You can even modify vector-based Illustrator, EPS, and PDF files after you import them into After Effects CS6. Furthermore, with the new 3D extrusion support. Using After Effects CS5 & CS (PDF) · Learn After Effects CS5 & CS video tutorials · Adobe After Effects CS5 & CS Troubleshooting. Adobe After Effects CS6 software works with you to meet both goals. After Effects CS6 takes performance to a new level with Global Performance Cache.

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After Effects CS6 Video tutorials. What's new in After Effects CS6 Designing in 3D: Use After Effects CS6 to elevate your work and 3D. Adobe Premiere Pro CS6 Classroom in a Book includes the lesson files that you' ll need to complete Adob The Adobe Photoshop CS6 Book for Digital. The combination of Adobe After Effects CS6 and this .. an appendix, found on the disc as a PDF. these, see the script links PDF in the scripts folder on.

How to optimize images 6. How to create a prototype 7. How to create interactive navigation Key terms: fireworks cs6, web design Learn how to use Adobe Dreamweaver CS6 Technical guides include: 1. Overview of the Adobe Dreamweaver CS6 workspace 2. How to set up a local root folder and site structure 3. How to set document properties 4.

How to use the Assets panel 5. How to manage files and links by using the FIles panel 6. The Dreamweaver Insert panel 7. How to deploy for multiple screens 8. How to create and edit a CSS rule 9. How to use CSS starter layouts How to lay out a web page with CSS How to use templates How to work with external Cascading Style Sheets How to troubleshoot Cascading Style Sheets How to make websites accessible How to use the Adobe Dreamweaver Widget Browser How to check files in and out How to create interactive navigation How to add images How to add rich media to a web page How to add text How to use CSS text styles How to create lists How to create links How to create data tables How to create forms How to create image maps How to preview and test a web project How to check links Understanding Flask graphic files types 3.

How to organize content 4.

Symbols, instances, and the library 5. How to use guides and rulers 6. How to maintain consistency 7. How to make Flash content accessible 8. How to draw and create shapes 9. How to apply colors and gradients How to create masks How to create a button symbol How to use transparent or invisible buttons How to work with text Understanding frames and keyframes How to create animation How to use a motion guide with a motion tween animation How to ease tweens How to create character animations How to use sprite sheets How to use filmmaking techniques How to create transitions with motion tweens How to create visual effects How to import images How to produce Flash video for use on the web How to import sound How to optimize Flash content How to get started with ActionScript ActionScript for basic gaming How to test a Flash project How to publish a Flash document How to set up a mobile application How to resize content for multiple screens How to create an RSS feed How to create a Google map How to import files 3.

How to manage media in the Project panel 4. How to create a storyboard in the Project panel 5. How to trim clips in the Timeline panel 6. How to work with clips in the Timeline panel 7. How to create standard image, movie, and audio files 8. How to capture video 9.

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How to use editing tools in the Source Monitor How to apply and adjust video transitions How to adjust audio and apply crossfades How to record a narration in the Audio Mixer How to create TV news-style J- and L- cuts How to edit in the Program Monitor How to use the Trim Monitor Understanding the Titler How to build text and objects in the Titler How to work with alpha channel transparencies If you are not sure what you are doing, always watch carefully what you click and observe the result.

This way, when you find yourself successfully achieving things, you will know why and you will be able to retrace your steps, learning as you go.

This is the path toward technology mastery and it is a simple matter of self-awareness. Making random clicks and occasionally being successful will teach you only that random clicking is sometimes successful. Many Paths You will frequently find that there are many paths up the mountainmultiple ways of achieving exactly the same resultand this can be confusing. In Premiere Pro, for example, you can play back video in at least four ways and get almost exactly the same result each time: Video and sound play back so you can watch and listen.

You might believe you have it all worked out, and then someone comes along and presses a different button and you think, Oh, I didnt understand it. But you did! And here is the first lesson: Because of the way computers are designed, it is impossible for you to succeed Reading On This text is divided into different sections focusing on different applications, so you can read it in any order, depending on the application you are interested in.

