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Tutorial adobe after effect cs3 torrent

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Today, we bring you an additional bonus to all video enthusiasts out there who wish to try out these templates. Since quality is needed and sought out, we have compiled some templates that can be downloaded for free. By accomplishing some of the requirements set out by the author or the owner, you can download the template as easy as one-two-three! Check out our 33 Free After-Effects Templates and have the opportunity to try and test the unique features an After-effect has into your creations.

Grab this amazing chance and start browsing through this cool collection. I have added and replaced out-dated templates with new After Effects templates that you can enjoy using for your design projects. And yes, they are all free to download so go ahead and have fun checking them all out below. Enjoy your browse! It is compatible for After Effects CS3 up to the latest version and the download includes the background music and a tutorial that will help you learn After Effects.

Free slide is an AE template that allows you to create a beautiful slideshow. It displays introductory pictures and videos with special effects that add some visual charisma to your presentation. The file can be opened and edited in AE CS3 and later versions. A tutorial link is also available that will give you the step-by-step procedure on how to use this template. It needs no plugins and the font Apple Chancery used is free to download.

This template is for a nice lower third design that you can use for your video. The simple design incorporates a dark bar with glowing effects. You can change its opacity settings and rescale it to fit well to your video. The Colorizer adds some color and texture effects that result in different moods and ambiance to your videos. It includes various effects such as vintage flares, old paper, security camera, and more. Achieve the Christmasy feel with Happy Holidays.

It is a free After Effects template that does not require plugins. It contains a placeholder for a logo or any image, and 2 placeholders for texts. Be sure to read the user agreement first that is included in the download file. Simple Rings is a After Effects template that presents a beautiful logo reveal that starts with an expanding tech circles revealing the logo, and ends with the circle scaling down into a lens flare. No other plugins required.

This After Effects template is a digital book that contains 6 pages that is inclusive of 11 placeholders for photos and videos, and another 13 placeholders for texts. It can be used for personal and commercial purposes. This next After Effects template is great for short presentations that use footages or images along with texts. Also, the font Orbitron is free to download. Here is a template with a cluster of particle effects that seemingly look like falling snows.

This is customizable in AE CS3 and its higher versions; and can be used as a dramatic background. Here is another lower third template that comes in 3 color variations. It can be used in a variation of situations such as displaying must-know information, creating a news headline, name recognition, etc.

In this template, you have a cinematic trailer that convincingly displays texts with impressive effects of lens flares, shattering, and glowing texts. You can download this template free with the soundtrack used. Tron Project is template that creates 3D text with a few expressions. Learn how to use this project with a brief video walk-through that you can refer to in editing the template. This typography template uses particles that seem like small bubbles that slowly fill up sans-serif letters.

You can use this to present your text videos in a fun and entertaining way. For this After Effects template, a logo is being revealed in an extruded manner. You can easily edit this template and add your own logo and texts in it. No plugins are required on this template. The After Effectstemplate will dramatically reveal your personal logo with the very realistic metal texture and sci-fi-inspired elements. It holds 13 title placeholders and another 5 placeholders for images and videos.

Each of these compositions has its unique animation.

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Create a smaller region of interest to use less processing power and memory when previewing, thereby improving interaction speed and increasing RAM preview duration. The nested composition appears as a layer in the containing composition.

If you want to group some layers that are already in a composition, you can precompose those layers. Precomposed layers are placed in a new composition sometimes called a precomposition , and the new composition becomes the source for a single layer in the original composition. For example, if you deliberately used a low frame rate in a composition to create a jerky, hand-animated result, you should preserve the frame rate for that composition when it is nested.

Select the composition in the Project or Composition panel. Page Markers To view a video tutorial on working with markers and cue points, visit the Adobe website at www. Markers make it easier to align layers or the current-time indicator with specific points in time: When you drag a keyframe, the current-time indicator, or a layer duration bar in the Timeline panel, hold down Shift to snap these items to markers.

Page Note: Numbering of composition-time markers begins at 0. In After Effects 7. When you render a composition for comments using Adobe Clip Notes, the comments in composition-time markers are included as comments in the Clip Notes PDF.

Page QuickTime and Windows Media movies. To be compatible with DVD format, make sure that markers are at least 15 frames apart. After markers are created, you can use them to synchronize video or other effects. Page Chapter 7: Views And Previews To see your composition as it will appear on a mobile device—such as a mobile phone—first render your composition to final output, and then use Adobe Device Central to view the movie. Standard previews play at a speed as close to that of real time as possible; however, for complex compositions, the speed of the preview may be much less than that of real time.

VU meter B. Level controls C. Level units D. Audio panel menu E. Level values Choose Options on the Audio panel menu to specify the following options: Choose whether to display audio levels in decibels or in percentages. You can switch views at any time. This may slow down the previews. By default, the magnification is set to fit the current size of the panel.

When you change magnification, you change the appearance of the pixels in the panel that you are previewing, not the actual resolution of the composition. Third Renders one-sixteenth of the pixels contained in the full-resolution image.

Quarter Renders the image at the resolution you specify. Custom Viewing a color channel or alpha channel You can view red, green, blue, and alpha channels—together or separately—in a Footage, Layer, or Composition For example, drag the value control to the right positive values until the entire image is white except for one area; that area is the darkest area in the image. Page Timecode for When the timecode base is 60 fps drop-frame, frame numbers 0,1,2,3 are dropped in exactly the same places as where 0,1 are dropped for drop-frame timecode with a timecode base of 30 fps.

The primary difference is that each After Effects layer can have no more than one footage item as its source, whereas a Premiere Pro track typically contains multiple clips. This means that you can use the same footage item as the source for more than one layer, and use the footage differently in each instance. After you add a footage item to a composition, you can modify and animate the resulting layer. This PSD file consists of a blank Photoshop layer that has the same dimensions as your composition, with the appropriate title-safe and action-safe guides.

To scroll the topmost selected layer to the top of the Timeline panel, press X. The duration is the span between the In point and the Out point, and the bar that extends from the In point to the Out point is the layer duration bar. Press F2 to deselect all layers. Note: If no layers are selected, the following step removes the section from all unlocked layers. Selecting this switch for a vector layer causes After Effects to rerasterize the layer for each frame, which improves image quality, but also increases the time required for previewing and rendering.

The switch does not affect the setting for individual effects on the Effect layer. Sets frame blending to one of three states: Frame Mix , Pixel Motion , or off. Original B. Enlarged with Continuously Rasterize switch turned off C. Many effect properties can also be modified in the Effect Controls panel.

If you attempt to duplicate a top-level property group, the entire layer is duplicated, instead. Width , Height B. Width , Height C. Width , Height D. The VU meter in the Audio panel displays the volume range for the audio as it plays. Original composition original in center tile when using Brainstorm on single numerical value B. Maximize Tile C. Save As New Compo- sition D. Apply To Composition E. Use In Next Brainstorm F.

