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Adobe Press publish hands-on software training books that help you learn the features of Adobe software quickly and easily. Visit the store. These books reflect a passion for helping people create images and films that resonate emotionally by feeling real. I’ve worked on films, worked with filmmakers, taught artists and helped design and market software intended for filmmakers.

After Effects has been a channel in which I’ve been comfortable thinking creatively and solving visual продолжение здесь since I started with the software way back when. Customer Reviews, including Product Star Ratings, help customers to learn more access 2003 download windows the product and decide whether it is the right product for them. Instead, our system considers things like how recent adobe after effects cs5 visual effects and compositing studio techniques free review is and if the reviewer bought the item on Amazon.

It also analyses reviews to verify trustworthiness. This is the only book on the market to focus exclusively посетить страницу the creation of visual effects for After Effects users, and is a one-stop resource for anyone who wants in-depth explanations that demystify the realm of visual effects and how they were created, thanks to veteran author Mark Christiansen’s friendly and accessible style.

A thoroughly packed, informative read, this masterful guide focuses on explaining the essential concepts, features, and techniques that are key to creating seamless movie-quality visual effects. Users who are comfortable with After Effects will find a helpful review of the fundamentals – managing footage, viewing and editing layers, animating type, and more – so they can learn how to work smarter and more efficiently.

Readers of all levels will learn core techniques for effects compositing including color matching, keying, rotoscoping, motion tracking, emulating the camera, and concluding with using expressions увидеть больше After Effects, written by contributor and expert Dan Ebberts.

An incredibly useful appendix on scripting in After Effects is included as well, written by Adobe engineer Jeff Almasol. The final section of the book delves into creative explorations, demonstrating professional effects that are commonly seen in films and games which readers can re-create. Cant uninstall microsoft office enterprise 2007 free download will also find comprehensive coverage of all that’s new and makes this version of Adobe’s effects programa must-have update, including the revolutionary new Roto Brush, all new effects such as the New Refine Matte effect, new support for Color Look-Up Tables, workflows that take advantage of the all-new bit support, перейти на источник of third-party tools for additional creativity, and much more.

Simply register your product at www. Узнать больше здесь page. Publication date. Print нажмите чтобы перейти. See all details. Next page. The Booker Prize Discover this year’s longlisted books Learn more. From the brand. The fastest, easiest, most comprehensive way to learn Adobe Creative Cloud. What is Adobe Press? Why should I choose Adobe Press?

Adobe Press offers official training from Adobe Systems. Why is Adobe Press different? Adobe Press books have been developed with the support of Страница product experts. More from Adobe Press Visit the store. From the Back Cover This is the only book on the market to focus exclusively on the creation of visual effects for After Effects users, and adobe after effects cs5 visual effects and compositing studio techniques free a one-stop resource for anyone who wants in-depth explanations that demystify the realm of visual effects and how they were created, thanks to veteran author Mark Christiansen’s friendly and accessible style.

Mark Christiansen christiansen. Mark has done work directly for the Adobe After Effects /11848.txt and marketing teams, is a founder at provideocoalition.

Tell the Publisher! About the author Follow authors to get new release updates, plus improved recommendations. Mark Christiansen. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content. Read more Read less. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings, help customers to learn more about the product and decide whether it is the right product for them. Learn more how customers reviews work on Amazon.

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Please try again later. Verified Purchase. I would probably class myself as a medium level After Effects user for animation but wanted to learn more about compositing techniques. This book has been even better than I expected with many really useful technqiues.

Even the basic sections have had some amazing pointers and shortcuts. A another nice thing is the book doesn’t use too many plugins that aren’t included with after effects and often gives ways of doing them without the plugins. The book includes a lot of examples and is suprisingly quite funny at points. Another kindle book that посмотреть больше permits it to be downloaded to a couple of devices. This practice is rubbish and is not clearly shown o n the website.

Obviously this book is aimed at the Compositor more than the motion graphics artist. However this book has regularly proven invaluable to me in both fields. The explanations are clear, the printing quality is excellent which is incredibly important when capturing detail of software layouts detailing colour shifts and the likethe wealth of information is wonderful and I’d be lost without it.

Saved me many hours already and made me much better at my job. Be you a pro or student, someone looking to get into the world of Compositing or Graphics, the information here will be of use every day. For anything to do with keying, grading, tracking, compositing, director 11.5 free, masks, its priceless. Also includes tons of handy time-saving hints adobe after effects cs5 visual effects and compositing studio techniques free tips on free and priced plug-ins, scripts and third party software that will enhance your work.

