adobe after effects 6.5 manual pdf

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adobe after effects 6.5 manual pdf

You can easily obtain these updates through Adobe Help Center. An active Internet connection is required. Help topics are updated periodically, so you can always be sure to have the most recent information available. For details, see “To check for updates” on page 2. You can search Help for one product or for all Adobe products you’ve installed. If you find a topic that you may want to view again, bookmark it for quick retrieval. Full view gives you access to the Product Help, Expert Support, and More Resources sections. Switch to Compact view when you want to see only the selected Help topic and you want to keep the Help window on top of your product workspace. User forums are available in English, French, German, and Japanese from the main Support page of your local Adobe website. The After Effects 7.0 interface facilitates your work and adapts to each stage of the process. After Effects workflow. Any footage item can become one or more layers in a composition. You can arrange the layers spatially in the Composition panel or arrange them in time using the Timeline panel. You can stack layers in two dimensions or arrange them in three, using 3D light sources and camera views. With the Graph Editor, you can add, delete, and modify keyframes, and specify inter- polation methods. You can change the speed and quality of previews by specifying their resolution and frame rate, and by limiting the area and duration of the composition that you preview. You can use floating windows to create a workspace more like those in previous versions of Adobe applications, or to place panels on multiple monitors. Panel menus display commands relative to the active panel. You can add panels to the floating window or otherwise modify it, as you do the application window.You can choose a workspace at any time. You can choose from a number of preconfigured workspaces, customize these workspaces, or create new workspaces. Workspaces remember panel locations even if the panels aren’t open.

About the Tools panel Tool panel A. Selection B. Hand C. Zoom D. Rotation E. Orbit Camera, Track XY Camera, Track Z Camera F. Pan Behind G. Rectangular Mask, Elliptical Mask H. Selecting Auto Color Display automatically switches between 8 bits per channel, 16 bits per channel, and 32 bits per channel depending on the project’s color depth. Adobe Bridge keeps native Adobe files (such as PSD and PDF) as well as non-Adobe application files available for easy access. In Compact mode, the panels are hidden and the content area is simplified. A subset of common Bridge commands remains available from the pop-up menu at the upper right portion of the window. By saving Bridge in various configurations, you can work in (and quickly switch between) different layouts of the work area. For instance, you might use one workspace to sort new photos and another to work with Adobe InDesign files. Language Opens camera raw files in the Adobe Camera Raw dialog box in Double-Click Edits Camera Raw Settings In Bridge Bridge. Places the two cache files created for each folder you view in a centralized folder. A Use A Centralized Cache File centralized cache is generally easier to use than a distributed cache. You can create and manage revisions to files kept in Version Cue projects. Version Cue is also a convenient environment for collaborative file management in workgroups. This action moves To drag files out of Bridge the file onto the desktop or folder. Select one or more files on the desktop, in a folder, or in another application that supports To drag files into Bridge drag and drop, and drag them into the content area in Bridge. Running these tasks from Bridge saves time because you don’t have to open each file individually. XMP is built on XML, and in most cases the information is stored in the file so that it cannot be lost. If it is not possible to store the information in the file itself, XMP metadata is stored in a separate file called a sidecar file.

Camera Raw Keeps a log of changes made to images with Photoshop. Edit History Lists information about images obtained from Adobe Stock Photos. Adobe Stock Photos Lists any Version Cue version information about the file. Version Cue Note: Depending on the applications you are using, custom panels for various properties may appear here as well. The Camera Data 1 option appears only if Adobe Photoshop or Production Studio is installed. Lists read-only file information about the photo, including pixel dimensions and resolution. The Camera Data 2 Camera Data 2 option appears only if Adobe Photoshop or Production Studio is installed. Create a new file using an Adobe Creative Suite or Production Studio application. This creates a file without metadata from any other source. Note: You can’t modify keywords in search results for Adobe Stock Photos. See also “To search for files and folders with Bridge” on page 33. In the design process, you need the flexibility to try different images before deciding which one you want. Adobe Stock Photos gives you the option to download low-resolution, complimentary (comp) versions of images you’re considering. In the text box at the top of the screen, type the word or phrase that describes the subject of the photos you want to search for. When you purchase photos from Adobe Stock Photos, your credit card will be billed in the supported currency. When you find the photos you want to buy, put them in your shopping cart. The photos remain in your cart until you’re ready to complete your purchase. When you finish browsing, you can check out and have your images automatically downloaded to your computer. You are prompted to enter your billing information. When you log in with your e-mail address and password, you can work with your account in several ways: After you complete the registration process, modify your account information anytime by Manage your profile clicking the Your Account link in the navigation bar.