Randomness control Spread control when using Brainstorm on single numerical value G. Page Blending Modes Blending modes for layers control how each layer blends with or interacts with layers beneath it. Blending modes for layers in After Effects formerly referred to as layer modes are identical to blending modes in Adobe Photoshop. Most blending modes modify only color values of the source layer, not the alpha channel.

The Alpha Add blending mode affects the alpha channel of the source layer, and the silhouette and stencil blending modes affect the alpha channels of layers beneath them. Page All blending modes described in this section are available for blending between layers. Some of these options are available for paint strokes, layer styles, and effects. For in-depth information about the concepts and algorithms behind these blending modes, see the PDF reference material on the Adobe website at www.

Blending mode gallery source layer The result Screen color is never darker than either input color. Using the Screen mode is similar to superimposing two different film negatives and printing the result. This preserves Color the gray levels in the underlying color. This is useful for coloring grayscale image and for tinting color images. When you import only one layer that includes layer styles, you can choose to ignore the layer styles or merge layer styles into footage.

The Blending Options property group is only included for a layer if the layer has had a layer style added to it. To add a Blending Options property group without a layer style, add an arbitrary layer style and then immediately delete it; In After Effects 6. Select the Rotation tool , and choose Orientation or Rotation from the Set menu to determine whether the tool affects Orientation or Rotation properties. Note: By default, new layers begin at the beginning of the composition duration.

When you modify Focal Length, the Zoom value changes to match the perspective of a real camera. Spot emits light from a Light Type source that is constrained by a cone, like the spotlight used in stage productions. Point emits unconstrained omnidi- rectional light, like the rays from a bare light bulb. These tools are specifically for manipulating the 3D views and are only available for compositions with 3D layers.

Diffuse omnidirectional reflectivity of the layer. Applying diffuse reflectivity to a layer is like draping a Diffuse dull, plastic sheet over it. Light that falls on this layer reflects equally in all directions. Page Chapter 9: Animation You animate layer properties using keyframes, expressions, or both.

To see a video tutorial on animating using keyframes, visit the Adobe website at www. Some tools, such as Motion Sketch and the Puppet tools, automatically set keyframes for you to match motion that you sketch. Different information is shown depending on whether the Timeline panel is in Graph Editor mode or layer bar mode. For temporal properties, such as Opacity, the Graph Editor defaults to the value graph. Switch to the Graph Editor view and display the keyframes you want to adjust. Position motion paths appear in the Composition panel; You can move multiple keyframes at one time by selecting them in the Timeline panel before you drag them in the Composition panel or Layer panel.

To move the entire motion path, select all keyframes by clicking the property name in the Timeline panel before dragging a keyframe in the Composition panel. The pasted keyframes are set to rove in time, except for the first and last ones, to create a constant velocity along the path. That effect is now named Directional Blur, to avoid confusion with motion blur applied to layers. In the Timeline panel, either select all the keyframes for a property to smooth the entire curve, or select at least three keyframes to smooth only a portion of a curve.

A low value produces only occasional deviations, while a high value produces more erratic results. A value between 0 and 1 creates keyframes at intervals of less than one per second. For example, a value of 0. This usually means generating new values between two keyframes. However, you set the positions of Continuous Bezier direction handles manually. Adjustments you make change the shape of the value graph or motion path segments on either side of the keyframe. In layer bar mode or in the Graph Editor, select the keyframes you want to change.

You can retract, extend, or rotate the direction handles to fine-tune the Bezier interpolation curve. Retracting a direction handle makes a tighter, sharper Bezier curve. Extending a direction handle makes a larger, smoother Bezier curve. For example, it is difficult to make a value change smoothly through a keyframe when the keyframe is set to Linear interpolation, but you can switch to Bezier interpolation at any time, which provides a smooth change through a keyframe.

Decrease speed by moving one keyframe farther away from the other, or increase speed by moving one keyframe closer to the other. When you use this technique, the speed graph resembles a smooth U shape. Using the Selection tool, click a keyframe and drag the direction handle left or right. Change speed numerically You may want to specify speed more precisely than you can by dragging keyframes in the speed graph.

In such cases, specify speed numerically in the Keyframe Velocity dialog box. After the keyframes are set to rove bottom , the motion path shows consistent speed over the range of keyframes. In layer bar mode or in the Graph Editor, set up the keyframes for the motion you want to smooth. Use Exponential Scale You can simulate a realistic acceleration of a zoom lens when working with 2D layers by using Exponential Scale, which converts linear scaling of a layer to exponential scaling.

For best results when time-remapping a layer, use the Timewarp effect. The layer itself maintains its original In and Out points relative to the composition. Current-time indicator B. Time-remap value C. Remap-time marker D. If necessary, set a new duration for the layer before you remap time. If the layer is playing in reverse, drag up. If the layer is playing in reverse, drag down.

Move the current-time indicator on the lower time ruler to the last frame where you want change to occur. A check mark by the appropriate Frame Blending command Frame Mix or Pixel Motion indicates that it is applied to the selected layer.

Also, the Frame Blending switch appears in the Switches column for the layer in the Timeline panel. An outline is only visible when the Puppet effect has been applied and a Puppet tool pointer is over the area that the outline defines. Use Draft Deformation This can improve performance for a complex mesh. Note: This procedure assumes that you have already placed Deform pins in the object to animate.

This creates a raster layer with only the paint strokes, defined by an alpha channel. You can then use the Puppet tools to animate the paint strokes. Rather than manually dragging the pins back to their initial positions at the end of the animation, place the current-time indicator at the end time and click Reset. The influence ends abruptly; it does not decrease Extent gradually with distance from the pin. Extent is indicated visually by a fill in the affected parts of the mesh.

The fill is dark if In Front is negative; Page Chapter Color Chapter Color After Effects gives you fine control over all aspects of color, allowing you to modify the colors of visual elements and control how colors appear on various devices.

Color basics Set the color depth Color depth or bit depth is the number of bits per channel bpc used to represent the color of a pixel. The more bits for each RGB channel red, green, and blue , the more colors can be represented. Page Adobe Color Picker dialog box. Page Press the Escape key to deselect the eyedropper. Optional To prevent panels from updating with the results of your color selection until you accept the color by clicking OK, deselect Preview in the Color Picker dialog box.

Page RGB. Although each of these color spaces defines color using the same three axes R, G, and B , their gamuts and tone response curves are different. For information on color spaces and color management in After Effects, go to the Adobe website at www. Also, by not using QuickTime codecs, After Effects preserves overbrights in bpc projects. To avoid color shifts when working with projects created in After Effects 7.

When you choose a profile—for input, output, or simulation—you will not see the motion-picture film profiles unless your footage is Cineon footage or you select Show All Available profiles. Page The working color space should match the output color space that has the largest gamut. To manage colors in a dynamically linked composition, create a new composition and nest your composition within it; When you import these files, you can be confident that the colors that you see are as the producer of the footage originally intended.