However, concepts will be built on from one chapter to the next and you will probably benefit most by reading it in order from start to finish. Adobe has taken some impressive steps toward developing Story into a front-loading metadata engine as well as a comprehensive scriptwriting tool. Story also has an excellent facility for combining multiple documents in a single project. I highly recommend using this feature. You can always make a folder on your hard drive and keep peripheral documents together there, but it helps to be able to use the access anywhere, cloud-based computing Story offers.

Finding Yourself When writing, I commonly use a series of symbols as placeholders for work still to do. For example, if there is some dialogue that needs work or if I have reached a particular scene and its time to sleep, Ill type in.

This is some thing that will never appear in the regular text, so it is super-easy to search for. Or you can select some text and click the New Comment button that appears on the right of the page. I commonly use this feature to leave messages for my future self to find. The more you can put reminders into the text and get your to-do list out of your mind and onto the page, the more brain power you will have left to concentrate on the creative work at hand.

Writing in Waves When editing a sequence in Premiere Pro, it is always my advice to go all the way through the edit making incremental adjustments rather than fine-cutting every clip. The same approach works for scriptwriting. When you are struggling to find a way to communicate a characters feelings, dont get bogged down trying to solve that one problem; just move on to the next scene, or the next, or the next.

The trick is to get to the end, so you can go back to the start and work through every scene again. The difference is that now you know exactly how things turn out at least until you rewrite.

The extra knowledge and understanding can only come through actually writing scenes in full that might start out as nothing more than seed ideas. A Clear View I find the tagging features in Story particularly useful as a pre-production aid. However, once your script is tagged, you may find it looks rather messy. Even if you keep all of your tags color-coded black, you may have trouble Adobe After E ffects C S6 : Learn by V ideo getting your eye to flow naturally across the text.

I usually toggle the Show Bold and Show Color options off and on as needed. If you turn on pretty much every option except Dialogues, you will get a top-level spreadsheet to use as a main reference for your production. I especially encourage you to download the desktop AIR application version of Story. When you install this version, Story can store a local copy of your work that is synchronized with the cloud when you are online.

When you are offline, you can continue working without interruption. You can download the installer for this version of Story by going to the Story home page and clicking the link. Its unique open format support allows you to combine multiple file types, frame rates, and frame sizes on a single timeline, with many visual effects working in real time thanks to the CUDA support in the latest versions.

This enables you to think less about the logistics and get on with the editing. I think this is a good thing!

Staying Organized Dont worry so much about being organized that it prevents you from getting on with the edit, but be considerate of your future self.

When you return to your edit tomorrow, next week, or next month, will you have a clear sense of what is going on in your project? When you get back and sit down at your editing system, will you know whats going on with the edit? If you think being away from your edit for two weeks might result in not knowing which sequence you should be working on, which effect presets relate to this project, what needs to happen next, and what your deliverables are, you need to make more notes for yourself.

Working with Multiple Media Sources When working on a complex project with multiple media sources, you can sometimes get confused about sequence and output settings. All that really matters is that you focus on your output deliverables. Imagine that in the middle of an edit, you save your work, quit out of Premiere Pro, and shut down your computer.

You stand up, pick up some luggage, and leave for the airport to take a two-week holiday. While on vacation, you 5 Adobe After E ffects C S6 : Learn by V ideo Clients are sometimes a little vague about exactly what they want, and its not a good idea to wait until the end of the edit to check in with them and confirm.

My advice is to propose very precisely what you will deliver, with specific format information and even the medium youll deliver on it could be a hard drive, a tape, a DVD, or an FTP server. Make sure your client confirms that they are happy with your pro posal, then use it to guide your decisions throughout the edit.