To confirm your changes, click Save. To go back to the main Your Account page without saving changes, click Return To Your Account. In the Order Detail page, click the arrow under Download. The photo is downloaded.Instead, it’s the currency Adobe allows for that country. Your credit card is billed in the supported currency. Adobe periodically provides updates to software and Help. To check for upates, click the Preferences button Adobe Help Center, and then click Check For Updates. Follow the on-screen instructions. If the image is too large when you import it into After Effects, you’ll increase the memory requirements of your project. Output settings, such as format and video and audio settings, determine how After Effects saves your rendered file. When choosing an output module, click the module name to customize settings in the Output Module Settings dialog box. For more information about streaming video and tips on reducing data rate, search for the Adobe DV Compression Primer (English only) on the Adobe website. Use for output to NTSC videotape. 30 fps drop-frame timecode as indicated by semicolons Note: When working with NTSC DV assets, you should usually use 30 fps drop-frame timecode. Note: When working in Adobe Bridge, you’ll notice references to Version Cue. Version Cue is a set of features that help manage design workflow and collaboration in Adobe Creative Suite. Auto- saved files are saved in a folder called “Adobe After Effects Auto-Save” located in the same folder as the project file. You can use the Increment And Save command to save a copy of a project. You can copy footage items from After Effects and paste them into an Adobe Premiere Pro sequence, as well as copy track items from Adobe Premiere Pro and paste them into an After Effects composition. You cannot use it to change relationships between project elements.

The elements included in the Flowchart panel depend on what is selected and on whether the compositions are nested compositions (used by other compositions as the source for a layer) or root compositions (not nested). Adobe periodically provides updates to software and Help. Follow the on-screen instructions. You can import 16-bpc images, including those from Adobe Photoshop, and composite and color-correct footage in 16-bpc mode. Take advantage of 16-bpc color when performing most After Effects tasks, including layer adjustment, frame blending, 3D compositing, and Cineon file import. Note: Don’t use Adobe Gamma to calibrate an LCD (flat panel) monitor—it doesn’t produce reliable results.For best results, choose a working color space that matches your output color space. For example, choose SDTV (Rec 601 NTSC) if you’re preparing footage for broadcast video, or choose sRGB IEC61966-2.1 if you’re preparing footage for. For plug-ins to work with After Effects, they must be in the Plug-ins folder, which is in the Adobe After Effects 7.0\Support Files (Windows) or Adobe After Effects 7.0 (Mac OS) folder by default. For specific instructions about installing a plug-in, refer to its documentation. As you build a project, you can import footage items at any time. For more information on 16-bpc and 32-bpc color, see “About color depth” on page 61. Note: File formats that use Adobe Photoshop plug-ins include BMP, OpenEXR, PBM, PCX, Pixar, and Radiance.You can also render with 10-bpc YUV compression; see “Video for Windows compression options” on page 622. You can import still images from Adobe applications such as Photoshop and Illustrator, or import Adobe Stock Photos from Adobe Bridge. For information about the still-image formats that After Effects imports, see “Supported. It is usually easier and faster to prepare a file in its original application.Layer Name Click OK.