If a working space has not been set—that is, if color management is not on for the project—then you cannot assign an output RGB numbers are preserved; color appearance is not preserved. When display color management is on for a viewer, a yellow plus sign appears in the Show Channel button at the bottom of the viewer. Instead, the numerical RGB color values are preserved and are re-interpreted to be in the color space of the simulated device. One use of this simulation is to see how a movie will look when played back on a device other than the one for which it was intended or a device that does not perform color management.

You can specify a profile to use for each of the conversion or reinterpretation steps. Page Note: After Effects 7. When opened in After Effects CS3 or later, footage items in projects created with this option will have a corresponding assigned profile. Page Chapter Masks, Transparency, And Keying An alpha channel provides a way to store images and their transparency information in a single file without disturbing the color channels.

When you view an alpha channel in the After Effects Composition panel or an Adobe Premiere Pro Monitor panel, white indicates complete opacity, black indicates complete transparency, and shades of gray indicate partial trans Segments are the lines or curves that connect vertices. Vertices are where each segment of a path starts and ends. In the Timeline panel, click the name of the Position property or Anchor Point property from which you want to copy the motion path. Select one or more layers.

Select one of the following: Creates mask keyframes at only the current frame. You can select a mask as a whole path, which is appro- priate when you want to move or resize a mask. However, if you want to change the path of a mask, select one or more points on it. Use this feature to avoid unwanted changes to the mask. By default, After Effects uses the color yellow for all masks. The masks in this illustration have different Mask Opacity values.

Original masks B. None C. Add D. Subtract E. Intersect F. Lighten G. Darken H. Difference The mask has no direct influence on the alpha channel of the layer. In areas where the mask does not overlap Difference the masks above it, the mask operates as it would alone on the layer. In areas where the mask overlaps the masks above it, the influence of the mask is subtracted from the masks above it.

You can animate either the track matte layer or the fill layer. Select at least two adjacent mask path keyframes. Set options in the Smart Mask Interpolation panel, and then click Apply. Note: To interrupt the interpolation process, press Esc. The Info panel indicates that the process has been interrupted and reports the number of keyframes created. Also, a vertex on the first mask path cannot match the middle of a curve or straight-line segment on the second mask path, so sometimes you must add vertices before matching to produce the desired result.

In the Layer panel, the mask is moved in relation to its layer top , and in the Composition panel, the layer is moved in relation to the composition bottom. Page Keying To see a video tutorial on keying with Keylight, visit the Adobe website at www. For more information on Adobe Ultra, visit the Adobe website at www. Apply Matte effects as necessary to fine-tune the matte.

Typically, stage two does the opposite of stage one. You can copy text from other applications such as Adobe Photoshop, Adobe Illustrator, Adobe InDesign, or any text editor, and paste it into a text layer in After Effects. Because After Effects also supports Unicode characters, you can copy and paste these characters between After Effects and any other application that also supports Unicode which includes all Adobe applications.

You can change these properties later by selecting the text and modifying settings in the Character panel. To avoid losing text, resize the bounding box so that all text is visible prior to conversion. Add the Photoshop text layer to your composition and select it. If the formatting for a character specifies a font that is unavailable on your computer system, another font will be substituted, and the missing font name will appear in brackets.

Press the key again to advance through the font families with names that begin with that letter. Instead, use tracking. Characters in CJK fonts are often referred to as double-byte characters because they require more than one byte of information to express each character. Use the Paragraph panel to set options that apply to entire paragraphs, such as the alignment, indentation, and leading line spacing.

For point text, each line is a separate paragraph. Inden- tation affects only the selected paragraph or paragraphs, so you can easily set different indentations for paragraphs. To see a video tutorial on animating text, visit the Adobe website at www. To smooth the edges and movement of animated text, enable motion blur for the text layer. Often, you simply set the property that you want to animate to its ending value and then use the selectors to control everything else.

You can specify values for this property in the Timeline panel, or you can Position modify it by selecting it in the Timeline panel and then dragging the layer in the Composition panel using the Selection tool, which changes to a move tool when positioned over text characters.

Choose Range, Wiggly, or Expression from the submenu. This is useful when wiggling the Scale Lock Dimensions property. You can use the text property, Anchor Point Grouping, to specify whether the anchor point used for transformations is that of each character, each word, each line, or the entire text block. When you convert a layer from per-character 3D to 2D, the animator properties and dimensions specific to per-character 3D layers are lost. Re-enabling per-character 3D will not restore values for these properties.

Animating Path Options properties is an easy way to animate text along a path. To do this, specify a Character Offset value and animate the range selector. It also shows how the Wiggly selector can create a dramatic change to the animation simply by adding it to the layer.

Using the Tracking and Line Anchor animator properties, you can easily move all but one or a few characters. This example shows how you can use them to limit an animation to a specific word. Animating the skew values in the characters in the word Speeding Create a new composition. In the Composition panel, drag the start selector to the left edge of the text the value will be at 0. Move the current-time indicator to 5 seconds and drag the start selector in the Composition panel to the right edge of the text the value will be 5.

You can use other expressions in the Global category to display time in another format. Page Chapter Drawing And Painting Paint effect in the effect stacking order are ignored; the paint strokes are applied on a transparent layer. To see a video tutorial on using the drawing and painting tools, go to the Adobe website at www. Page Panels button For some painting, drawing, cloning, and retouching tasks, you may want to take advantage of the sophisticated paint tools provided by Adobe Photoshop.

Note: To move back the Custom number of frames, press 1 on the main keyboard. Clone source overlay B. Current stroke point C. Current sample point Important: To specify settings for a paint stroke before you apply it, use the Paint and Brush Tips panels.

Note: You can manually manipulate the time and coordinates from which sampling begins by modifying the Offset, Source Time Shift, Source Position, or Source Time values in the Paint panel. Clone presets are saved in the preferences file, so they can be reused in other projects. Page Segments are the lines or curves that connect vertices. Vertices define where each segment of a path starts and ends. Some Adobe applications use the terms anchor point and path point to refer to a vertex. Page A closed path is continuous and has no beginning or end; for example, a circle is a closed path.

For shape paths, you can use the Merge Paths path operation similar to the Pathfinder effects in Adobe Illustrator to combine multiple paths into one path. A path itself has no visual appearance in rendered output; Page You can save your favorite shapes as animation presets. To see a video tutorial introducing shape layers, go to the Adobe website at www. To see a video tutorial on animating shapes, go to the Adobe website at www. Two shapes in a group B. Two paths in a compound shape C.

Circle path with Wiggle Paths applied D. One stroke applied to all paths above it E. Star path in a group by itself F. One fill applied to all paths above it G. One path with two strokes When you add a shape attribute using the Add menu in the Tools panel or Timeline panel, the attribute is added within the group that is selected.