Absolutely Essential. If you’ve gotten down the basics of After Effects you may be beginning to realise that just knowing what all the tools do is only the very beginning. This book covers effects you’ll regularly be doing using using after effects like chroma keying and motion tracking but tells you how to do it in a structured way that is easier adobe after effects cs5 visual effects and compositing studio techniques free work with. If your following Andrew Kramer tutorials on videocopilot you’ll actually find that Плохо, game of thrones game pc 2019 got some of his techniques from the adobe after effects cs5 visual effects and compositing studio techniques free of this book so приведу ссылку some ways this book is useful to use in conjunction with videocopilot.

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– Adobe after effects cs5 visual effects and compositing studio techniques free


Work on a major project, however, and you will soon discover that even the most complex shot is made up largely of repeatable techniques and practices; the art is in how these are applied, combined, and customized, and what is added or taken away. Each shot is unique, and yet each relies on techniques that are tried and true. This book offers you as much of the latter as possible so that you can focus on the former. On the other hand, I have noticed recently that even beginners often understand more than they used to about the compositing process in general and about Adobe software in particular.

In both cases it is the rise of Photoshop as the worldwide standard tool for image editing that has provided amateurs and students alike a leg up.

Color matching, keying, rotoscoping, and motion tracking are the topics that are essential throughout the rest of the book and in your compositing experience generally. This section is the true heart of the book. Chapter 6, on keying which I long considered one of the strongest , received a thorough rewrite, as did Chapter 7, which focuses on rotoscoping. Chapter 11, on working beyond the standard 8 bits per channel, 2. The biggest change in After Effects CS5 is that the software now makes use of bit memory addressing.

This does not change a whole lot about how you work with the software, though, other than making it far less likely you will encounter out-of-memory errors as you work and far more likely that you can make better use of a multiprocessor system with an up-to-date graphics card. Get reference. Too many artists skip this step. To paraphrase Einstein, a good solution is as simple as possible, but no simpler. Break it down. It only means you have taste.

Compositing in After Effects Some users may be coming to this book unfamiliar with After Effects but experienced in other compositing software. Each application is somewhat different, and yet the main competitors to After Effects—Nuke, Shake, Flame, Fusion, and Toxic, to name a few—are probably more similar to one another than any of them is to After Effects, which is in many ways a lot more like Photoshop.

Render order is established in the Timeline and via nested compositions: layers, not nodes. After Effects has a persistent concept of an alpha channel in addition to the three color channels. The alpha is always treated as if it is straight not premultiplied once an image has been imported and interpreted. Actions are not recordable and there is no direct equivalent to Shake macros. Temporal and spatial settings tend to be absolute in After Effects because it is composition- and timelinebased.

Best practices to avoid this are detailed in Chapter 4. Of these differences, some are arbitrary, most are a mixed bag of advantages and drawbacks, and a couple are constantly used by the competition as a metaphorical stick with which to beat After Effects. The two that come up the most are the handling of precomposing and the lack of macros. This book attempts to shed light on these and other areas of After Effects that are not explicitly dealt with in its user interface or documentation.

After Effects itself spares you details that as a casual user you might never need to know about but that as a professional user you should understand thoroughly. This book is here to help. It is the most accessible resource available on this complicated and much-feared topic, walking you through three scripts, each of which builds upon the complexity of the previous. Scripting provides the ability to create incredibly useful extensions to After Effects to eliminate tedious tasks.

Several of these are included in the scripts folder on the disc as exclusives to this book. In order to focus on more advanced and applied topics in the print edition, Dan Ebberts kicked JavaScript fundamentals to a special JavaScript addendum, also included as a PDF. For example, the disc includes demos of. SynthEyes from Andersson Technologies. Camera Tracker and Kronos from the Foundry.

Note that all. Finally, there are also a few useful and free third-party scripts mentioned throughout the book; for more of these, see the script links PDF in the scripts folder on the disc. The goal is to understand the logic of the software so that you can use it to think through your artistic and technical goals. This book will help you do that. The worst scientist is he who is not an artist; the worst artist is he who is no scientist.

It helps you create believable, fantastic moving images using elements from disparate sources, and do so with the least possible effort.

Effective visual effects compositing uses your best skills as both artist and engineer. As an artist, you make creative and aesthetic decisions that are uniquely your own, but if you are not also able to understand how to implement those decisions effectively, your artistry will suffer. If I had to say what most often separates a great result from mediocrity, the answer is iteration—multiple passes—and solid technical skills enable these to happen most quickly and effectively, so your creative abilities can take over.

