Looking for:
Adobe after effects cc 2015 pdf free
You will find your happiness without trouble! The latest news and especially the best tutorials on your favorite topics, that is why Computer PDF is number 1 for courses and tutorials for download in pdf files – Getting Started with Adobe After Effects CC.
We will do everything to help you! And you dear surfers what you need? Introduction After Effects CC is an application that allows you to create dynamic, visually stunning motion graphics and cinematic visual effects. Learning Objectives After completing the instructions in this booklet, you will be able to: Import and organize footage Create, arrange, and composite layers in a composition Modify and animate layer properties Add effects and modify effect properties Preview those changes Render and export your project.
Level : Beginners Created : October 5, Size : Computer PDF guide you and allow you to save on your studies. Download the file. Login or Create an account to leave a feedback.
Office Computer programming Web programming Database 93 Operating system 68 Mathematics 60 Graphics 56 Other 55 Network 50 Computer security 46 Computer architecture 23 design and analysis Online courses in Videos. Similar Tutorials. If the animation preset requires a stroke or fill color, the animation works only if you have assigned one to your text. Animating text with text animator groups Once you create and format your text layers, use text animator groups to quickly and easily create elaborate animations.
A text animator group includes one or more selectors and one or more animator properties. A selector is like a mask—it specifies which characters or section of a text layer you want an animator property to affect. Using a selector, you can define a percentage of the text, specific characters in the text, or a specified range of text.
Most text animations require you to animate only the selector values—not the property values. Consequently, text animators use a small number of keyframes even for complex animations. In addition, you can control the alignment of the anchor point relative to the anchor point group and the font with the Grouping Alignment property. About selectors Each animator group includes a default Range selector.
You can add additional Range selectors to an animator group or add multiple animator properties that use the same Range selector.
In addition to this Range selector, you can add a Wiggly selector. Use the Wiggly selector to create selections that wiggle—vary within a specified amount—over time. You can add one or more Wiggly selectors to an animator group, and that animator group can contain one or more properties.
You can set values for the Start and End properties by changing the values in the Timeline panel or by using the selector bars in the Composition panel.
About the Expression selector Use the Expression selector to dynamically specify how much characters are affected by an animator property through the use of expressions.
You can add one or more Expression selectors to an animator group, and that animator group can contain one or more properties. Answers 1 In point text, each line of text is independent; in paragraph text, the text wraps within the bounding box as you form one or more paragraphs. Use the Paragraph panel to format paragraph-level attributes, such as indentation.
Lesson 4: Working with Shape Layers Shape layers are separate layers that contain vector objects called shapes. By default, a shape consists of a path, a stroke, and a fill. Shape layers provide a straightforward way of creating filled shapes in a composition, without having to create a solid layer and then mask it. In Lesson 4, students use shape layers to add whimsical designs to driveways and the street in a scene.
These notes provide additional information about shapes and shape layers. About shapes You create a shape layer by drawing in the Composition panel with one of the shape tools the Rectangle, Rounded Rectangle, Ellipse, Polygon, or Star tool or the Pen tool. Shape layers are not based on footage items. Layers that are not based on footage items are sometimes called synthetic layers.
Text layers are also synthetic layers and are also composed of vector objects, so many of the rules and guidelines that apply to text layers also apply to shape layers.
Parametric shape paths are defined numerically, by properties that you can modify and animate after drawing, in the Timeline panel. Bezier shape paths are defined by a collection of vertices path points and segments that you can modify in the Composition panel.
When you create a shape by dragging with a shape tool in the Composition panel, you create a parametric shape path. You can release the key before you complete the drag operation. You work with Bezier shape paths in the same way that you work with mask paths. All mask paths are Bezier paths. You apply a stroke to a path or fill the area defined by a path with color by applying paint operations. Shape paths, paint operations, and path operations for shapes are collectively called shape attributes.
You add shape attributes using the Add menu in the Tools panel or in the Timeline panel. Each shape attribute is represented as a property group in the Timeline panel, with properties that you can animate, just as you do with any other layer property. You can save custom shapes as animation presets. Creating shapes and shape layers To create a shape layer, draw in the Composition panel with a shape tool or the Pen tool.
By default, if you draw in the Composition panel when a shape layer is selected, you create a new shape within that shape layer, in front of the selected shapes or group of shapes. If you draw in the Composition panel using a shape tool or Pen tool when an image layer other than a shape layer is selected, you create a mask. To create a new shape layer, first press F2 to deselect all layers, and then draw in the Composition panel. A polygon is a star without an Inner Radius or Inner Roundness property, so when you create either a polygon or a star, After Effects calls the shape a polystar.