This means, for example, that a stroke is rendered on top of in front of a stroke that appears after it in the Timeline panel. You can then add shape attributes to existing shapes or create new shapes within that shape layer. By default, if you draw in the Compo- sition panel when a shape layer is selected, you create a new shape within that shape layer, above the selected shapes or group of shapes. For example, if you draw a star and modify the number of points to be 10, then the next star that you draw will also have 10 points.

The primary difference is that direction lines for vertices and curvature for path segments are automatically calculated. Create a manual Bezier path using the Pen tool With the Pen tool selected and the RotoBezier option deselected in the Tools panel, click in the Composition panel where you want to place the first vertex.

Drag to modify the length and direction of both direction lines for a vertex, and then release the mouse button. Drawing the first vertex in a curved path A. Select a mask in the Layer, Composition, or Timeline panel, or select a shape path in the Composition or Timeline panel. Layer selection B. Group selection C. Free-transform D. To add vertices to the selection, hold down the Shift key as you draw additional marquee-selection boxes.

Highlight control point B. Start Point C. End Point Select the group in which the gradient is contained. A pointed connection. The Miter Limit value determines the conditions under which a beveled join is Miter Join used instead of a miter join. Path operations apply to all paths above them in the same group; as with all shape attributes, you can reorder path operations by dragging, cutting, copying, and pasting in the Timeline panel.

The output is a single path that combines the input paths. Page AFTER EFFECTS CS3 User Guide Original shape top left , one instance of the Repeater operation applied top right , and two instances of the Repeater operation applied bottom right If the original shape is numbered 0, the next copy is numbered 1, and so on, then the result of the Repeater is to apply each transformation in the Transform property group n times to copy number n.

Page Chapter Motion Tracking Chapter Motion tracking With motion tracking, you can stabilize shaky footage, analyze the motion of objects in a scene, and match the motion of composited graphics with those objects. Motion tracking overview About motion tracking With motion tracking, you can track the movement of an object and then apply the tracking data for that movement to another object—such as another layer or an effect control point—to create compositions in which images and effects follow the motion.

Search region B. Feature region C. Attach point The feature region defines the element in the layer to be tracked. The feature region should surround Feature region a distinct visual element, preferably one object in the real world. After Effects must be able to clearly identify the tracked feature throughout the duration of the track, despite changes in light, background, and angle.

Because After Effects compares image data from one frame to the next to produce an accurate track, attaching high-contrast markers to the object or region lets After Effects more easily follow the motion from frame to frame. Adjust the feature region, search region, and tracking options Place each feature region control tightly around its tracked feature, completely enclosing the tracked feature, but including as little of the surrounding image as possible.

This centers the motion blur on the attach point. Specify a confidence value that is slightly larger than the largest confidence value for the problematic frames. Use Track Motion to track motion and apply the results to a different layer or effect control point. Use Stabilize Motion to track motion and apply the results to the tracked layer to compensate for that motion. When tracking position and applying this position data to a target, you can choose to apply only the x horizontal or y vertical component of motion.

Keyframe marker D. Attach point E. Moves search region F. Moves both regions G. Moves entire track point H. Moves attach point I. Moves entire track point J. If you are correcting the track for one frame, go to step 4. If you are correcting the track for several contiguous frames, adjust the feature region and search region if necessary, and click Analyze.

Page Add menu—are called effects in Adobe Illustrator, but they function differently from other effects in After Effects. Because effects are implemented as plug-ins, you can install and use additional effects that parties other than Adobe provide. Effects that are disabled do not appear in the Composition panel and typically are not included when the layer is previewed or rendered.

This includes effects and their properties. For example, if you created an explosion using several effects with complex property settings, keyframes, and expressions, you can save all of those settings as a single animation preset. You can add randomness to any property with the expressions in the Random Numbers category. Page Chapter Effect Reference Chapter Effect reference After Effects includes hundreds of built-in effects, each of which has properties that you can animate to give your layers a dynamic look or achieve a particular result.

You can then use the resulting layer as a control layer for other effects. For example, extract the depth information in a 3D channel image file and then use it as an influence map in the Particle Playground effect, or extract values from the unclamped RGB channel to produce a matte that generates glowing highlights.

Everything with a depth value less than this Depth value is matted out. How much blur is applied to objects outside the focal plane. The ID Matte effect uses this information to create a matte that excludes everything in the scene except the element you want. For greater control, use the Parametric EQ effect. To hear stereo voices, you must preview or render in stereo. Parametric EQ is useful for enhancing music, such as boosting low frequencies to bring up bass.

Inverts the phase of both channels of the stereo signal. Use this control to prevent two sounds at the Invert Phase same frequency from canceling each other out. Select this option to make the blur algorithm operate as if the pixel values beyond the edge of the layer are the same as those of the edge pixels. This option keeps edges sharp, preventing them from darkening and becoming more transparent—the result of being averaged with a lot of zeroes. Maximum Blur Stretches the control layer to the dimensions of the layer to which it is applied; otherwise, the Stretch Map To Fit control layer is centered on the effect layer.

This effect works with 8-bpc, bpc, and bpc color. Iris Blade Curvature The rotation of the iris. Iris Rotation The size of the iris. Increase this value for greater blur. Iris Radius All pixels with a brightness value greater than Specular Threshold are treated as specular Specular Threshold highlights. This effect works with 8-bpc and bpc color. Original left , and with effect applied right Smart Blur effect The Smart Blur effect blurs an image while preserving lines and edges within the image.

A lower value produces Threshold a greater result. A value that is too low causes contrast for the entire image to be adjusted and can generate noise or cause unexpected results. Original left , and with effect applied right Which channel or channels to invert. Each group of items operates in a particular color space, inverting Channel either the entire image in that color space or just a single channel. To allow this effect to generate color values outside of the range 0.

The Composite Matte With Original resulting matte allows the image to show through only where the current matte and the new matte both have some opacity. The Broadcast Colors effect alters pixel color values to keep signal amplitudes within the range allowed for broadcast television. This ensures that color values between 0. These options include tolerance sliders for hue, lightness, and saturation for exact color matching, and the ability to select the exact RGB values of the target color that you wish to change to.

You can convert a movie to grayscale by setting the Saturation to — Color Stabilizer effect The Color Stabilizer effect samples the color values of a single reference frame, or pivot frame, at one, two, or three points; To smooth the edges, deselect Modify Alpha. The effect works similarly to the Equalize command in Adobe Photoshop. Adjust all channels simultaneously.

Master Adjust channels individually. Individual Channels Simulates the exposure setting on the camera that captures the image, multiplying all light intensity values Exposure by a constant. A positive value indicates clockwise rotation; a negative value indicates counterclockwise rotation. Specify the overall saturation and lightness of the channel chosen from the Master Saturation, Master Lightness Channel Control menu. The softness of the color boundaries.