If this book opens at too advanced a level for you, see the Introduction for more resources to help you get up to speed with the basic operations of After Effects. But the basic principle is that After Effects lets you go beyond what you can otherwise do editing footage by actually changing what appears in the scene itself. Figure 1. Your author was in fact paid to create the 3D model as a viral product endorsement a few years back.

You can actually drag them anywhere onto the After Effects user interface UI , and they should end up there. It now generally means the background onto which foreground elements are composited, although the foreground can also be the plate, and there are other kinds of plates such as effects plates. Drag those elements into that folder. How After Effects looks at program startup depends on its most recent usage, if any. Does the user interface seem complicated? Now breathe a sigh of relief, since I can tell you that there are a few in there I no longer even use—Wiggler and Smoother being two that have been effectively rendered obsolete by expressions Chapter In any case, I would never recommend leaving so many controls open at once.

Now try tearing off the Info panel—hold down Ctrl Cmd as you drag it by its tab away from its current position. You can do this with any panel: It is now undocked. This may be too much hot-rodding for you right away, so now try dragging it over a few of the other panels without letting go. 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. The Window menu contains all of the panels, and each can be toggled here. I have done whole After Effects animations that have no source elements at all, but these are typically type animations with solid, shape, and particle-based effects created right in the application—in other words, they are more motion graphics than visual effects, which are almost always based on source footage—on the effects plate.

Listed are its pixel dimensions x , pixel aspect ratio 1 or square , duration in frames or time, depending on your project settings—more on all of these later , frame rate, and color depth. This image includes an alpha channel to store transparency data, which is covered in depth in Chapter 3. To get to work, place your elements in a composition, or comp. With no extra effort you automatically set a comp whose size, aspect, duration, and frame rate match those of the source.

Now add the Red Bull can. There are a few ways to do this. You can simply drag it into the Timeline panel to where you see a black line above the existing layer and drop it. I: Working Foundations Just like in Photoshop, simply positioning one layer above another in the stack—in this case, the Timeline panel instead of a Layer panel creates a composite image. Chapter 3 introduces the full variety of options beyond this nobrainer, and even illustrates how this simplest of composites actually works.

Preview and Refine Now is a good time to preview the composition and see how it looks. Here you can make use of the Preview panel, at least until you learn the one essential shortcut from it—0 zero on the numeric keypad which is on the side or, on a laptop, embedded with the function key shortcuts stands in for the RAM Preview icon. Beginners often mistakenly hit the spacebar to play compositions in After Effects.

With faster and faster systems, this increasingly works, but only a RAM preview buffers the composition into memory and locks its playback to the correct frame rate, and only it includes audio playback.

It brings the panel up full screen for easier examination. The shot needs work. What do you see? Press it again and even the top menu bar toggles off, filling the entire screen. I: Working Foundations Figure 1. You can also double-click in an empty area of the Project panel.

Prefer your workspace customizations to the defaults? Choose New Workspace in the Workspace menu and enter a new name to overwrite it; now After Effects will reset to your customized version. An image sequence is less fragile than a QuickTime movie; if there is a bad frame in a sequence, it can be replaced, but a bad frame will corrupt an entire movie. You can interrupt and restart an image sequence render without then having to splice together multiple movies.

It is particularly good at incrementing new versions of multiple sequences all at once, selecting subsets of frames, and finding multiple sequences in a single folder. Things get more complicated if you are dealing with multiple image sequences in a single folder.

By holding the Shift or Ctrl Cmd key as you select more than one frame, however, you can. Want to be rehired repeatedly as a freelancer or be the hero on your project? Chapter 4 offers suggestions. Render the first and last 3D frames only, with their correct final sequence numbers, and import them using the Import dialog with Force Alphabetical Order unchecked. You now have a placeholder of the correct length that is fully set up as soon as the file is rendered. As you advance in your skills, by all means avoid the bar like a recovered alcoholic—the top menu bar, that is.

I often refer to context-clicking on interface items. Display context menus by right-clicking the mouse Windows or Ctrl-clicking Mac. The icon shown for an item in the Project panel indicates its source application.

Any source can become unlinked if it moves or changes its name or location Figure 1. You may have used the Find Missing Footage check box in older versions, and you may wonder where it has gone. Because every project is likely to be moved or archived at some point you are making backups, right?

Let the computer do what it does best and automate a cleanup of your sources. If you check Reduce Project as well, the unused source is also removed from the collected project. You even get a warning dialog telling you how many items were removed—not from the disk, only from your project. Need to combine two or more projects? Import one into the other just drag it in , or drag several into a new project. The imported project appears in its own folder labeled with the source name.