To change the fill and stroke, select the shape, and change the Fill and Stroke settings in the Tools panel. Each shape tool retains the settings of the most recent drawing operation performed with that tool.
For example, if you draw a star and change the number of points to 10, the next star you draw will also have 10 points.
To draw a mask on a shape layer, select a shape or Pen tool, and then click the Tool Creates Mask button in the Tools panel. Then, draw the mask. To scale a circle, ellipse, square, rounded square, rectangle, or rounded rectangle around its center while drawing, hold the Ctrl Windows or Command Mac OS key after you begin dragging.
To cancel the drawing operation, press Escape. To create a shape the size of the layer, select an existing shape layer or deselect all layers to create a new layer, and then double-click a shape tool in the Tools panel. Creating shapes from text characters You can convert individual text characters into shapes.
To create shapes for all the characters in a text layer, select the text layer in the Timeline panel or the Composition panel; to create shapes for specific characters, select only those characters in the Composition panel. The Create Shapes From Text command extracts the outlines for each character, creates shapes from the outlines, and puts the shapes on a new shape layer. You can then use these shapes as you would any other shape. The new shape layer is created at the top of the layer stacking order.
The new layer contains one shape group for each selected character, plus fill and stroke properties that match those of the text. The Video switch for the text layer is turned off. About groups and render order for shapes Though by default a shape consists of a single path, a single stroke, and a single fill— arranged from top to bottom in the Timeline panel—much of the power and flexibility of shape layers arises from your ability to add and reorder shape attributes and create more complex compound shapes.
A group is a collection of shape attributes: paths, fills, strokes, path operations, and other groups. Each group has its own blending mode and its own set of transform properties. By assembling shapes into groups, you can work with multiple shapes simultaneously—such as scaling all shapes in the group by the same amount or applying the same stroke to each shape.
You can even place individual shapes or individual shape attributes within their own groups to isolate transformations. For example, you can scale a path without scaling its stroke by grouping the path by itself. You can drag groups and attributes to reorder them in the Timeline panel. By reordering and grouping shapes and shape attributes, you can affect their rendering order with respect to other shapes and shape attributes. Snapping layers When Snapping is selected in the Tools panel, snapping features guide you to position layers in relationship to each other.
In the exercise, students duplicate and arrange solid layers to create a checkerboard pattern. The checkerboard exercise is to help students learn to use the snapping feature. However, if students want to create checkerboards for their own projects, point out the Checkerboard effect in After Effects. Then click the Fill Color box to open the Gradient Editor, and assign colors to the color stops.
Lesson 5: Animating a Multimedia Presentation Lesson 5 builds a complex animation involving multiple layers, several types of keyframes, audio, and more. It includes a layered Illustrayor file. These notes provide additional background and teaching material on how After Effects works with Photoshop and Adobe Illustrator files.
You can also create a new Photoshop file and add it as the top layer in a composition from within After Effects, or use After Effects to create a new Photoshop file without adding it to a specific composition.
When you import an Illustrator file, After Effects makes all empty areas transparent by converting them into an alpha channel. However, After Effects does not read embedded color profiles from Illustrator files.
To ensure color fidelity, assign an input color profile to the Illustrator footage item that matches the color profile with which the Illustrator file was created. This option, Composition – Retain Layer Sizes, makes it easier to manipulate layers and speeds their rendering time. This option, Composition, is helpful when you need to align layers manually.
Preparing layered Photoshop files You can prearrange a composition in Photoshop using layers and preserve those layers in After Effects so that they are ready for animation. Preserving layers is also useful if you want to use a single Photoshop file as a source for both print and dynamic media.
Before you import a layered Photoshop file, prepare it thoroughly to reduce preview and rendering time. Avoid problems importing and updating Photoshop layers by naming them properly.
If you change a layer name in a Photoshop file after you have imported it into After Effects, After Effects retains the link to the original layer. However, if you delete a layer, After Effects is unable to find the original layer and lists it as Missing in the Project panel.
Transparency in Photoshop files Photoshop supports a transparent area and alpha channels for each layer. You can use these layer masks to specify how different areas within a layer are hidden or revealed. If you import one layer, After Effects combines the layer mask if present with the transparent area and imports the layer mask as a straight alpha channel. If you import a layered Photoshop file as a merged file, After Effects merges the transparent areas and layer masks of all the layers into one alpha channel that is premultiplied with white.
If the layered Photoshop file contains clipping groups, After Effects imports each clipping group as a composition nested within the main composition. After Effects automatically applies its Preserve Underlying Transparency option to each layer in the clipping-group composition, maintaining transparency settings. When you import a Photoshop file as a composition, any vector masks convert to After Effects masks.