High values smooth the transition from color to gray. When loaded into After Effects, the specified arbitrary map is applied to the layer or to one or more channels of the layer, depending on how it was created. The result of the effect is blended with the original image, with the Blend With Original effect result composited on top. Dragging these points reshapes the curves that form the edge, thus distorting the image. For example, you can use Bezier Warp to reshape one image to fit another, as in wrapping a label around a jar.

The type of distortion created by the Displacement Map effect can vary greatly, depending on the control layer and options you select. Several Liquify tools distort the brush area when you hold down the mouse button or drag. The distortion is concentrated at the center of the brush area, and the effect intensifies as you hold down the mouse button or repeatedly drag over an area.

Reverses distortions or applies them in different ways. Shape The center point of the magnified area. Center Percentage by which to scale the magnified area. Each corner of a patch includes a vertex and two to four tangents points that control the curvature of the line segment that makes up the edge of the patch. Visual information pushed off one side of the image appears on the opposite side. At Best quality, the offset is performed with subpixel precision.

Select Reverse Lens Distortion. Remove Optics Compensation from the footage layer. The image is distorted to fit the shape of the new area. You create or import up to three masks to define the area you want to distort: the source mask, the destination mask, and the boundary mask optional.

To control the precision of the effect, you can add, delete, or move the points on either mask. A mask can have an unlimited number of points, but the more points it has, the longer the effect takes to render. Page To use Smear, first create or import two masks: the source mask and the boundary mask.

You can create masks on the layer in After Effects or use masks created in Adobe Illustrator. To use a mask created in Illustrator, copy the mask and paste it into a layer in After Effects. You can also animate the original position of the source mask in the Layer panel. Processing can take up to several minutes with certain settings. Computation time increases as the source mask gets closer to the boundary mask.

Spherize effect The Spherize effect distorts a layer by wrapping a region of the image onto a sphere. Use these controls to prerender turbulence elements into loops, and thus speed up rendering time. Page A value of 50, for example, produces a twirl that extends to the edges of the layer.

Warp effect Use Warp to distort or deform layers. The gradient is actually composed of four solid-color circles blended together, each with an effect point as its center. Higher values result in a more complex strike Turbulence containing more branches and forks, and lower values produce simpler strikes with fewer branches. Specifies what percentage of a branch is forked.

Its value is influenced by Turbulence and Alpha Obstacle Forking settings. Audio Layer Specifies the position at which the spectrum starts or ends if Path is set to None. You can display the audio waveform in a number of different ways, including along an open or closed mask path. Original left , and with a simulated beam right The Length control specifies the length of the beam based on a percentage of the Time specified.

With this setting, Contrast values above increase complexity and detail. Opacity The blending mode to use to composite the checkerboard pattern on top of the original layer. These Blending Mode blending modes work identically to the ones in the Timeline panel, except for the default None mode, which renders the checkerboard pattern only. Magnification specifies the magnification of the effect. Escape Limit specifies how many times the calculation looks for a color for a given pixel before it assigns the color black.

This effect is automatically animated without keyframes or expressions. Page The Paint Bucket effect formerly Basic Fill effect is a nondestructive paint effect that fills an area with a solid color. It works much like the Paint Bucket tool in Adobe Photoshop. Use the Paint Bucket effect for colorizing cartoon-type outlined drawings or replacing areas of color in an image. You must set a fill point Transparency in a transparent area for this option to work.

Producer Point Specifies whether parameters can be animated for individual waves. Birth specifies that each Parameters Are Set At wave maintains the same parameter settings over time. For example, if you isolate a shape Source Center that is positioned in the left half of the frame, the shape radiates to the left by default; you can move the source center anywhere on the layer.

Fade-in Time is measured in seconds Fade-in Time and begins with 0 opacity at birth. For example, if the Lifespan is 3 seconds and Fade-in Time is 1 second, the stroke is completely transparent at birth and fades smoothly to full opacity at 1 second. Mask Controls whether the fill is drawn inside the path or creates a scribble along the path. The left and right edges of a path are determined by the direction in which the path is drawn. On Original Image composites the scribble Composite on the original image.

Reveal Original Image shows the original image through the scribble. Stroke effect The Stroke effect creates a stroke or border around a mask or along a Bezier path. You can also specify stroke color, opacity, and spacing, as well as brush characteristics. Center centers the input layer in the composition at its original size. Stretch To Fit scales the input layer to match the layer to which Vegas is applied.

This control works in terms of relative opacity, Mid-point Opacity not absolute opacity. Setting it to 0 makes the change in opacity smooth from the start point to the end point, as if there were no midpoint at all. To see a video tutorial on keying with Keylight, visit the Adobe website at www. Adobe Creative Suite Production Premium Edition also includes Adobe Ultra, which can quickly key out a poorly lit background shot with a low-quality webcam. The transparency values in the thumbnail and Composition panel are adjusted.

Select the White eyedropper, and then click inside the matte thumbnail on the darkest area of white to specify opaque regions. Select the Minus eyedropper, and then click areas in the matte thumbnail to subtract other colors or shades from the range of colors keyed out. Page Note: The controls for this effect are similar to those of the Extract effect in Adobe Premiere Pro, but the purpose and results of the effect are different.

The histogram displays a representation of the brightness levels in the layer, showing the relative number of pixels at each level. If you want, move the masks around to find the location that provides the best results. To extract more than one object, or to create a hole in an object, draw additional masks and then select them from the Additional Foreground and Additional Background menus.

Shape layers overview. Creating shapes and masks. Managing and editing shapes. Motion tracking overview. Tracking motion. Effects and animation presets overview. Working with effects and animation presets. Galleries of effects. Audio effects. Channel effects. Color Correction effects. Distort effects. Generate effects. Keying effects. Matte effects. Paint effects. Perspective effects. Simulation effects. Stylize effects.

Text effects. Time effects. Transition effects. Utility effects. Working with expressions. The expression language. After Effects expression elements reference. Expression examples. Basics of rendering and exporting. Rendering and exporting to Flash formats. Rendering and exporting still images and still-image sequences. Exporting project information to other Adobe applications. Encoding and compression options for movies. Automated rendering and network rendering. Converting movies. Reviewing movies with Clip Notes comments.

Using and modifying keyboard shortcuts. You can also install additional copies on additional computers to use as After Effects render engines , which assist with network rendering. You install render engines in the same manner as the full version of the application, but you do not activate them. If you have a single-user retail license for your Adobe software, you will be asked to activate your software; this is a simple, anonymous process that you must complete within 30 days of starting the software.

For more information on product activation, see the Read Me file on your installation disc, or visit the Adobe website at www. Note: If you want to install the software on a different computer, you must first deactivate it on your computer. Register your product to receive complimentary installation support, notifications of updates, and other services.

To register, follow the on-screen instructions in the Registration dialog box, which appears after you install and activate the software. The installation disc contains the Read Me file for your software. This file is also copied to the application folder during product installation. Open the file to read important information about topics such as the following:. In-product Help provides access to all documentation and instructional content available at the time the software ships.