Always focus on your output standard. This is what you are conforming to. You may have a mixture of media resolutions, including standard-definition and high-definition content. If you are supplying a x progressive media file, use that as your sequence setting and have everything conform to it throughout the edit. Even if your client wants a standard-definition master tape, shooting in high definition allows you to pan and scan around inside the picture in real time and keep a sharp image.

This effectively allows you to reframe during the edit. If you are in a hurry when shooting, you can frame your shots very wide to make sure you cover the action and then either hunt around the picture to follow events using Pre miere Pros motion keyframe controls or simply scale and reposition the shot.

If you are working with lots of media that have different frame sizes, consider turning on the Premiere Pro preference that makes all media scale to frame size when added to a sequence. Though this can make it harder to keep track of what is a natural fit and what isnt because almost everything will look like a good fit , it can save you quite a few mouse clicks.

Assembly Edits Become Fine Cuts When checking over your media in the Source panel, you can add in and out marks that will be persistent in the bin. This means that the next time you look at that clip, the in and out marks you added will still be there. You can also create subclips, which are shorter sections of your original clip that link to the same original media file on your hard drive.

Subclips help you stay organized but have no particular effect on the performance of your editing system, so they are very handy. Note that you can right-click a subclip in the Project panel and edit its settings, meaning you can change the in and out points if you need to. One of the lovely features of Premiere Pro is that it conforms only at the point of playback. This means that you can have higherresolution media on your timeline and pan and scan around it without everything going soft.

Consider doing this with high-definition media when working on a standard-definition project. A dobe C reative S uite 6 E ditor s N otes When adding in and out marks, avoid making really careful selections. In fact, if you can do without in and out marks altogether, even better! Premiere Pro has great shortcuts and tools for removing unwanted parts of your clips on the timeline, and its always better to make your choices therein the context of all your other clipsrather than in the separate view of the Source panel.

As you develop your edit, a pace and flow will emerge that you will want to sustain. You probably wont be able to tell what that is until you actually begin editingso, again, making careful selections in the Source panel can end up wasting time if you discover you need to adjust the timing of your edits later.

There are occasions, of course, where you really need to check if a clip is long enough or if a piece of action is usable by accurately marking it. In this instance, go for it! For example, imagine you are editing a medieval drama and a bus drives past in the background of a shot.

You want to use the shot but youre not sure there is enough of it before the bus arrivesthis would be a perfect time to use very careful in and out marks in the Source panel.

Adobe After Effects

Otherwise, save it for the keyboard shortcuts, mouse clicks, and trimming tools of the timeline. Editing in Phases Think of editing as sanding wood. You start with the really rough adjustments, then incrementally get finer until you achieve a mirror finish.

This leads to consistency in your edit, with an identifiable pace and rhythm. It also helps you The keyboard is usually faster than the mouse, but it can be difficult to go through a list of endless keyboard shortcuts to memorize them. If you can get a dedicated Premiere Pro colorcoded keyboard, youll find you instantly get faster at editing, as almost every key has a use ful function. If not, try promising yourself you will learn just one keyboard shortcut every time you sit down to edit.

Start with the regular keys, without modifier keys like Shift or Ctrl , and youll notice that learning one shortcut often means learning two or three. Each time you press L, Premiere Pro will play clips or your timeline one step faster. J plays backwards and K is Stop.

I tend to use these keys instead of the Spacebar as my default Play controls. I and O: Pretty obvious and the ones you are most likely to know alreadythey add in and out marks.

Q and W: Q sends the playhead to your in mark; W sends it to your out mark. G: Removes both in and out marks. T: Brings up the dedicated Trim panel. Try this outits a really quick way to jump around the timeline or Source panel. In this example, it would take you to This is very useful if you have notes from a client based on specific times in your sequence. Cutting to the Beat Your audience will unconsciously relate to the beat of any music in your sequence. In a way, as the editor, this means relating to the music is the same as relating to the viewer.

When you are cutting to music, you can set the tone by subtly timing your edits before, on, or after the beat.