You can then modify and animate these masks within After Effects. After Effects also supports any blending modes applied to the file. Photoshop adjustment layers affect the appearance of all layers below them. When you import a Photoshop file containing one or more adjustment layers as a composition, After Effects directly converts the Photoshop adjustment layers to After Effects adjustment layers. Continuously rasterizing an Illustrator file When you import a vector file, After Effects automatically rasterizes it.
You can continuously rasterize an Illustrator file or any other vector file at any time while designing your project. Continuously rasterizing causes After Effects to rasterize the file as needed based on the transformation for each frame. A continuously rasterized file generally produces higher quality results, but it may preview and render more slowly than a rasterized image. When you apply an effect to a continuously rasterized layer, the results may be different than when you apply the effect to a nonrasterized layer.
This is because the default rendering order for the layer changes. By default, nonrasterized layers are rendered in the following order: masks, effects, and then geometrics transformations. The default rendering order for a continuously rasterized layer is masks, geometrics transformations , and then effects.
You can change the default rendering order. Make sure to check the results of the effect before continuing to work on your project. Whether or not you continuously rasterize, if you view and render a composition using Best Quality, After Effects anti-aliases smooths the art.
For general information about rasterizing, see Illustrator Help. However, you can apply a paint effect by copying and pasting or using the Favorites menu. You can set the default Artboard Size to match your most frequently used After Effects composition size. In addition, you can customize the contents of any palette.
You can use templates to create frequently used documents that differ from your customized new document profile. Open a template using the same methods you use to open a document. Answers 1 A parenting relationship between layers synchronizes the changes in the parent layer with the corresponding transformation values of the child layers. That is, when you make changes to the parent layer, the child layers also change. Lesson 6: Animating Layers Lesson 6 introduces students to the Layer panel, which they use to remap time, and to the Graph Editor, where they edit Time Remap keyframes.
About the Graph Editor To view and manipulate all aspects of effects and animations, including effect property values, keyframes, and interpolation, use the Graph Editor. The Graph Editor represents changes in effects and animations as a two-dimensional graph, with playback time represented horizontally from left to right. In layer bar mode, on the other hand, the time graph represents only the horizontal time element, without a visual representation of changing values.
There are two types of graphs available in the Graph Editor: value graphs, which show property values; and speed graphs, which show rates of change of property values. You can view and work on one property at a time, or you can view multiple properties simultaneously. The gray numbers to the right of the Graph Editor indicate the values for the reference graph.
Panning and zooming in the Graph Editor To pan vertically or horizontally, drag with the Hand tool. To invoke the Hand tool momentarily, press and hold the spacebar. To pan vertically, spin the mouse scroll wheel. To pan horizontally, press the Shift key as you spin the mouse scroll wheel. To zoom in, click with the Zoom tool. Auto Zoom Height toggles Auto Zoom Height mode, which automatically scales the height of the graph so that it fits the height of the Graph Editor.
The horizontal zoom must still be adjusted manually. Fit Selection adjusts the value vertical and time horizontal scale of the graph to fit the selected keyframes in the Graph Editor.
Fit All adjusts the value vertical and time horizontal scale of the graph to fit all of the graphs in the Graph Editor. Answers 1 The Solo switch isolates the layer or layers, making other layers inactive. Soloing layers can speed animating, previewing, and rendering, as well as make it easier to focus on particular layers.
You can use it to stretch, shrink, skew, or twist an image, or to simulate perspective or movement that pivots from the edge of a layer, such as a door opening. They learn to create masks in After Effects using the Pen tool.
Students can also use Illustrator to help them create and use masks in After Effects. Enhancing animation In a video production workflow, Illustrator has much more to offer than a role as a specialized application for still graphics. The pen tool and Bezier paths that are fundamental to drawing in Illustrator are also used in video production applications to control motion paths and timelines.
You can use Illustrator paths not just as source graphics, but also as motion paths in After Effects. You can also use the warping, blending, and layer features in Illustrator to prepare shapes for morphing and tweening. Creating motion paths in Illustrator The path-drawing features in Illustrator are well-suited to any task that involves drawing a path. Motion graphics typically depend on motion paths, and you can draw motion paths more quickly and precisely in Illustrator than you can in After Effects.
In After Effects, you create a motion path by animating the Position property and setting a different position for each keyframe. You then refine the path by dragging handles on the path. As students saw in lesson 5, this method works well for freeform paths, but it can be time-consuming to edit a motion path into a regular shape, such as a perfect circle. Instead of building a motion path from two original points, in Illustrator, you can draw a path using the tool that most efficiently creates the shape you want.