It is available through the Help menu in your Adobe software. LiveDocs Help includes all the content from in-product Help, plus updates and links to additional instructional content available on the web. For some products, you can also add comments to the topics in LiveDocs Help. Most versions of in-product and LiveDocs Help let you search across the Help systems of multiple products. Topics may also contain links to relevant content on the web or to topics in the Help of another product.

Think of Help, both in the product and on the web, as a hub for accessing additional content and communities of users. The most complete and up-to-date version of Help is always on the web. The in-product Help is also available as a PDF that is optimized for printing. Other documents, such as installation guides and white papers, may also be provided as PDFs. Printed editions of the in-product Help are available for purchase in the Adobe Store, at www.

You can also find books published by Adobe publishing partners in the Adobe Store. In-product Help is available through the Help menu. After you start the Adobe Help Viewer, click Browse to see Help for additional Adobe products installed on your computer.

Expandable subtopics C. Icons indicating shared topic D. Adobe Help content is accessible to people with disabilities—such as mobility impairments, blindness, and low vision. In-product Help supports these standard accessibility features:. For example, the Previous and Next links include the titles of the previous and next topics. The Adobe Creative Suite 3 Video Workshop offers over training videos covering a wide range of subjects for print, web, and video professionals.

Many videos show you how to use Adobe applications together. When you start the Adobe Video Workshop, you choose the products you want to learn and the subjects you want to view. You can see details about each video to focus and direct your learning.

With this release, Adobe Systems invited the community of its users to share their expertise and insights. Adobe and lynda. In all, over 30 product experts share their knowledge. The Adobe Video Workshop includes training for novices and experienced users. Each video covers a single subject and typically runs about minutes.

Most videos come with an illustrated tutorial and source files, so you can print detailed steps and try the tutorial on your own. You have access to a wide variety of resources that will help you make the most of your Adobe software. Some of these resources are installed on your computer during the setup process; additional helpful samples and documents are included on the installation or content disc.

Unique extras are also offered online by the Adobe Exchange community, at www. During software installation, a number of resources are placed in your application folder. To view those files, navigate to the application folder on your computer. Plug-ins Plug-in modules are small software programs that extend or add features to your software.

Once installed, plug-in modules appear as options in the Import or Export menu; as file formats in the Open, Save As, and Export Original dialog boxes; or as filters in the Filter submenus. For example, a number of special effects plug-ins are automatically installed in the Plug-ins folder inside the Photoshop CS3 folder. Presets Presets include a wide variety of useful tools, preferences, effects, and images. Product presets include brushes, swatches, color groups, symbols, custom shapes, graphic and layer styles, patterns, textures, actions, workspaces, and more.

Preset content can be found throughout the user interface. Some presets for example, Photoshop Brush libraries become available only when you select the corresponding tool. Depending on the product, template files range from letterheads, newsletters,. Each template file is professionally constructed and represents a best-use example of product features.

Templates can be a valuable resource when you need to jump-start a project. Samples Sample files include more complicated designs and are a great way to see new features in action. These files demonstrate the range of creative possibilities available to you. Fonts are copied to your computer during installation:. The installation or content DVD included with your product contains additional resources for use with your software.

The Goodies folder contains product-specific files such as templates, images, presets, actions, plug-ins, and effects, along with subfolders for Fonts and Stock Photography. The Documentation folder contains a PDF version of the Help, technical information, and other documents such as specimen sheets, reference guides, and specialized feature information.

For more free content, visit www. Bridge Home, a new destination in Adobe Bridge CS3, provides up-to-date information on all your Adobe Creative Suite 3 software in one convenient location. Start Adobe Bridge, then click the Bridge Home icon at the top of the Favorites panel to access the latest tips, news, and resources for your Creative Suite tools.

Note: Bridge Home may not be available in all languages. Adobe Design Center offers articles, inspiration, and instruction from industry experts, top designers, and Adobe publishing partners. New content is added monthly. You can find hundreds of tutorials for design products and learn tips and techniques through videos, HTML tutorials, and sample book chapters.

Visit Adobe Design Center at www. Adobe Developer Center provides samples, tutorials, articles, and community resources for developers who build rich Internet applications, websites, mobile content, and other projects using Adobe products. The Developer Center also contains resources for developers who develop plug-ins for Adobe products.

In addition to sample code and tutorials, you'll find RSS feeds, online seminars, SDKs, scripting guides, and other technical resources. Visit Adobe Developer Center at www. Visit the Adobe Support website, at www. Click the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more.

Visit www. In addition, the Adobe Store at www. Adobe Labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe. Adobe Labs fosters a collaborative software development process. In this environment, customers quickly become productive with new products and technologies. Adobe Labs is also a forum for early feedback, which the Adobe development teams use to create software that meets the needs and expectations of the community.

User communities feature forums, blogs, and other avenues for users to share technologies, tools, and information. Users can ask questions and find out how others are getting the most out of their software. User-to-user forums are available in English, French, German, and Japanese; blogs are posted in a wide range of languages.

To participate in forums or blogs, visit www. Use new shape drawing tools to create and animate vector graphics. Strokes and fills—including editable gradients— can be added to shapes, and these properties can be animated. To see a video tutorial introducing shape layers, go to the Adobe website at www. To see a video tutorial on animating shape layers, go to the Adobe website at www.

Use Puppet tools to easily distort any image with natural, life-like motion. Layer styles and video layers are preserved when you import a Photoshop file. You can also add and animate layer styles within After Effects and use advanced blending options.

To see a video tutorial on importing Photoshop files, go to the Adobe website at www. Now, when you import a SWF file, the alpha channel is preserved, and graphics are continuously rasterized, so they stay sharp as you scale them up. To see a video tutorial on exporting to FLV files, go to the Adobe website at www.

To see a video tutorial on exporting markers as cue points, go to the Adobe website at www. Move or rotate individual characters or words in 3D space. To see a video tutorial on animating text, go to the Adobe website at www. Use Brainstorm to experiment with properties and see the results side by side. Choose the variants that you like and use as is or as input to further experimentation. You can now control the color for each footage item and each output item, all with a robust and simple interface, so colors look right on any output device.

Add queries to reviewers as markers and then export your composition as a PDF file. Comments are imported as markers, which you can see in the Timeline panel. You can also use hardware acceleration of previews to move processing to the GPU, freeing up your CPU and providing greater performance. You can view some output types using Adobe Device Central, which emulates many mobile devices.

Adobe video and audio applications provide a consistent, customizable workspace. Although each application has its own set of panels such as Tools, Properties, Timeline, and so on , you move and group panels in the same way across products. The main window of a program is the application window. Panels are organized in this window in an arrangement called a workspace.

The default workspace contains groups of panels as well as panels that stand alone. You customize a workspace by arranging panels in the layout that best suits your working style. You can create and save several custom workspaces for different tasks—for example, one for editing and one for previewing. You can drag panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the application window.