Note: To import a still-image sequence by dragging, drag the folder from the desktop to the After Effects Project panel. You can also copy and paste the settings from one camera raw image to another in Bridge. To import a camera raw file The Camera Raw dialog box A. Tools B. Rotate buttons C. Camera, file name, and EXIF information D. View options E. RGB values F. Histogram G. Camera Raw menu H. See “Working with Camera Raw settings” on page 86. The histogram changes automatically as you adjust the settings in the Camera Raw dialog box. After Effects can read the white balance settings of some cameras and makes it the initial setting when you open the file in the Camera Raw dialog box. Move the slider to the left (negative Tint values) to add green to the photo; move it to the right (positive values) to add magenta. However, instead of Brightness clipping the image in the highlights (areas that are completely white, no detail) or shadows (areas that are completely black, no detail), Brightness compresses the highlights and expands the shadows when you move the slider to the right. In one type of chromatic aberration, the image from each color of light is in focus, but each image is a slightly different size. This lets you create presets for custom white balances, specific lens settings, and so forth. In Adobe Bridge, you can also update all settings or a subset. This database is indexed by file content, so the image retains camera raw settings even if the camera raw image file is renamed or moved. After Effects imports attributes that were applied in Photoshop, including position, blending modes, opacity,. When you import an Adobe Photoshop file as a composition, guides in the file are imported as well. When you import a multilayered Adobe Illustrator file as a composition, the Adobe Illustrator layer blending modes are preserved. 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 an Adobe Photoshop file containing one or more adjustment layers as a composition, After Effects directly converts the Adobe Photoshop adjustment layers to After Effects adjustment layers. Everything from the imported project, including footage files, compositions, and folders, appears inside a new folder in the current Project panel. If your Adobe Premiere Pro project contains bins, After Effects converts them to folders within the Adobe Premiere Pro project folder. Also known as MPEG-4 part 10 and AVC (Advanced Video Coding), H.264 can deliver video over a range of H.264. For example, some NTSC digitizers produce a 4:3 frame aspect ratio, with square pixels (1.0 pixel aspect ratio), and a resolution of 640 x 480. After Effects reads and writes pixel aspect ratios directly from QuickTime movies. For example, if you import a movie captured as widescreen (16:9 DV), After Effects automatically tags it correctly. Each field contains half the number of horizontal lines in the frame; the upper field (or Field 1) contains all of the odd-numbered lines, and the lower field (or Field 2) contains all of the even-numbered lines. When you scale, rotate, or apply effects to interlaced video, unwanted artifacts, such as crossed fields, are often introduced. If you are not sure which field order was used to interlace a footage item, use the procedure below to find out. For more information on how video effects, audio effects, and transitions are converted when After Effects imports an AAF file, visit the support area of the Adobe website. These 3D- image files contain red, green, blue, and alpha (RGBA) channels, as well as auxiliary channels with optional infor- mation, such as z depth, object IDs, texture coordinates, and more.

After Effects skips these unsupported flags, and no warnings or error messages appear. Adobe periodically provides updates to software and Help. To check for updates, click the Preferences button Adobe Help Center, and then click Check For Updates. Follow the on-screen instructions. As a general rule, frame size and aspect ratio should Width and Height match your intended output media. Add To Render Queue Arrange layers in a sequence. Sequence Layers Overlap layers from the footage. Overlap Control how layers in the footage overlap. Duration and Transition. For your convenience, After Effects includes a variety of presets, each containing settings for frame size, pixel aspect ratio, and frame rate. The Pixel Aspect Ratio option compensates for the non-square pixels of D1 video format. Set the pixel aspect ratio that corresponds to your final output format. Frame rate is usually deter- mined by the type of output you produce. NTSC video has a frame rate of 29.97 frames per second (fps), PAL video has a frame rate of 25 fps, and motion picture film has a frame rate of 24fps. This 3D environment includes shadows, specular highlights, rack focus, and an automatic method of compositing layers based on depth. The default 3D rendering plug-in is Advanced 3D. You can use the Advanced tab of the Composition Settings dialog box to specify the Standard 3D or Advanced 3D rendering plug-in. RGB is the default setting, which displays the complete, full-color RGB picture. Red, Green, and Blue settings display the indicated color channel, with high color values displayed as white. Use the time graph to adjust the range of time shown in the Timeline panel, and to specify a range of time to render when creating or previewing a movie. See also “About rendering” on page 590 Working with footage. When you drag the item into the Timeline, a highlight bar indicates where the layer will appear when you release the mouse button.

