By Mark Christiansen
This can be the single e-book out there to concentration solely at the production of visible results for After results clients, and is a one-stop source for someone who wishes in-depth reasons that demystify the area of visible results and the way they have been created, due to veteran writer Mark Christiansen's pleasant and available kind. A completely packed, informative learn, this masterful consultant makes a speciality of explaining the fundamental strategies, beneficial properties, and strategies which are key to making seamless movie-quality visible results. clients who're happy with After results will discover a precious overview of the basics - dealing with pictures, viewing and modifying layers, animating sort, and extra - to allow them to methods to paintings smarter and extra successfully. Readers of all degrees will study center ideas for results compositing together with colour matching, keying, rotoscoping, movement monitoring, emulating the digital camera, and concluding with utilizing expressions in After results, written via contributor and professional Dan Ebberts. an extremely invaluable appendix on scripting in After results is integrated besides, written via Adobe engineer Jeff Almasol. the ultimate portion of the publication delves into inventive explorations, demonstrating expert results which are typically obvious in movies and video games which readers can re-create. Readers also will locate entire assurance of all that is new and makes this model of Adobe's results programa must-have replace, together with the progressive new Roto Brush, all new results reminiscent of the hot Refine Matte influence, new help for colour Look-Up Tables, workflows that reap the benefits of the all-new 64-bit aid, inclusion of third-party instruments for extra creativity, and lots more and plenty extra.
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Additional resources for Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques
Turn the Exposure control in the Composition viewer up and down to make sure everything still matches (Chapter 5). Assume there’s a ﬂaw in your shot; it’s the only way around getting too attached to your intentions. Approach your project like a computer programmer and minimize the possibility of bugs (careless errors). Aspire to design in modules that anticipate what might change or be tweaked. This list may not mean a lot you on the ﬁrst read-through, I suggest you check out the rest of the book and come back to it as your work continues to progress.
I often work with Info this way, letting it ﬂoat above my Composition viewer panel so that the pixel and position values are directly adjacent. This may be too much hot-rodding for you right away, so now try dragging it over a few of the other panels without letting go. You’ll see violet-colored hit areas—six of them—on each panel, and at the four edges of the screen, teal-colored gutters. If you actually drop the Info panel into any of these areas you may notice a pretty major ﬂaw in all of this freedom— poorly placed, the Info panel can generate a lot of extra wasted space.
To see interlaced footage in action with clips that contain interlacing, check out 01_interlaced_footage on the book’s disc. 22 If you’re doing any compositing, transformation, paint/ masking, or distortion—pretty much anything beyond basic color correction—match the Separate Fields setting to that of the footage, causing After Effects to recognize the interlaced frame as two separate frames of video. 16). This creates a pattern that After Effects I: Working Foundations can accurately guess if there is sufﬁcient motion in the ﬁrst few frames of the footage.