As you rearrange panels, the other panels resize automatically to fit the window. 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. Application window B. Grouped panels C. Individual panel. For a video about the Adobe workspace, see www.

Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks. You can dock panels together, move panels into or out of a group, and undock a panel so that it floats in a new window above the application window. As you drag a panel, drop zones —areas onto which you can move the panel— become highlighted. The drop zone you choose determines where the panel is inserted, and whether it docks or groups with other panels.

Docking zones exist along the edges of a panel, group, or window. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel. Grouping zones exist in the middle of a panel or group, and along the tab area of panels. Grouping a panel stacks it with other panels.

When you undock a panel in a floating window, you can add panels to the window or otherwise modify it, as you do the application window. You can use floating windows to make use of a secondary monitor, or to create a workspace like those in earlier versions of Adobe applications. Undock Frame undocks the panel group. When you release the mouse button, the panel or group appears in a new floating window. If the application window is maximized, drag the panel to the Windows task bar.

When you position the pointer over dividers between panel groups, resize icons appear. When you drag these icons, all groups that share the divider are resized. For example, suppose your workspace contains three panel groups stacked vertically.

Do not press Shift. Press the tilde key again to return the panel to its original size. The pointer becomes a double-arrow. The pointer becomes a four-way arrow. Original group with resize icon B. Resized groups. Even if a panel is open, it may be out of sight, beneath other panels. Choosing a panel from the Window menu opens it and brings it to the front. When you close a panel group in the application window, the other groups resize to make use of the newly available space.

When you close a floating window, the panels within it close, too. To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on the main monitor, and you place floating windows on the second monitor. Monitor configurations are stored in the workspace. As you customize a workspace, the application tracks your changes, storing the most recent layout. To store a specific layout more permanently, save a custom workspace.

Saved custom workspaces appear in the Workspace menu, where you can return to and reset them. Type a name for the workspace, and click OK. Note: If a project saved with a custom workspace is opened on another system, the application looks for a workspace with a matching name. Note: You cannot delete the currently active workspace. Click Default to restore the default brightness level.

A check mark indicates that the column is shown. Drag left to make the column smaller and right to make it larger. Some columns—such as the Duration column in the Project panel—cannot be resized. When you are in the Timeline panel, rolling backward moves you forward in time and vice versa.

You can scroll in a panel even if it is not currently active, as long as you move the pointer over it. For instance, you can scroll in the Composition panel even if the Effect Controls panel is currently active. Panel menus provide commands relative to the active panel or frame. Viewer menus provide a list of compositions, layers, or footage items that can be shown in the viewer, as well as commands for closing items and locking the viewer.

Context menus provide commands relative to the active tool or selected item. Triangle for opening viewer menu B. Triangle for opening panel menu. A viewer is a panel that can contain multiple compositions, layers, or footage items, or multiple views of one such item. Locking a viewer prevents the currently displayed item from being replaced when you open or select a new item.

Instead, when a viewer is locked and a new item is opened or selected, After Effects creates a new viewer panel for that item. Instead of housing multiple items in a single viewer and using the menu to switch between them, you can choose to open a separate viewer for each open composition, layer, or footage item.

When you have multiple viewers open, you can arrange them by docking or grouping them together, just as with any other panels. To create a custom workspace with multiple viewers, ensure that all viewers are unlocked before you save the workspace. Locked viewers are associated with a specific project context and are therefore not saved in the preferences file. The Tools panel can be displayed as a toolbar as shown here or as a normal panel.

Selection B. Hand C. Zoom D. Rotation E. Pan Behind G. Mask and shape tools H. Pen tools I. Type tools J. Brush K. Clone Stamp L. Eraser M. Puppet tools N. Controls related to active tool. Note: Controls related to some tools appear only when the tool is active. If the button has a small triangle at its lower-right corner, hold down the mouse button to view the hidden tools.

Then, click the tool you want to select. This technique does not work with all tools. For example, clicking this button when a paint tool is active opens the Paint and Brush Tips panels. ClearType makes the outlines of system text, such as menus and dialog boxes, easier to read. See Windows Help for information on how to enable ClearType text anti-aliasing. Note: On Mac OS, some keyboard commands for interacting with the operating system conflict with keyboard commands for interacting with After Effects.

Select Use System Shortcut Keys in the General preferences category to override the After Effects keyboard command in cases in which there's a conflict with the Mac OS keyboard command. An After Effects project is a single file that stores compositions and references to all of the footage items that you use in that project.

Compositions are collections of layers. Many layers use footage items as a source, though some layers—such as shape layers and text layers—contain graphics that you create within After Effects. A project file has the file-name extension. The name of the current project appears at the top of the application window. A template project is a file with the file-name extension. You can use the many template projects included with After Effects—including DVD menu templates—as the basis for your own projects, and you can create new templates based on your projects.

A great way to see how advanced users use After Effects is to open one of the template projects included with After Effects, select all of its layers, and press U or UU to reveal only the animated or modified properties. This shows you what changes the designer of the template project made to create the template. You may need to unlock some layers to select them. Only one project can be open at a time. If you create or open another project file while a project is open, After Effects prompts you to save changes in the open project, and then closes it.

After you create a project, you can import footage into the project. When you open a template project, After Effects creates a new, untitled project based on the template. This means that saving changes to the project does not affect the template project. Often, the creator of a template project will lock layers that should be left unmodified, and leave layers that should be modified unlocked.

This is a convenient way to reuse material and prevent accidental or inappropriate modifications. Double-click a template project to open it. A copy of the current project is saved in the same folder as the original project. The name of the copy is the name of the original followed by a number. If the name of the original ends with a number, that number is increased by 1. The open project takes the new name and location; the original file remains unchanged.

The open project retains its original name and location, and a copy is created with the new settings but is not opened. Auto-saved files are saved in the Adobe After Effects Auto-Save folder, which is located in the same folder as the original project file. Maximum Project Versions specifies how many versions of each project file you want to save. When the number of versions saved reaches the maximum you specify, the Auto-Save feature overwrites them starting with the oldest file.

Directional arrows represent the relationships between components. Note: The Flowchart panel shows you only the existing relationships. You cannot use it to change relationships between project elements. Nested compositions and other elements that make up the composition appear when you expand a composition tile. Mid-gray lines between tiles in the flowchart indicate that the Video or Audio switch for those items is deselected in the Timeline panel.

Black or light gray lines indicate that the switch is selected, depending on the User Interface Brightness preference setting. When you click a composition in the flowchart, it becomes active in the Project panel and the Timeline panel. When you click a layer, it becomes active in the Timeline panel. When you click a footage item, it becomes active in the Project panel. For tool tips identifying the buttons in the Flowchart panel, let your pointer hover over a button until the tool tip appears.