Advanced Save Options After Effects projects are saved and overwritten completely separate from the elements they contain.

This script takes nested folders with the same name as those closer to the root and merges them, while consolidating duplicate footage. Project Settings As shown in Figure 1. The Color Settings section includes the project-wide color depth 8, 16, or 32 bits per channel , as well as color management and blend settings.

Chapter 11 covers this in ample depth. Audio Settings affects only previews; lowering the rate can save RAM. I never touch this. Instead of opening Project Settings, change Display Style by Ctrl- or Cmd-clicking on the timecode indicator in the timeline; change color depth by Alt- or Opt-clicking the bpc indicator in the Project panel.

This applies to imported image sequences, not compositions. The other Color Settings are elucidated in Chapter Interpret Footage This book generally eschews the practice of walking through After Effects menus, but a well-designed UI helps you think, so focusing on the material in this section allows access to the best analytical tools.

Decisions about how footage is interpreted are both vital and somewhat tedious. This makes the Interpret Footage dialog Figure 1.

Alpha interpretation. Frame Rate. Fields and Pulldown. Pixel Aspect Ratio under Other Options. Alpha determines transparency settings, Frame Rate is essential with an image sequence, Fields and Pulldown and Pixel Aspect Ratio under Other Options convert footage optimized for playback.

The Color Management tab purple gets a complete treatment in Chapter The Interpret Footage icon in the Project panel is the easiest way to open the Interpret Footage dialog. Alpha Effective compositing requires a thorough understanding of alpha channels, but only when something goes wrong with them.

You can easily avoid these types of problems:. If the alpha channel type is unclear, click Guess in the mini Interpretation dialog that appears when importing footage with alpha. This often not always yields a correct setting. The giveaway is the contrasting fringe, caused in this case by the failure to remove the black background color premultiplied into edge pixels.

The left image is unmultiplied; the right is not. If you are in any doubt about that, set it to Ask User to avoid forgetting to set it properly. More information on alpha channels and how they operate is found in Chapter 3. After Effects does not interpret an alpha unless you specifically click Guess; if you merely clear the dialog Esc it uses the previous default.

Frame Rate I have known many experienced artists to be bitten by careless errors with frame rate, myself included. You can also override the QuickTime frame rate, which is exactly what After Effects does with footage containing any sort of pulldown see next section. After Effects is precise about how those timing settings are handled. If your true frame rate is The current frame rate and duration as well as other interpretation information is displayed at the top of the Project panel when you select a source clip Figure 1.

The caret to the right of the filename reveals specific compositions in which it is used. Movie formats, which these days usually means QuickTime. 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. Still image formats have more predictable color management settings than QuickTime. If QuickTime is fast food—convenient but potentially bad for the health of your project, causing bloat and slowness—then image sequences are a home-cooked meal, involving more steps but offering more control over how they are made and consumed.

One surprise for the novice is that video images are not typically made up of whole frames containing square pixels like stills. The result is half the image detail but twice the motion detail. However, on larger or longer-form projects, they will preserve your work more effectively.

If not, the backup option which still works is trial-and-error. Do the following:. Create a Pixel aspect ratio PAR is another compromise intended to maximize image detail while minimizing frame size.

The pixels in the image are displayed nonsquare on the broadcast monitor, with extra detail on one axis compensating for its lack on the other. Your computer monitor, of course, displays square pixels, so any clip with a nonsquare PAR will look odd if displayed without compensating for the difference.

Therefore, After Effects includes a toggle below the viewer panels to stretch the footage so that its proportions preview correctly Figure 1. Think again. If subjects look anamorphic—long and skinny—toggle this, and if it looks OK, After Effects is handling it for you; no need to render a square pixel version. Source Formats One oddity of the PNG format is that it specifies that an alpha channel is saved and interpreted as Straight, with no explicit option to change the default, although After Effects lets you override this.

After Effects is capable of importing and exporting a wide array of footage formats, yet only a small subset of these occur regularly in production. Table 1. Which formats will you use most? More on these formats is found in Chapters 11 and 12, which also include information on working with camera raw CRW images.

Photoshop Files Although the PSD format does not offer any type of compression, it has a few unique advantages when used with After Effects. More about why you might want to work with video in Photoshop for its paint tools is included in Chapter 7. More about this feature is found in Chapter 9. Once your source footage is imported and organized Chapter 4 , the next step is to place it in a composition. Composition Settings Figure 1.

