By Mark Christiansen
This can be the one publication out there to concentration completely at the construction of visible results for After results clients, and is a one-stop source for a person who desires in-depth causes that demystify the world of visible results and the way they have been created, because of veteran writer Mark Christiansen's pleasant and obtainable type. A completely packed, informative learn, this masterful advisor makes a speciality of explaining the fundamental innovations, gains, and strategies which are key to making seamless movie-quality visible results. clients who're happy with After results will discover a beneficial assessment of the basics - dealing with photos, viewing and modifying layers, animating variety, and extra - to allow them to the way to paintings smarter and extra successfully. Readers of all degrees will study middle suggestions for results compositing together with colour matching, keying, rotoscoping, movement monitoring, emulating the digital camera, and concluding with utilizing expressions in After results, written via contributor and specialist Dan Ebberts. a very important appendix on scripting in After results is incorporated besides, written by means of Adobe engineer Jeff Almasol. the ultimate component to the booklet delves into artistic explorations, demonstrating specialist results which are normally noticeable in movies and video games which readers can re-create. Readers also will locate complete insurance of all that is new and makes this model of Adobe's results programa must-have replace, together with the progressive new Roto Brush, all new results equivalent to the hot Refine Matte impact, new aid for colour Look-Up Tables, workflows that make the most of the all-new 64-bit help, inclusion of third-party instruments for extra creativity, and masses extra.
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Additional resources for Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques
After Effects is precise about how those timing settings are handled. 97 fps, don’t round those to 24 and 30, or strange things are bound to happen: motion tracks that don’t stick, steppy playback, and more. 14). 14 Useful information about any selected item appears atop the Project panel. The caret to the right of the filename reveals specific compositions in which it is used. 21 Chapter 1 Composite in After Effects Fields, Pulldown, and Pixel Aspect Ratio Why an Image Sequence? mov), have the following flaws compared with image sequences: .
If details such as pixel aspect ratio seem arcane at this point, don’t worry—they will be covered in greater detail later in the chapter, and you’ll have more practice with them throughout the book. 8 This is all a little abstract without working on the actual elements. 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.
For sending ﬁles internally, TIFF with lossless LZW compression is solid and can handle higher bit depths and color management. Low-loss output could be QuickTime with Photo-JPEG at around 75 percent. It works cross-platform and at 100 percent quality, it provides 4:4:4 chroma sampling, and at 75 percent, 4:2:2 (see Chapters 6 and 11 for details on what that means). 264 are most successful on multiple passes. Assemble the Shot Naming Conventions Part of growing a studio is devising a naming scheme that keeps projects and renders organized.