If you make your cuts just before the beat, the feeling will be urgent. Right on the beat feels steady, almost like a march. Just after the beat feels lazy and unhurried. You can achieve the same effect when cutting dialogue.

There is a natural rhythm to speech, and people who engage in natural dialogue with positive empathy tend to match breathing patterns and vocal timing.

If you want to suggest this kind of empathy, you can time your cuts to ensure that dialogue flows consistently. If you cut dialogue in early, you can imply that one or both characters are being impatient.

Cut dialogue in late, and they can seem disinterested or distractedperhaps more interested in their personal, inner dialogue. This means that you can strongly influence how dialogue appears to flow, regardless of the original interaction, though it should always be in response to the original performance. It is very rare for written dialogue to involve overlapping speech, partly to allow the editor this kind of control.

At the last possible moment before you hand off your work, these will be your best friends. They will tell you if your visuals are legalthat is, if they will display properly on regular television monitors.

Correct levels for televisions look pretty awful on computer monitors, which have a higher range and operate in a different color mode. Compare the two by plugging a television into your system, even if it is only a consumer television.

You will see that those gray-looking whites on your computer screen look perfect on a television monitor. Not to worry, thoughits actually pretty easy to learn. In this chapter well cover some of the basic terms and see what the workflow looks like. No matter what kind of work you are doing in After Effects, many parts of the workflow are roughly the same: Import or create movies and other assets of a project Use those assets to create layers Assemble the layers into a composition Modify properties of those layers, including animating some properties Often add effects to layers and modify and animate their properties Preview your composition And finally, render or export the composition to one or more output movies You can open a footage item in its own Footage panel by double-clicking it in the Project panel.

This allows you to preview the footage item and trim it. Trimming refers to removing portions of the item so that you use only the parts that you like in your composition. Lets look at each of these pieces in a bit more detail. The Composition A composition is the basic framework of a movie. You can access your compositions in the Project panel, and by double-clicking a composition, you open it in both a Timeline panel and the Composition panel.

The Composition panel and Timeline panel provide two complementary ways of seeing and interacting with the composition and its layers.

The Timeline panel is the best place to see each of the layers and to make adjustments to them individually. The Composition panel, on the other hand, is the best place to see the com- The Project Whenever After Effects is running, a project is open.

You can see which project is open by looking at the top of the Application window. You will almost always import some files into a project; these are referred to as source files. Inside of a project, the source files are used as the basis for footage items. You can see all of your source files in the Project panel, and it is recommended that you place them into different folders to keep your Project panel organized.

When layers are stacked on top of one another, you can use several different features to determine exactly how the underlying layers will show through and blend with the layers on top. This is called compositing. The example here is a nested composition that consists of two layers: a vector graphic logo and a simple text layer with the number 3. If you go back to the main composition by clicking its main timeline panel tab, these items together are what form the vector graphic bug in the upper-right corner of the screen.

Layer Properties Each layer has several properties, and you typically interact with these properties in the Timeline panel. If you click one of the small triangles in the Timeline panel, you expand a property group. At the right of each property, you can see the numerical value that is currently set for it.

Nesting Compositions Compositions can be nested one inside the other, with the nested composition acting in the same way as any other footage item. If you double-click the precomposition layer of a nested composition, it will open in its own Composition panel. Adobe After E ffects C S6 : Learn by V ideo 11 Animation and Keyframes When you modify a property so that it has a different value at one time than it has at another time, this is called animation.

In After Effects, any property with a stopwatch icon next to it can be animated. The Effect Controls panel provides a view of effect properties very similar to what you see in the Timeline panel, but it is often more convenient to access them through the Effect Controls panel. The most common way to animate a property is to use keyframes to specify certain values at specific times. You enable animation for a prop erty by clicking the stopwatch icon. This sets a keyframe, as indicated by a yellow icon on the timeline that looks like a diamond formed by two triangles.