Choose Retain Layer Sizes to ensure that each layer has its own unique anchor point—and is not cropped. My advice is to begin with your plate: the main footage, whether a background shot or a foreground yet to be keyed. To ensure that composition settings are exactly as they should be with the least effort, try one of the following:. Use a prebuilt project template that includes compositions whose settings match the intended output; you can even create and save your own see Chapter 4.

Create a new composition by dragging the plate footage often the background plate to the Create a New. Composition Settings also contains an Advanced tab.

This pertains to temporal and spatial settings Chapter 4 and motion blur and 3D Chapter 9. View Panels and Previews A 2K plate is the minimum typical horizontal film resolution: approximately pixels, or more precisely pixels in width.

HD video is pixels horizontal resolution. Resolution and Quality First, keep in mind that you might never work at full resolution, but you should almost always leave layers set to Best quality. There are several effective ways to speed up previews and interactivity without ever setting a layer to Draft quality, which creates inaccurate previews by rounding off crucial values. I: Working Foundations In rough order of preference, you can. The default setting of 1 plays every other frame Figure 1.

To quickly change the display resolution in the Composition panel, use the keyboard shortcuts shown in Table 1. TABLE 1. The default difference is a Skip setting of 1, which previews every other frame but can be changed to the pattern of your preference. Activate the Hand tool H, spacebar, or middle mouse button to move your view of a clip around.

To zoom in and out, you can use. Zoom tool Z and Alt Opt Z. Only the layer data needed to render that area is calculated and buffered, lengthening RAM previews. With the cursor over a specific area of the frame, hold the Alt Opt key as you zoom to keep that point centered.

Want to keep this view? Crop Comp to Region of Interest in the Composition menu. The frame goes black as soon as you make an adjustment.

OpenGL in After Effects can have undesirable side effects; most power users tend to leave it off most of the time. Deactivate Live Update Figure 1. On by default, this toggle enables real-time update in the viewers as you adjust controls. Deactivate it and updates occur only when you release the mouse.

Hold Alt Opt as you make adjustments. With Live Update on, this toggle prevents views from updating. Activate Caps Lock. Enable OpenGL. Enable it, and OpenGLInteractive mode in a viewer panel is accelerated in certain cases, for example, when positioning layers in 3D space. There are two OpenGL options, Interactive and Always On; the former will help you with fast scene setup, especially in a complicated 3D scene, and the latter will give you the look of OpenGL at all times as you work.

I: Working Foundations In general, the more responsive you can make your user interface, the better will be the result because you can make more decisions in a shorter period of time. Just leave time to double-check the result if you are in the habit of disabling screen viewers. Multiprocessing Multiprocessing, which allows After Effects to use all of the processor cores on your system, is disabled by default. Ideally, your system should have more than a couple of processors and at least 4 GB of physical memory RAM.

The great thing about multiprocessing in a bit application is that it actually works. Gone are the days when this option tied up your system while it started and created a bunch of render cores that locked up system resources, forcing a restart. Try it yourself—preview a processor-intensive animation with this option off, then on, and notice the difference when you click 0 on the numeric keypad or with the render time required.

There are a couple of other adjustments you can make to tune this option. Initial results show that After Effects actually runs faster with fewer than the full number of cores on a system with eight or more cores.

Reserve two for other applications and see if you get a speed boost. Note that few other Adobe applications share the same protected memory pool as After Effects. The green line atop the Timeline panel shows which frames are stored for instant playback. This locks away a portion of your drive for use only by After Effects. A blue line shows frames loaded in the Disk Cache Figure 1.

The cache is not saved between After Effects sessions. Loop options Preview panel. Hidden among the playback icons atop Preview is a toggle controlling how previews loop. Use this to disable looping, or amaze your friends with the ping-pong option. From Current Time Preview panel. Tired of resetting the work area? Toggle this on and previews begin at the current time and roll through to the end of the composition. Full Screen Preview panel. Self-explanatory and rarely used, but a cool option, no?

If you have an external video device attached with its own monitor, you can use it to preview. Third-party output devices, such as Kona and Blackmagic cards, are supported as well. To create a basic gradient background, apply the Ramp effect to a solid layer. You can even insert background or reference footage or a custom gradient background that you created Figure 1.

Several other modes and toggles are available in the viewer panels. Some are familiar from other Adobe applications:. All of these are toggled via a single menu beneath the viewer panel the one that looks like a crosshair. To pull out a guide, choose Show Rulers and then drag from either the horizontal or vertical ruler. To change the origin point 0 on each ruler , drag the crosshair from the corner between the two rulers. You can.