If you drag the item over the time graph area, a time marker indicates where the layer’s In point will be when you release the mouse button. However, for any footage item that includes audio, the QuickTime and Video For Windows Footage panels play the audio, while the After Effects Footage panel does not. When you edit a still-image sequence selected in the Project panel, the first image in the sequence opens. You can’t, however, paste footage from After Effects into an Adobe Premiere sequence. If you want to work with all clips or a single sequence from an Adobe Premiere Pro project, use the Import command to import the project into After Effects. Note: You can copy multiple layers into Adobe Premiere Pro. Each layer is placed on a separate track. The order in which Adobe Premiere Pro places the layers depends on the order in which you selected them in After Effects;. To copy from Adobe Premiere Pro to After Effects (Windows only) Select an asset from the Adobe Premiere Pro Timeline panel.You can apply attributes, expressions, effects, and keyframes to a placeholder. When the actual footage item becomes available, you can replace the placeholder with it, and the applied attributes are transferred to the actual footage. If you have a subordinate composition that has 3D objects within it without turning on Collapse Transformations, After Effects renders the composition as a 2D image of the 3D arrangement in the next higher composition. However, if you turn on Collapse Transformations, After Effects renders the 3D layers into the next higher composition so that they retain their 3D relationships among themselves and with other 3D layers there. After rendering is complete, set up the movie as a proxy for the composition. The next time you view the compo- sition containing the movie, the new movie is displayed. Adobe periodically provides updates to software and Help. Follow the on-screen instructions.

You can control the amount of detail shown in either the standard or RAM Preview by changing the resolution, magnification, and preview quality of your composition. Attempting to scrub (manually preview) audio in these files may cause a long delay. For example, if your layers contain shadows and your OpenGL hardware does not support shadows, the preview will not contain shadows. For information regarding specific OpenGL hardware, see the After Effects section of the Adobe website. To use Wireframe for previews Wireframe mode represents each layer as a simple rectangle, which increases playback speed and allows you to reposition a high-resolution or data-intensive layer quickly. Freeze Layer Contents speeds playback by showing only the first frame encountered in a layer. Alt-click (Windows) or Option-click (Mac OS) the center of the area in the panel you want to reduce. Each click additionally reduces the image. When the file has reached its maximum reduction level, the command has no effect. The Exposure control doesn’t affect how footage will render when you export a movie, only how it appears in the Composition panel. A type of panel called a viewer gives you added flexibility in arranging your workspace to facilitate this kind of work. This requires additional hardware, such as a video digitizing card or a FireWire port. If you’re using a video digitizing card to connect an external video monitor, follow the directions that came with your video digitizing card to connect the monitor for viewing previews. Adobe periodically provides updates to software and Help. Follow the on-screen instructions. In the Solid Footage Settings dialog box, type a name for the layer or accept the color-based name supplied. The Photoshop file appears in the Project panel and has the dimensions. See also “About 3D layers”. To snap the layer duration bar to significant points in time (such as markers, or the start or end of the composition), Shift-drag the layer duration bar.

To change the color of a label In the Timeline panel, select a layer. If you want to hide or show layers in the Composition panel, use the Video switch.To be compatible with DVDs, make sure that markers are at least 15 frames apart. After Effects embeds this information within movies.Selecting this switch causes After Effects to rerasterize the Adobe Illustrator file for each frame, which improves image quality, but also increases the time required for previewing and rendering. Best provides the slowest display and rendering time.