For example, consider animating a layer along a perfect semicircular arc. For a quick alternative, draw the shape you want in Illustrator and copy and paste it into After Effects. The path becomes a motion path, and After Effects adds start and end keyframes to the layer in the Timeline panel. If a motion path was already present, pasting a path replaces the previous motion path. To change the duration of the animation, drag either keyframe.
Answers 1 Add is the default mask mode. It combines the transparency values of any masks that overlap on the same layer. In Lesson 8, students use the Puppet tools to animate a character slipping on a banana peel.
These notes give you additional information about the Puppet tools and other distortion effects. About the Puppet tools Use the Puppet tools to quickly add natural motion to raster images and vector graphics, including still images, shapes, and text characters. Instead, use the Puppet tools in the Tools panel to directly apply and work with the effect in the Layer or Composition panel. The Puppet effect works by deforming part of an image according to the positions of Deform, Overlap, and Starch pins that you place and move.
About the Puppet Pin tool With the Puppet Pin tool, you place and move Deform pins, which determine how much deformation takes place in particular areas of an image. About the Puppet Overlap tool With the Puppet Overlap tool, you place Overlap pins, which determine which parts of an image appear in front of others when distortion causes parts of the image to overlap each other.
You apply Overlap pins to the original outline, not to the deformed image. Each Overlap pin has the following properties: In Front—The apparent proximity to the viewer. The influence of Overlap pins is cumulative, meaning that the In Front values are added together for places on the mesh where extents overlap. Extent—How far from the Overlap pin its influence extends. The influence ends abruptly; it does not decrease gradually.
Apply Starch pins to the original outline, not to the deformed image. Each Starch pin has the following properties: Amount—The strength of the stiffening agent. The influence of Starch pins is cumulative, meaning that the Amount values are added together for places on the mesh where extents overlap. If you notice image tearing near a Deform pin, use a Starch pin with a very small Amount value less than 0. Extent—How far from the Starch pin its influence extends.
The influence ends abruptly; it does not decrease gradually with distance from the pin. You do not use it to place pins; instead, you use the Puppet Sketch tool to sketch the motion path of Deform pins in real time, or at a speed that you specify. In fact, if your composition contains audio, you can sketch the motion path of the pins in time with the audio. To configure settings for recording, click Record Options in the Tools panel. The following options are available: Speed—The ratio of the speed of the recorded motion to playback speed.
Smoothness—Determines how smooth the motion is. Creating fewer keyframes makes the motion smoother. Use Draft Deformation—Ignores Starch pins in the draft distortion displayed during recording.
This can improve performance for a complex mesh. To use the Puppet Sketch tool to record animation, select the Deform pin or pins you want to animate and go to the time at which to begin recording motion. Recording begins when you click to begin dragging, and it ends when you release the mouse button. The color of the outline for the mesh for which motion is being sketched is the same as the color of the pin.
Using the Puppet mesh When you place the first pin, the area within an outline is automatically divided into a mesh of triangles. To show the mesh, select Show in the Tools panel. When you move one or more Deform pins, the mesh changes shape to accommodate this movement, while keeping the overall mesh as rigid as possible. The result is that a movement in one part of the image causes natural, life-like movement in other parts of the image. You can have multiple meshes on one layer.
This is useful for deforming several parts of an image individually— such as text characters—as well as for deforming multiple instances of the same part of an image, each with a different deformation. The original, undistorted mesh is calculated at the current frame at the time at which you apply the effect. If a layer has none of these things, the Puppet effect uses Auto-trace to create paths from the alpha channel.
These paths are used by the Puppet effect only to determine outlines and do not appear as masks on the layer. For a complex image, or to configure Auto-trace settings, use Auto-trace before using the Puppet tools.
To encompass a stroke within a mesh, increase the Expansion value. The default value of 3 pixels encompasses a stroke that extends 3 pixels or less from its path. If a mask overlaps a text character or shape, outlines are created for the entire character or shape, for the portion that is inside the mask, and for the mask itself. Other distortion effects In addition to the Puppet effect, After Effects provides several other distortion effects.
Invite students to experiment with some of the following effects: Bezier Warp—The Bezier Warp effect shapes an image using a closed Bezier curve along the boundary of a layer. The curve consists of four segments. Each segment has three points a vertex and two tangents. Bulge—The Bulge effect distorts an image around a specified point, making the image appear to bulge toward or away from the viewer, depending on the options you select.