An outline in the color of the selected channel reminds you which channel is displayed Figure 1. Image courtesy of Mark Decena, Kontent Films. Effects: Plug-ins and Animation Presets After Effects contains about default effects plug-ins, and third parties provide plenty more. Personally, I use less than 20 percent of these effects around 80 percent of the time, and you probably will too. And even cooler, once you thoroughly understand the core effects, you can use them together to do things with After Effects that you might have thought required third-party plug-ins.

Opened a project only to discover a warning that some effects are missing, and wondering which ones, and where to find them? You can also choose to display only effects with higher bit depths when working at 16 or 32 bits per channel—see Chapter 11 for more on that. Save to the Presets folder the default location and your preset will show up when After Effects is started. Here are a few things you might not already know about the process of outputting your work.

Convert raw footage by dragging it directly to the Render Queue panel, no composition required one is made for you. This is a quick and easy way to convert an image sequence to a QuickTime movie, or vice versa.

Each Render Queue item has two sets of settings: Render Settings which controls how the composition itself is set when generating the source image data and Output Module which determines how that image data is then written to disk.

Composition corresponds directly to settings in the Timeline panel; here you choose whether to keep or override them. The more complex options, such as Proxy Use, are described in Chapter 4. This is useful for splitting image sequences between sessions see Chapter 4 for details on how to use this feature. Need to render several items to one location? Set up one item, then add the rest.

The location of the first becomes the default. The main decisions here concern Want the best looking half-resolution render? Use Stretch in Output Module, instead of half resolution in Render Settings which typically renders faster.

This is an immense time-saver, as each frame is rendered once and written as many times as you like. Several elegant and easily missed problem-solving tools are embedded in output modules:. Multiple output modules per render queue item avoid the need for multiple passes Figure 1. Separate output modules can be changed at once by Shift-selecting the modules themselves not the render queue items that contain them.

A numbered image sequence can start with any number you like Figure 1. Scaling can be nonuniform to change the pixel aspect ratio. Postrender actions automate bringing the result back into After Effects. Chapter 4 tells all. A numbered image sequence must contain a string in the format [ ] somewhere within its name.

Each sign corresponds to a digit, for padding. The Color Management tab takes effect with many still image formats. Chapter 11 tells all. Save output modules early and often using the Make Template option at the bottom of the pop-up menu.

If you intend to render with the same settings even once more, this will save time. Unfortunately, these cannot be easily sent to another user.

It works cross-platform and at percent quality, it provides chroma sampling, and at 75 percent, see Chapters 6 and 11 for details on what that means. Online review typically should be compressed outside of After Effects; such aggressive compression formats as H.

Assemble the Shot Naming Conventions Part of growing a studio is devising a naming scheme that keeps projects and renders organized.

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. Pad sequential numbers adding zeros at the beginning to keep things in order as the overall number moves into multiple digits.

Seasoned visual effects supervisors miss nothing. Fully trained eyes do not even require two takes, although in the highest-end facilities, a shot loops for several minutes while the team picks it apart. This process, though occasionally hard on the ego, makes shots look good. After Effects offers a number of output formats and can be useful for simple file conversion; you need only import a source file and drag it directly to Render Queue, then add settings and press Render.

Some of these amount to a gotcha:. Color management of QuickTime remains at this writing a moving target, with MOV files appearing differently when they are moved from one platform, application, or even monitor, to another. High Quality in QuickTime Player is unchecked by default. On the other hand, QuickTime is a great review and delivery format that benefits from having been well designed at its inception and having stood the test of time.

If the project can still be found on the available drives, it will open in the source After Effects project. Keep an eye on the Info panel Figure 1. Loop or rock-and-roll previews or as Adobe likes to say, ping-pong previews. Zoom in to the pixel level, especially around edges. Examine footage and compositions channel by channel Chapter 5.

Turn the Exposure control in the Composition viewer up and down to make sure everything still matches Chapter 5. Approach your project like a computer programmer and minimize the possibility of bugs careless errors. Aspire to design in modules that anticipate what might change or be tweaked.

With the Timeline panel at the center of the compositing process, you can time elements and animations precisely while maintaining control of their appearance. The Timeline panel is also a user-friendly part of the application that is full of hidden powers. Column Views You can context-click on any column heading to see and toggle available columns in the Timeline panel, or you can start with the minimal setup shown in Figure 2.