You can disable keyframing for a property by clicking the stopwatch again. You can also use keyframes to specify the shape and position of a mask at specific times so the mask roughly follows the key region of a shot. Masks are most commonly placed on adjustment layers, which are used for effects. Previewing Your Work As you are working, you will need to preview your work, and After Effects provides many ways to do this.

You can use a manual method such as dragging the playhead in the Timeline panel back and forth, which is often referred to as scrubbing. Effects After Effects comes with hundreds of effects. You can control effects using the Effect Controls panel; anytime you select a layer that has effects applied, those effects appear in the Effect Controls panel.

Rendering is the process that After Effects uses internally to create the frames of a movie from all of the information that you have given it in the composition. Encoding and exporting are the processes that After Effects uses to then convert these movie frames into output files that can be played back or used in other programs. When you are ready to render and export a movie, you add your composition to the Render queue, which you can see by clicking on the Render Queue panel tab.

The render settings you choose tell After Effects how to create the rendered frames from the composition. The output module settings specify what formats, output locations, and other details After Effects should use to output your movies. When everything is ready to go, you just click Render and the program takes care of the rest for you.

50 After Effects tutorials to sharpen your motion skills

So, there is a whirlwind tour of the After Effects workflow. To sum up: Projects hold footage items, compositions hold layers, layers are based on footage items, layers have properties that you can modify, keyframes specify pro perty values at specific times, effects add additional properties to layers, and you can render and export your compositions to create output files.

If you are new to Photoshop, you may want to spend a little time clicking through the menus to get a sense of what it can do for you. The toolbar on the left of the default workspace houses an enormous range of features, especially when you consider that many of the tools will reveal a menu of several other tools if you click and hold down the mouse button. Each of the tools you select on the toolbar will have unique settings that appear along the top of the Photoshop interface.

Getting to know these settings is an important step toward Photoshop mastery. From now on, any filters you apply will be added as a list attached to the video layer that you can turn on and off as you wish. Unlike traditional result effects work in Photoshop, where filter effects amend the original media, this method is nondestructive in the same way that nonlinear editing systems are.

Working with Video Photoshop has an enormous range of filter effects, but theres a gotcha you need to be aware of if you want to use them on a video clip. You can open video clips just like any other kind of file in Photoshop Extended; if you open the Animation window, youll be able to play a clip and step through it, frame by frame.

However, if you apply a filter to a video clip, it wont be applied to any frames except the one you happen to be displaying. If you want an effect to apply to every frame of video in your clip, you must first convert the video to a Smart Object.

This works very well if you use one of the document presets in Photoshop to create a blank document that exactly matches the output format you need, because you are able to resize the placed item before committing the changes to the Smart Object. You could do this manually later on, but it saves a few clicks to deal with scaling the new source layer as you import it. Because Smart Objects are only based on the original rasterized media, you can always rescale safelyadjustments made to Smart Objects are nondestructive.

It can be overwhelming when you first interact with an advanced application like Audition, even if you have experience with similar tools. My advice is to begin by looking for the features you are familiar with and closing panels that dont make any sense to you.

This way you can keep the clutter away while you find your bearings. Tip: Because Soundbooth was based on Audition, users of Soundbooth will find Audition familiar territoryexcept for the many extra tools and panels that were not present in Soundbooth. Cleaning Up Audio You will find that Audition has exactly the same Waveform and Spectral display modes as Soundbooth and many of the same effects, though there is more flexibility in the ways you can interact with your media.

Even the Spectral display offers a more advanced way to clean up unwanted sounds. In Soundbooth, you can select a sound you want to remove and press Delete. Soundbooth will smooth the edges of the selection and remove exactly the frequencies you selected. Audition also has a healing option, which will use surrounding frequencies to fill in the gap you create. This advanced audio restoration feature is one of the many reasons it is worth taking the time to learn about Auditionthe more you know it, the more you will love it.

It is powerful, flexible, and userfriendly. You can use prebuilt menus to learn about button and background design, automatically generate an After Effects composition from a menu to create animated transitions, import a dynamically linked Premiere Pro sequence to begin authoring before you have even completed the edit, and even generate multiple deliverables from a single projectincluding a stereoscopic 3D Blu-ray DVD!