Displacement Map—The Displacement Map effect distorts a layer by displacing pixels horizontally and vertically based on the color values of pixels in the control layer specified by the Displacement Map Layer property.
Liquify—The Liquify effect lets you push, pull, rotate, enlarge and shrink areas in a layer. 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.
Magnify—The Magnify effect enlarges all or part of an image. Mesh Warp—The Mesh Warp effect applies a grid of Bezier patches over a layer, which you can manipulate to distort areas of an image. 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.
By moving the vertices and tangents, you can manipulate the shape of the curved line segment. Mirror—The Mirror effect splits the image along a line and reflects one side onto the other. Offset—The Offset effect pans the image within a layer. Visual information pushed off one side of the image appears on the opposite side.
At Best quality, the offset is performed with subpixel precision. This effect produces unusual and surprising distortions that can vary greatly depending on the image and the controls you select. Reshape—The Reshape effect transforms one shape into another shape on the same layer, dragging the underlying image with it. The image is distorted to fit the shape of the new area. Ripple—The Ripple effect creates the appearance of ripples in a specified layer, moving away from a center point in concentric circles.
The effect is similar to dropping a stone in a pond. You can also specify that ripples move toward the center point.
Smear—Using the Smear effect, you define an area within an image and then move that area to a new location, stretching, or smearing, the surrounding part of the image with it. Use masks to define the area you want to distort. Spherize—The Spherize effect distorts a layer by wrapping a region of the image onto a sphere. Best quality samples the displaced pixels to subpixel precision; Draft quality samples to the nearest whole pixel.
Turbulent Displace—The Turbulent Displace effect uses fractal noise to create turbulent distortions in an image. For example, use it to create flowing water, funhouse mirrors, and waving flags. Twirl—The Twirl effect distorts an image by rotating a layer around its center.
The image is distorted more sharply in its center than at the edges, causing a whirlpool result at extreme settings. Warp—Use Warp to distort or deform layers.
Wave Warp—The Wave Warp effect produces the appearance of a wave traveling across an image. You can produce a variety of different wave shapes, including square, circular, and sine waves. Specifying more triangles results in smoother animation, but can also increase rendering time. Lesson 9: Using the Roto Brush Tool Lesson 9 introduces students to the process of rotoscoping, which is commonly used in video production to remove the background of a clip so that you can place the subject in another environment.
The Roto Brush tool makes rotoscoping much faster than the method of manually drawing Bezier masks on most frames individually. In most cases, the Roto Brush tool is also a more efficient alternative to traditional keying methods. After students use the Roto Brush tool, you may want to show students other methods for removing the background and compare them to the Roto Brush tool.
The Roto Brush tool isolates the foreground pixels from the background pixels and creates an alpha channel that defines the transparent background. The resulting alpha channel can be included in certain video formats, such as FLV, for use in other applications.
For example, draw a stroke through the middle of the boy, rather than along the edges. The Roto Brush tool defines representative regions; After Effects extrapolates from those regions to determine the boundaries.
Instead, draw additional strokes to teach Roto Brush how to recognize the region. You can also use adjust the matte using other features in After Effects, such as by painting on the alpha channel. Freezing Roto Brush segmentation Click the Freeze button in the lower right corner of the Layer panel to cache and lock segmentation for all Roto Brush spans for the layer within the composition work area.
Frames with frozen segmentation information are represented by blue bars in the Roto Brush span view in the Layer panel. If you click Stop in the Freezing Roto Brush dialog box, After Effects stops adding frames to the cache, but Roto Brush segmentation is still locked with the segmentation information cached up until the point that you clicked Stop.
When Roto Brush segmentation is frozen, the pointer for the Roto Brush tool has a slash through it. The rest of the time bar for the layer disappears in the Timeline panel. All that remains for the layer is the freeze frame icon at the point you froze the frame. About color depth Color depth is the number of bits per channel bpc used to represent the color of a pixel.
Channels contain color information: RGB images have channels for red, green, and blue. The more bits per channel, the more colors can be represented. In After Effects, you can work in 8-bpc, bpc or bpc color mode for each project. Many effects support 16 and 32 bits per channel. Even if your output is 8-bpc Millions Of Colors , you can obtain better rendering quality by having the project or render color depth set at bpc or bpc because of the added precision achieved by calculating color values at higher bit depths.
Adobe after effects cc 2015 pdf free
ColorProfile Must be disposed. Also, the application you use to open the AAF file may not support all features. Seatbelts have been introduced to avoid this. To draw a mask on a shape layer, select a shape or Pen tool, odf then click the Tool Creates Mask button in the Tools panel.