Lower-left icons : Most but not quite all of the extra data you need is available via the three toggles found at the lower left of the Timeline panel. Figure 2. No matter how big a monitor, every artist tends to want more space for the keyframes and layers themselves.

Layer switches and transfer controls are the most used; if you have plenty of horizontal space, leave them both on, but the F4 key has toggled them since the days when x was an artist-sized display.

Time Stretch toggles the space-hogging timing columns. To rename an item in After Effects, highlight it and press Enter Return instead of clicking and hovering.

The game is to preserve horizontal space for keyframe data by keeping only the relevant controls visible. Color Commentary When dissecting something tricky, it can help to use. This script manages the process of adding tags to layers and using them to create selection sets. They allow you to temporarily isolate and examine a layer or set of layers, but you can also keep layers solo when rendering whether you intend to or not.

Shy layers are a fantastic shortcut in an often-cluttered Timeline panel. Even if you keep the number of layers in a composition modest as you must for effective visual effects compositing work—see Chapter 4 for more on how , a composition containing an imported 3D track from such software as SynthEyes or Boujou may arrive with hundreds of null layers.

I tend to make these shy immediately, leaving only the camera and background plate ready for compositing. I often apply unique colors to track matte layers so I remember not to move them.

Layer and composition markers can hold visible comments. Composition markers are added using Shift and the numbers atop your keyboard or using the asterisk key with nothing selected. I sometimes double-click them to add short notes.

I: Working Foundations Navigation and Shortcuts Keyboard shortcuts are essential for working speedily and effortlessly in the Timeline panel. Time Navigation Many users—particularly editors, who know how essential they are—learn time navigation shortcuts right away. Others primarily drag the current time indicator, which quickly becomes tedious. I and O keys navigate to the beginning and end frames of the layer.

About two-thirds of the way through the shot came a subtle but sudden shift. If other layers are present and visible, you can also place the layer in order by dragging it between them.

Here are some other useful tips and shortcuts:. J and K navigate to the previous or next visible keyframe, layer marker, or work area start or end, respectively. To reset the work area to the length of the composition, double-click it.

Numeric keypad numbers select layers with that number. Locked layers are not selected, but shy layers are selected even if invisible. The bracket keys [ and ] move the In or Out points of selected layers to the current time. Add Alt Opt to set the current frame as the In or Out point, trimming the layer. The double-ended arrow icon over the end of a trimmed layer lets you slide it, preserving the In and Out points while translating the timing and layer markers but not keyframes.

The semicolon ; key toggles all the way in and out on the Timeline panel: single frame to all frames. The slider at the bottom of the Timeline panel zooms in and out more selectively. It can be annoying that the work area controls both preview and render frame ranges because the two are often used independent of one another.

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Adobe after effects cs5 visual effects and compositing studio techniques free

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Boxer TTL S.C. (en adelante Boxer) con domicilio ubicado en: calle Manuel E. Izaguirre 19, departamento 502, piso 5, Col. Ciudad Satelite Municipio Nucalpan de Juarez, C.P. 53100, Estado de México, en términos de la Ley Federal de Protección de Datos Personales en Posesión de los Particulares (LFPDPPP) del Reglamento de la Ley Federal de Protección de Datos Personales en Posesión de los Particulares (Reglamento), y de los propios Lineamientos del Aviso de privacidad (Lineamientos), este acto notifica a los titulares de los datos personales que posee, la forma y los términos en los que sus datos serán tratados.

El tratamiento de datos personales del titular, tales como: nombre, correo electrónico, teléfono, código postal, género y edad que obren en poder de Boxer, tendrán como finalidades necesarias: la validación de recepción de promociones de Boxer.

Como finalidades secundarias del tratamiento de datos se encuentran:

  1. La promoción, publicidad, contratación y colocación de todo tipo de productos y/o servicios, asi como la prueba de los mismos, tanto de Boxer como de sus Clientes.
  2. Estadísticas, desarrollo de todo tipo de productos y/o servicios, incluyendo pruebas de los mismos de Boxer, de conformidad con el objeto social y lo establecido en la ley, autorizando desde éste momento su transferencia a otras empresas.

Boxer de ninguna forma comercializará con sus datos personales en actividades distintas a las señaladas en las finalidades del presente Aviso de Privacidad.


