Adobe After Effects CS5 Tutorials – replace.me

Provide a clear and comprehensive description of the problem and your question. The better your problem and question is described, the easier it is for other Adobe owners to provide you with a good answer. Can’t find the answer to your question in the manual? Is your question not listed? January 2 01 4. Page: 1. Need help? Ask a question.

Is the manual of the Adobe After Effects available in English? Yes, the manual of the Adobe After Effects is available in English. No results. Adobe After Effects CS5 manual pages. Adobe After Effects CS4 manual pages. Click OK. Twisting a shape The Twist path operation rotates a path more sharply in the center than at the edges. Positive values twist clockwise; negative values twist counterclockwise. To move the shapes closer together, use a smaller value for the x axis; to move them farther apart, use a larger value.

Now the shapes are farther apart. To move all of the shapes, you need to move the entire shape layer. Change the Position to , The shape layer is now in the upper-left corner of the composition. Rotating shapes The suns should rotate on the background.

This setting causes the shape to rotate three times in 10 seconds. Blending shapes with the background The rotating suns look good, but they contrast with the background too much. The value would apply to all the duplicates as well. Press Enter or Return again to accept the new name. A polygon is simply a star without an Inner Radius or Inner Roundness property; both tools create shapes called polystars.

Drawing a star The Star tool is grouped with the other shape tools. To draw a star, drag the Star tool in the Composition panel. The radius values change the shape of the star. Negative values pucker a shape; positive values bloat it. This star shape will go well in the background. Now you can duplicate and animate it.

Now there are six stars on the screen. When you change the Transform properties for the Repeater, the change is multiplied by the number of copies created. The same concept applies to each of the Transform properties. Each star is more transparent than the one before it. Each duplicate star will be smaller than the one before it. Now you want to animate each star to rotate around its own axis. Incorporating video and audio layers The background is in place.

Now you can add the video of the DJ and the audio track that accompanies it. The DJ. Trimming the work area The DJ. If you rendered this movie now, the DJ would disappear halfway through the movie. You can drag the current-time indicator in the Timeline panel, or click the Current Time box and then type First, it smooths the layer, removing a great deal of detail.

Therefore, it works best on video footage rather than a graphic layer, such as the background in this project. These settings control how much detail is removed and how it is smoothed. Higher values remove more detail.

These settings determine how color is reduced and how gradients are preserved. The layer becomes black and white temporarily. These settings reduce the number of black lines on the subject. This makes the image even more cartoonish.

The only thing missing is the title to identify the program. Creating a self-animating shape Wiggle Paths turns a standard rectangle into a series of jagged peaks and valleys. Because the operation is self-animating, you only need to change a few properties for the entire shape to move on its own.

Then change the Size to and the Detail to In the Character panel, select a sans serif font, such as Arial Black, and specify a size of 60 pixels. Adobe Bridge opens, displaying the available animation presets. Press the spacebar to stop the preview. To use the Brainstorm feature, select the layer or properties you want to include, and then click the Brainstorm icon. The Brainstorm dialog box displays multiple variations of your image, based on randomized settings. You can save one or more of the variants, apply one to a composition, or redo the Brainstorm operation.

The Brainstorm feature works especially well with animation presets. Soloing excludes all other layers of the same type from the Composition panel. To see all the variants in action, click the Play button.

The feature randomizes the properties and displays variants. Name the button to match its function, such as Play Movie or Scene Selection. Then use the menus to assign up to three highlight layers and one video thumbnail layer.

Review answers 1 A shape layer is simply a layer that contains a vector graphic called a shape. To create a shape layer, draw a shape directly in the Composition panel using any of the drawing tools or the Pen tool. The feature makes it possible to explore numerous possibilities quickly and easily, and to save or apply them with a single click. You will animate an illustration of the artist driving a car on a city street. This is a complex animation. You will start by animating the background and some objects so that the virtual camera appears to move from left to right across the scene.

You may delete the sample movie from your hard disk if you have limited storage space. The CarRide composition is already open in the Composition and Timeline panels. Now, you will use it to synchronize the movement of the objects in three layers—the leaves, full skyline, and the FG foreground layers—with the BG background layer of the animation.

BG from the pop-up menu. This establishes the three selected layers as child layers to the parent layer, which is layer 8, named BG the background. This, in turn, will animate the child layers in the same way. Then type the desired time without punctuation as in for , and press Enter or Return. The background now moves across the composition, and because the leaves, full skyline, and FG layers are child layers to the BG parent layer, they also move horizontally from the same starting position.

You will animate it next. The bee is not visible at in the Composition panel. Then click the stopwatch icon to create a Position keyframe. You can trim footage by changing the In and Out points in the Layer panel or the Timeline panel, depending on what you want to change.

Previewing the animation A quick manual preview will show you how the elements in the scenery move. The animation of the background, leaves, bee, foreground objects, and the objects in the skyline makes it appear as if a camera is panning across the scene. The red car is on the Artist layer. To edit the anchor point of the Artist layer, you need to work on the Artist layer in the Layer panel.

