Effects Switch Frame Blending Motion Blur Adjustment Layer Switch Editing Layers. Editing Layers Sequencing Layers Straight Cuts Sequencing and Dissolves True Cross-dissolve Trimming Clips and Slip Edits Ripple Edit Inserts Trimming on the Timeline Slip Edits Playing a Clip Backwards Time Remapping Work Area Extras. Trimming Comp to the Work Area Fades and Transitions. Cross Fade True Cross Fade Fade to Black Basic Text Animating Size and Tracking Adding Glow Don't Animate the Scale Using Title Safe Guides Adding the Kickback Adding Horizontal Blur Using Path Text for Normal Text Advance Options in Path Text Animating Individual Characters Final Touches Normal Path Text Number Generator Sans-Serif Fonts Categories: Techno Type Fonts Where to Find Fonts General Design Guidelines Further Resources: Books Further Resources: Websites Importing From Photoshop.
Examining a Layered PS File Importing Into AE as Composition Modifying Layers Importing with Alpha Channels Creating an Alpha in Photoshop Working with Pre-Multiplied Alpha Channels Creating a Straight Alpha the Best Kind! Multi-colored Straight Alpha Channels Play Around with These The Vector Language Viewing Alpha Channel of Illustrator Files Applying Effects - Continuously Rasterize Solution Creating Simple Masks Adding Feather Modifying Masks Editing Mask Points Selecting Multiple Points Deselecting Points Adjusting Bezier Curves Mask Interaction Multiple Masks Drawing Masks with the Pen Tool Learning to Trace with the Pen Tool Freeform Drawing with the Pen Tool Importing From Illustrator Adding Effects Animating the Masks Track Mattes.
Introduction to Track Mattes Applying a Moving Luma Matte to a Movie Pre-Composing to Add Effects How the Mattes Were Created Replacing Mattes Improving the Bad Design Alpha Track Mattes Transfer Modes.
Introduction to Transfer Modes Dropping Out White Dropping Out Black Inverting Line Art Review Another Example of Dropping Out White Some Alternatives Using it in After Effects Color to Black and White Fade Difference Trick Compositing Smoke Using the Screen Mode Importing Audio Previewing Audio The star attractions of After Effects 5 are new 3-D features that let you create dramatic effects, such as a title with rotating text that casts moving shadows as the text appears to zoom toward the viewer.
To create a 3-D composition, you click on boxes in the Timeline window to designate layers as 3-D. You can then adjust and animate numerous 3-D properties, including position, shadows, lighting, and shininess. When you select a 3-D layer, a set of axes handles lets you move the layer left or right, up or down, or closer or farther away. After Effects 5 sees your scene through a virtual camera whose position and characteristics you can animate.
You can create multiple cameras and switch between them; when you create a camera, you specify its optical characteristics. For greater realism, you can have the camera exhibit depth of field so that distant and close objects appear out of focus. Each shows your scene from a different angle, and you can switch among them to accurately arrange layers and camera positions. Alas, the program displays only one view at a time.
The new 3-D features may be aimed at eye-candy producers, but documentary producers will also love them: they enable After Effects to mimic a rostrum camera — a motorized camera-and-bench system often used for complex pans and zooms across still images and artwork. Although video-editing programs such as Final Cut Pro and Premiere have simple pan-and-scan features, they lack the versatility and control of a camera even a virtual one operating in 3-D space.
In earlier After Effects versions, making elements change or move in relation to each other required copying and pasting keyframes and duplicating motion paths. The most impressive 3-D feature is the new Light Transmission property, which lets layers cast colored shadows onto other layers. Light transmission means that when light passes through a semitransparent object, it takes on the color of that object. So lights can now cast colored shadows, allowing you to create more-realistic renderings, as well as effects such as stained-glass windows.
Any layer can now be designated as a shadow caster, meaning the layer itself is not visible in your scene, but its shadow is. Combining shadow casters with light transmission means you can create complex virtual lighting gels for building more sophisticated lighting setups. High-end 3-D users will be pleased to learn that After Effects 5.
This facility means you can accurately rotoscope and render scenes that contain complex camera moves into Maya. In After Effects 5. You can also save your view configurations, and Adobe has added a number of presets, including a four-view setup that will feel familiar to users of 3-D programs. The new Effects palette makes it easier to find and apply effects. Effects can be listed and sorted in a number of ways and can even replicate the organization of your After Effects plug-ins folder.
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