Los datos personales en poder de Boxer son recabados de manera licita e informada y podrán ser transferidos a cualquier tercero con los que Boxer tenga o llegare a tener una relación jurídica, en caso de que así lo estime necesario, para ello se hará del conocimiento del tercero que los trate, las finalidades con las que fueron obtenidos y por lo tanto con las que los podrá usar y/o tratar, procurando su confidencialidad, seguridad física y el establecimiento de procedimientos a seguir en caso de vulneraciones. Aquellos datos personales que obtenga Boxer a través de sus Clientes (Usuarios), de terceros o de fuentes de acceso público, serán tratados con la misma finalidad con la que fueron recabados por el responsable original y con alguna de las finalidades descritas en el presente aviso de privacidad.

Boxer responde a cualquier autoridad de manera enunciativa mas no limitativa: financiera, judicial, fiscal, penal, administrativa, por lo cual, en caso de requerimientos de dichas autoridades podrá transferir los datos personales.

Para realizar este tipo de transferencias de datos no se requiere de su consentimiento por estar permitidas en términos de la LFPDPPP.


Boxer mantendrá en su poder los datos personales a los que se refiere el presente Aviso de Privacidad, hasta por un periodo de al menos 10 (diez) años, o durante el tiempo que la relación jurídica entre el Titular de los Datos y Boxer, ya sea directa o indirecta permaneza vigente.


Los datos personales tratados por Boxer tendrán un tratamiento confidencial y limitado a la finalidad con la que son recabados, procurando en todo momento su seguridad física, controles de acceso, idoneidad y mantenimiento constante en las instalaciones, repositorios, medios físicos, ópticos o cualquier otro medio en los que sean almacenados.

Cualquier vulneración a los datos personales sujetos a la LFPDPPP o a los repositorios físicos o electrónicos en donde éstos sean almacenados por Boxer, serán notificados en su página de Internet, a través de medios masivos de comunicación y/o directo al titular de los Datos.


Los titulares de los Datos, como titulares, tienen derecho a (i) acceder a sus datos personales en posesión de Boxer y conocer los detalles del tratamiento de los mismos, (ii) rectificarlos en caso de estar desactualizados, ser inexactos o estar incompletos, (iii) cancelarlos cuando considere que no están siendo utilizados conforme a los principios, deberes y obligaciones aplicables, u (iv) oponerse al tratamiento de los mismo para fines específicos. Estos derechos se conocen como los Derechos ARCO.

Para el ejercicio de sus Derechos ARCO por favor envíe la solicitud al correo electrónico contacto@linkerbox.mx. La solicitud deberá contener la siguiente información y documentación:

Nombre y copia de identificación oficial vigente del titular y/o su representante legal. En el caso del representante legal se deberá acompañar del documento con el que se acredite su personalidad. Los documentos deberán ser escaneados y adjuntados al correo electrónico para verificar su veracidad.

La descripción clara y precisa de los datos personales respecto de los cuales se busca ejercer los Derechos ARCO, así como el derecho o derechos que se desea ejercer, lo cual podrá hacerse en el texto del correo electrónico o en un documento adjunto escaneado. Dicho documento deberá estar debidamente firmado al final del mismo y rubricado al calce de cada una de las hojas.

Señalar expresamente el deseo de recibir la contestación de Boxer a su petición a través del correo electrónico que usted nos proporcione.

Cualquier otro elemento o documento digitalizado que facilite la localización de los datos personales.

En el caso de solicitudes de rectificación de datos personales, el titular de los datos deberá indicar, además de lo señalado anteriormente, las modificaciones a realizarse y aportar la documentación que sustente su petición.

Tratándose de solicitudes de acceso a datos personales, procederá la entrega previa acreditación de la identidad del solicitante o representante legal, según corresponda.

Boxer emitirá la respectiva contestación y se tramitará la solicitud en los plazos establecidos por la LFPDPPP. En los casos de solicitudes de cancelación u oposición de datos personales, Boxer de procederá al bloqueo y supresión de los datos, no obstante los conservará exclusivamente para efectos de las responsabilidades nacidas del nuevo tratamiento.


Boxer se reserva el derecho de efectuar modificaciones o actualizaciones a los términos y condiciones del presente Aviso, para la atención de cambios legislativos, políticas internas, nuevos requerimientos para la prestación u ofrecimiento de servicios y prácticas del mercado.

Dichas modificaciones estarán disponibles para los titulares de los datos a través de su página de Internet. En el Aviso se incluirá la fecha de la última actualización del mismo.


Al proporcionar sus datos personales, usted otorga su consentimiento para que éstos sean tratados en los términos de este Aviso y con estricto apego al mismo, a la LFPDPPP, su Reglamento y a las disposiciones aplicables.

La fecha de la última actualización al presente aviso de privacidad: 19 de mayo de 2021.