This is a temporary position that lets you see the car onscreen while you mask the driver into place, which is your next task. With the car positioned onscreen, you can add the driver. You will use a custom animation preset to create a mask from a shape layer. Adobe Bridge opens. You can close Adobe Bridge or leave it open to use later in this lesson. For example, you can use shape tools or the Pen tool to draw a mask.

Artist from the Parent menu. Animating a Multimedia Presentation 5 Go to , and change the Position values for the Artist layer to You can create a motion path for the position of the layer or for the anchor point of a layer. A position motion path appears in the Composition panel; an anchor-point motion path appears in the Layer panel. The motion path appears as a sequence of dots in which each dot marks the position of the layer at each frame.

A box in the path marks the position of a keyframe. Dots close together indicate a slower speed; dots farther apart indicate a faster speed. Then click the stopwatch to set a Scale keyframe. Previewing your work Now that the keyframes are set for the moving car, preview the entire clip, and make sure the driver is framed to create a pleasant composition. The blue car is actually on a precomposed layer that also contains a yellow car.

In this example, the vehicles layer contains one nested layer with a blue car and one nested layer with a yellow car. Press Shift after you start to drag to constrain the movement vertically. Animating the buildings Animated buildings? You bet. Notice that this composition has three layers: skyline, building, and buildings. Press Shift after you start to drag to constrain the horizontal axis.

Naturally jumping buildings? Aw, come on. This is fun. This adjusts the speed of change as the motion approaches and retreats from the keyframe. Do the same for the skyline layer. This applies motion blur to all of the nested layers. Take a look at the animation from the beginning. If you change settings for a solid that is used by more than one layer, you can apply the changes to all layers that use the solid or to only the single occurrence of the solid.

Use solid layers to color a background or to create simple graphic images. In the Solid Settings dialog box, name the layer radio waves, and then click the Make Comp Size button. Then click OK to create the layer. By default, the radio waves layer lasts the duration of the composition.

Then, in the Composition panel, click to set the producer point at the top of the pyramid. You just need to parent the radio waves layer to the full skyline layer so that the waves travel with the building across the composition. You may need to expand the Preview panel to see all the options. Then press the Home key, or move the current-time indicator to the beginning of the time ruler. However, this slide-show technique could easily be adapted to other uses, such as presenting family photos or making a business presentation.

To help you choose, use Adobe Bridge to preview them. Currently, the Artwork layer is set to start at You need to adjust the timing of the layer so that it appears at This drops out the pure white in each image and replaces it with the softer white of the canvas. Now the artwork appears gradually. Continuous rasterization means that graphics stay sharp as they are scaled up.

The FLV and F4V formats are container formats, each of which is associated with a set of video and audio formats. Adobe Bridge lets you preview audio. Click the Pause button or press the spacebar to stop. Luckily, this music track has been composed to loop cleanly. A Time Remap property appears for the layer in the Timeline panel, and two Time Remap keyframes appear for the layer in the time ruler.

The audio is now set to loop in a cycle, repeating the clip endlessly. All you need to do is extend the Out point of the layer to the end of the composition. The motion path appears as a sequence of dots, where each dot marks the position of the layer at each frame. Use solid layers to color a background or create simple graphic images. You may delete the sample movies from your hard disk if you have limited storage space.

Click Close to close the Welcome screen. Resize the Name column to make it wider and easier to read, if necessary. Similarly, there are two layers for the two lighting conditions outside the window: Window and Window Lit. The Window Pane layer includes a Photoshop layer style that simulates a pane of glass. About Photoshop layer styles Adobe Photoshop provides a variety of layer styles—such as shadows, glows, and bevels—that change the appearance of a layer.

The layer style properties are available for the layer in the Timeline panel. Soloing the layers isolates them to speed animating, previewing, and rendering. Currently, the lit background is on top of the regular darker background, obscuring it and making the initial frame of the animation light. However, you want the animation to start dark, and then lighten.

Now, when the animation begins, the Background Lit layer is transparent, which allows the dark Background layer to show through. Make sure to leave the Opacity property for the Background Lit layer visible. The Window Pane layer has a Photoshop layer style that creates a bevel on the window. The interior of the room transitions gently from dimly to brightly lit. Duplicating an animation using the pick whip Now, you need to lighten the view through the window.

About expressions When you want to create and link complex animations, such as multiple car wheels spinning, but want to avoid creating tens or hundreds of keyframes by hand, you can use expressions instead. You can create expressions by using simple examples and modifying them to suit your needs, or by chaining objects and methods together.

The words transform. Notice that the Opacity values for the two layers match. Notice that the sky outside the window lightens as the room inside the window does. For one thing, the sun should actually rise. Previewing the animation Now, see how it all comes together.