If the selected element is a footage item or composition, it is deleted from the project and no longer appears in the Timeline and Project panels. If the selected element is a layer, it is deleted from the composition in which it appears. The icons have various appearances, depending on the element type, such as layers and compositions.

For example, you can use the context menu for a layer to work with masks and. Note: When you change element properties in the Flowchart panel, be careful to context-click the icon in the tile, not the name of the element. The context menu associated with the element icon is different from the one that opens from the element name.

You can undo only those actions that alter the project; for example, you can undo an edit, but you cannot undo the scrolling of a panel. The default is To avoid wasting time undoing accidental modifications, lock a layer when you want to see it but do not want to modify it. All changes made and footage items imported since you last saved are lost. You cannot undo this action. Whether you use Adobe After Effects to animate a simple title or create complex special effects, you generally follow the same basic workflow, though you may repeat some steps—such as the cycle of modifying layer properties, animating, and previewing until everything looks right.

You can choose a predefined workspace to facilitate each stage of your work, or you can create your own workspaces adapted to your needs. After you create a project, add your footage to the Project panel. After Effects automatically interprets many common media formats, but you may also specify how you want After Effects to interpret attributes such as frame rate and pixel aspect ratio. You can view each item in a Footage panel and set its start and end times to fit your composition.

Create one or more compositions. Any footage item can be the source for 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 dimensions. You can use masks, blending modes, and keying tools to composite , or combine, the images of multiple layers. You can even use shape layers, text layers, and paint tools to create your own visual elements.

For more information, see Compositions, Layers and properties, Drawing and painting, and Text. You can apply any of the hundreds of effects, animation presets, and layer styles. You can even create and save your own animation presets. For more information, see Effects and animation presets. Use the motion tracking to stabilize motion or to animate one layer so that it follows the motion in another layer.

For more information, see Animation, Expressions, and Motion tracking. Previewing compositions on your computer monitor or an external video monitor is fast and convenient, even for complex projects, especially if you use OpenGL technology to accelerate previews. 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 color management features to preview how your movie will look on another output device.

Add one or more compositions to the render queue to render them at the quality settings you choose, and to create movies in the formats that you specify. For more information, see Rendering and exporting. This example assumes that you have already started After Effects and have not made any changes to the empty default project.

This examples skips the step of importing footage and shows you instead how to create your own visual elements. After you have rendered a final movie, you can import it into After Effects to view it and use it just as you would any other footage item. Some people prefer to use the mouse and menus to interact with After Effects, whereas others prefer to use keyboard shortcuts for their common tasks.

For several steps in this example, two alternative commands are shown that produce the same result—one demonstrating the disoverability of menu commands and one demonstrating the speed and convenience of keyboard shortcuts. You will likely find that you use some combination of keyboard shortcuts and menu commands in your work. A new keyframe is created at this time for the Position property. Motion is interpolated between keyframe values. Click the the Play button in the Time Controls panel.

Click Play again to stop the preview. Press the spacebar again to stop the preview. Double-click the effect name. In the Output Movie To dialog box, choose a name and location for the output movie file, and then click Save. For the location, choose something easy to find, like your desktop. The Render Queue panel shows the progress of the rendering operation. A sound is generated when rendering is complete.

Adobe Bridge is the control center for Adobe Creative Suite software. Use Adobe Bridge to browse for project templates and animation presets; run cross-product workflow automation scripts; view and manage files and folders; organize your files by assigning keywords, labels, and ratings to them; search for files and folders; and view, edit, and add metadata. Correct project settings, preparation of footage, and initial composition settings can help you to avoid errors and unexpected results when rendering your final output movie.

The best way to ensure that your movie is suitable for a specific medium is to render a test movie and view it using the same type of equipment that your audience will use to view it. Aharon Rabinowitz has an article on the Creative COW website about planning your project with the final delivery specifications in mind: www. For introductions to digital video, digital audio, high-definition video, DVD, compression, and streaming video, visit the Adobe website at www.

To see a video tutorial on creating and organizing projects, visit the Adobe website at www. Before importing footage, first decide which media and formats you'll use for your finished movies, and then determine the best settings for your source material. If possible, use uncompressed footage: less compression means better results for many operations, such as keying and motion tracking.

Certain kinds of compression—such as that used in DV encoding—are especially bad for color keying, because they discard the subtle differences in color that you depend on for good bluescreen or greenscreen keying. For example, if you know that you want to animate using motion tracking, you should consider shooting your scene in a manner that optimizes for motion tracking—for example, attaching a small, brightly colored ball to the object that you intend to track.

Project settings fall into three basic categories: how time is displayed in the project, how color data is treated in the project, and what sampling rate to use for audio. Of these, the color settings are the ones that you need to think about before you do much work in your project, because they determine how color data is interpreted as you import footage files, how color calculations are performed as you work, and how color data is converted for final output.

If you enable color management for your project, the colors that you see are the same colors that your audience will see when they view the movie that you create. Note: Click the color depth indicator at the bottom of the Project panel to open the Project Settings dialog box. Alt-click Windows or Option-click Mac OS to cycle through color bit depths: 8 bpc, 16 bpc, and 32 bpc.

After you prepare and import footage items, you use these footage items to create layers in a composition, where you animate and apply effects. When you create a composition, specify composition settings such as resolution, frame size, and pixel aspect ratio for your final rendered output. For example, the composition frame size should be the image size in the playback medium.

Later, you can use output modules in the Render Queue panel to render a separate version of the composition for each format. If you work with large compositions, make sure that you configure After Effects and your computer to maximize performance.

Complex compositions can require a large amount of memory to render, and the rendered movies can take a large amount of disk space to store. Before you attempt to render a three-hour movie, make sure that you have the disk space available to store it. For footage that was transferred from film to video using the pulldown telecine method, you must remove pulldown before adding effects. For film and video, try to match import and composition settings with settings in the output module used to render a movie.

In some cases, you may want to conform footage to a frame rate different than the frame rate of the source footage. For example, you may want to conform 25 fps PAL to 24 fps for film. If your final output will be videotape, set up your composition to match the requirements of your capture card; or, if you use an IEEE FireWire port, choose the appropriate DV preset in the Composition Settings dialog box and in the export settings of the output module Render Queue panel.

When you create a movie for playback on a personal computer—whether downloaded from the web or played from a CD-ROM—specify composition settings, render settings, and output module settings that keep file size low. Consider that a movie with a high data rate may not play well from an older CD-ROM drive that cannot read data from the disc fast enough.

Similarly, a large movie may take a long time to download over a dial-up network connection. For more information about compression, see the Compression Primer English only on the Adobe website at www. When rendering your final movie, choose a file type and encoder appropriate for the final media.

The corresponding decoder must be available on the system used by your intended audience; otherwise they will not be able to play the movie.

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Adobe After Effects is a digital visual effectsmotion graphicsand compositing application developed by Adobe Systems and used in the post-production process of film makingvideo games and television production.

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