to the sophisticated software it purports to teach. Each lesson is nothing more than a series of "press this this, type this, click that" instructions with very little explanation of what you're actually doing and why you're doing it. Another puzzling approach is that the steps usually involve the typing of positional and rotational coordinates as opposed to the more intuitive use of visual motion paths to plot the movement of objects.
It's like telling you to type in the latitudinal and longitudinal coordinates of Dallas and Houston on a map instead of just connecting them by dragging a line from one to the other.
Press-type-and-click instructions can be very useful to show you how to actually execute the features of an application such as After Effects, but, without some explanation of the "whys," you're learning almost nothing. It's like trying to learn to play piano by being told which keys to press or learning to paint by using a paint-by-the-numbers canvas. It's amazing to me how Adobe could give its blessings to such an inferior book about such a superior product.
They need a better book. I am generally a big fan of Adobe's Classroom in a Book series. These books are usually a good way to get up to speed quickly on Adobe products. With that said, I am rather disappointed in this book, and I abandoned it about one quarter of the way through, in favor of a different book. It doesn't do Adobe's usual good job of introducing basic tasks and using them to build up to more complex jobs.
Instead, the book tries to introduce a lot of program features at once, and it has left me feeling somewhat confused and frustrated. If you already know motion graphics, and are simply learning After Effects, this book may offer an effective means of getting into the swing of things quickly.
But I can't recommend it for people like myself, who are learning motion graphics. Too many details are glossed over, nearly always with the comment that if you want more information, you should consult the After Effects help. Well, if I was going to simply wade through the After Effects help, I wouldn't really need this book, would I? I'd recommend skipping this entry in the series in favor something more comprehensive.
Hopefully, Adobe will address the problems with this book in a future edition. A tutorial driven book whereas the student completes 11 lessons total with the end goal of creating an 18 second movie playable for either television or web. Note: This book is compatible with either the "Macintosh" or Windows" version. These lessons are presented in a procedure-like fashion so ultimately the student learns this program with his or her "hands" rather than by verbal instruction or explanation.
How much does after effects cc cost? Best answer: What are after effects of a seizure? Where is track matte in after effects?
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A best practice is to place video inside a movie clip instance, which gives you the most control over the content. Select any existing video clip in the Library Panel, and select Properties from the Library Panel menu. You can also rght-click on the video file and choose Properties in the pop-up menu. Click Import. Locate the file to import, and click Open. You can change properties for an instance of an embedded video clip on the Stage, assign the instance an instance name, and change its width, height, and position on the Stage using the Property inspector.
You can also swap an instance of a video clip—assign a different symbol to an instance of a video clip. Assigning a different symbol to an instance displays a different instance on the Stage but leaves all the other instance properties such as dimensions and registration point intact. View information about an imported video clip, including its name, path, creation date, pixel dimensions, length, and file size.
Enter values for X and Y to change the position of the upper-left corner of the instance on the Stage. You can swap an embedded video clip only with another embedded video clip, and you can swap a linked video clip only with another linked video clip.
To control playback of an embedded video file, control the Timeline that contains the video. For example, to pause a video playing on the main Timeline, you would call a stop action that targets that Timeline. To apply actions to a Video object, first convert the Video object to a movie clip.
To show a live video stream from a camera, use ActionScript. To attach the video stream to the Video object, use Video. See also Video and attachVideo Video. The embedded video clip is updated with the edited file. The compression settings you selected when you first imported the video are reapplied to the updated clip. Legal Notices Online Privacy Policy. User Guide Cancel. Before you begin. Animate can only play specific video formats.
Methods for using video in Animate. You can use video in Animate in different ways:. Progressive download from a web server This method keeps the video file external to the Animate file and the resulting SWF file. Stream video using Adobe Media Server. Embed video data directly inside a Animate file This method results in very large Animate files, and is only recommended for short video clips.
Progressively download video using a web server. Progressive downloading provides the following advantages over embedding video in the Timeline:. Import video for progressive download.
Select a skin for your video clip. Select a custom skin of your own design by entering the URL of the skin on the web server. The video skin if you chose to use a skin To use a predefined skin, Animate copies the skin into the same folder as the FLA file. Video playback starts sooner than it does using other methods of incorporating video.
Streaming video provides better tracking, reporting, and logging ability. Embed a video file within a Animate file. The limitations of embedded video include:. At runtime, the entire video must fit into the local memory of the playback computer. The length of an imported video file cannot exceed frames. Embedding a video within a Animate file. Select one of the following options: Load external video with playback component : Imports the video and creates an instance of the FLVPlayback component to control video playback.
Click Browse and select the video file from your computer and click Next. Choose the symbol type with which to embed the video. Movie Clip. Import the video clip directly onto the Stage and the Timeline or as a library item.
If the video file contains audio that you don't want to import, deselect Include audio. Import video files into the library. Change the properties of a video clip. In the Video Properties dialog box, you can do the following: View information about an imported video clip, including its name, path, creation date, pixel dimensions, length, and file size Change the video clip name Update the video clip if you modify it in an external editor Import an FLV or F4V file to replace the selected clip Export a video clip as an FLV or F4V file.
Neat Video is a video noise reduction plug-in for After Effects. The plug-in efficiently reduces random noise, film gain, analog interference, flicker, jitter of details and compression artifacts.
Neat video includes adaptive spatial and temporal filters that together provide the most accurate video noise reduction currently available. Rowbyte develops software programs that help artists create beautiful Motion Graphics and realistic Visual Effects. The DataClay Templater 3.
Email us at mfrbeta adobe. Buy now. Third-party plug-ins After Effects Search. Mocha Pro Sapphire Continuum. You may recognize the Mercury name from Premiere Pro. The playback engine in After Effects is otherwise different from Premiere Pro, so After Effects only uses the rendering component of that technology. Mercury GPU Acceleration is a project setting. Depending on your computer and GPU, you may see multiple such options.
After Effects supports the following GPU technologies:. Legal Notices Online Privacy Policy. Buy now. User Guide Cancel. What GPU should be used for the best performance? Choose a high-performance card that meets your individual budget and system needs. Take all of them into consideration. Check if you have Multiple GPUs in the same machine. Check if you have unsupported GPUs on your Mac machine. GPU-related issues you may face.
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