With all of that wonderful performance in mind, theres just one fundamental rule to observe when authoring with Encore: Be selective with your selections. Encore uses object-oriented design, which broadly speaking means that you set up the interactivity of your DVD by selecting objects or assets and then making choices for them in the Properties panel. These properties might involve an end action that tells the DVD player what to do when an item finishes playing, or they might specify what music to play in the background of a menu.

Getting to Know Encore The first step in understanding Encore is to discover all of the options available in the Properties panel when you clickanything! See what happens when you select a video clip compared to a timeline. Select buttons, then menus in the Project panel, or select nothing in the Project panel by clicking on the background. Most of the functionality Encore has to offer is inside that one important panel.

Though you can set up your transcoding very precisely with Encore, I tend to only set a maximum bitrate that I know is safe. For me, safe means it is low enough for all set-top boxes to be able to play the disc. When you transcode your media, Encore will automatically use the maximum bitrate you set, unless the duration 16 A dobe C reative S uite 6 E ditor s N otes of your content is such that there is not enough room on the disc at that bitrate.

Encore will then automatically set the maximum bitrate for the space available, which means much less thinking is required! All of the calculations, including ensuring that there is enough room for your menus, are carried out by Encore without you having to do a thing. Being Flexible with Content If you want to create multiple versions of a film without taking up extra space on the disc by making multiple copies, check out Chapter Playlists.

These allow you to treat individual chapters as separate timelines that can be viewed in any order. This means that you could have one menu button that only plays chapters 1, 3, 7, 10, and 11, then another menu button that only plays chapters 2, 4, 5, 8 and 9, and yet another button that plays the whole thing from beginning to end.

This approach to project organization is incredibly efficient and easy to implement. Its also easy to change your mind about the playback order. You can have multiple Chapter Playlists without adding a single extra clip to your project.

This feature is perfect for including multiple endings and allowing your viewer to choose the ending they want before they start the movie.

If you do this, Encore will automatically skip transcoding the media. Adobe After E ffects C S6 : Learn by V ideo 17 If you use Chapter Playlists, consider doubling your chapter markers: The portion of your timeline that is played when you add a chapter to a Chapter Playlist goes from the chapter marker you select to the next chapter marker. To avoid playing the beginning of the next chapter, add one marker for the start of a chapter and another for the end of that chapter.

This means there will be a very short chapter at the end of each main chapter the gap between your chapter end and the next chapter. It will have no impact on playback if the viewer simply watches the video from beginning to end and will allow you to set end points for chapters on your Chapter Playlists. If you are mixing and matching source material of different frame sizes, the Maximum Render Quality setting will improve the quality of the scaling.

Being Dynamic The more you can use dynamic linking in your workflow, the more flexible and agile you can be as you develop your project.

Many editors base their workflows on aiming for picture lock, when the final decision is made about exactly which frames will be included in the video and which will not. As clients become more familiar with the power of nonlinear editing, changes at the last moment are becoming increasingly common.

Connecting Everything Together If all your work is aimed at the final output, it makes sense to plan backwards from there. If you are delivering a Blu-ray DVD, this can guide your sequence settings in Premiere Pro, workflow for incorporating After Effects compositions, graphics resolutions, and every other variable in media acquisition.How to work with graphics frames 8.

See also marker, out point. July 11th, at Once you've mastered the basics, it's time to start building your skills. How to combine images in Photoshop How to Use This Course The video2brain interface is easy to use, but it also has a large number of options. The book is a great one-stop shop for learning visual effects basics and, while not a cookbook, is suitable for all kinds of users. Todd spends much of his time helping After Effects users of all levels on various online forums, and hes often the person answering questions at the Ask the Expert station in the Adobe booth at trade shows.

If you click one of the small triangles in the Timeline panel, you expand a property group.

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