So far, so good! A new Timeline panel named Window Contents appears. It contains the Sun, Birds, and Clouds layers you selected in step 1 above. The Window Contents composition also appears in the Composition window. Notice that the Sun, Birds, and Clouds layers have been replaced by the Window Contents layer, which refers to the Window Contents composition. About track mattes and traveling mattes When you want one layer to show through a hole in another layer, set up a track matte.

When you animate the track matte layer, you create a traveling matte. In both alpha-channel mattes and luminance mattes, pixels with higher values are more transparent. In most cases, you use a high-contrast matte so that areas are either completely transparent or completely opaque. Intermediate shades should appear only where you want partial or gradual transparency, such as along a soft edge. A B C Traveling matte A. Track matte layer: a solid with a rectangular mask, set to Luma Matte.

The mask is animated to travel across the screen. The alpha channel of the layer above Window Lit 2 is used to set transparency for the Window Contents layer, so that the scenery outside the window shows through the transparent areas of the windowpane.

Adding motion blur The birds will look more authentic if they include motion blur. Larger values create more motion blur. In a realistic time-lapse image, they would shorten as the sun rises. For example, you could use 3D layers and lights. 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. Small circles appear around the corner points of the Shadows layer in the Composition panel.

To adjust that corner, switch to the Hand tool , and drag up in the Composition panel so that you can see some of the pasteboard below the image. Then switch back to the Selection tool , and drag the lower-right corner-pin handle to the approximate location of the lower-right corner of the glass tabletop. You may also need to move the two upper corners in slightly so that the bases of the shadows still align properly with the vase and clock.

Then switch back to the Selection tool , and deselect the layer. Click OK to return to the Solid Settings dialog box.

The hands of the clock should be spinning quickly to show the progress of time. Close the sunrise Layers folder, and then double-click an empty area in the panel to open the Import File dialog box. The QuickTime movie clock. Drag the clock. The Render Queue panel opens. Then click Save. So far, you have created a straightforward time-lapse simulation. Time remapping lets you dynamically speed up, slow down, stop, or reverse footage. You can also use it to do things like create a freeze-frame result.

Now you can remap all of the elements of the project at once. A Time Remap property also appears under the layer name in the Timeline panel; this property lets you control which frame is displayed at a given point in time. The Layer panel provides a visual reference of the frames you change when you remap time.

It displays two time rulers: The time ruler at the bottom of the panel displays the current time. The Source Time ruler, just above the time ruler, has a remap-time marker that indicates which frame is playing at the current time. That will change as you remap time.

This remaps time so that frame plays at The composition now runs at half-speed until , and at a regular speed thereafter. In layer bar mode, in contrast, the time ruler represents only the horizontal time element, without a graphical display of changing values. The angle of the line is shallow up to , and then becomes steeper. The steeper the line, the faster the playback time. Using the Graph Editor to remap time When remapping time, you can use the values in the time-remap graph to determine and control which frame of the movie plays at which point in time.

These initial Time Remap keyframes have vertical time values equal to their horizontal position. Every time you add a Time Remap keyframe, you create another point at which you can change the playback speed or direction. As you move the keyframe up or down in the time-remap graph, you adjust which frame of the video is set to play at the current time. Have some fun with the timing of this project. Watch the time ruler and Source Time ruler in the Layer panel to see which frames are playing at any given point in time.

Having fun yet? Keep going. Ctrl or Command temporarily activates the Add Vertex tool. Now the animation progresses rapidly, holds for two seconds on the last frame, and then runs in reverse. If you drag it to the right, the transition is softer; if you drag it down or to the left, the transition is more pronounced.

Scaling the animation in time Finally, use the Graph Editor to scale the entire animation in time. The entire graph shifts, reducing the top keyframe values and slowing playback. If you press Alt Windows or Option Mac OS and drag one corner of the free-transform box, the animation is skewed in that corner as you drag. You can also drag one of the right transform handles to the left to scale the entire animation so that it happens more quickly.

It also preserves other features, such as adjustment layers and type. The pick whip is also a way to create parenting relationships. To use the pick whip, simply drag the pick whip icon from one property to another.

When remapping time, you can use the values in the time-remap graph in the Graph Editor to determine and control which frame of the movie plays at which point in time. Use masks to control what appears. A mask consists of segments and vertices: Segments are the lines or curves that connect vertices.

A mask can be either an open or a closed path. An open path has a beginning point that is not the same as its end point; for example, a straight line is an open path. A closed path is continuous and has no beginning or end, such as a circle. Closed-path masks can create transparent areas for a layer. Each layer can contain multiple masks. You can draw masks in common geometric shapes—including polygons, ellipses, and stars—with the shape tools, or you can use the Pen tool to draw an arbitrary path.

Begin by previewing the movie and setting up the project. In this case, you can use the settings in the Interpret Footage dialog box to reinterpret your footage. To replace it with the news promo, you need to mask the screen. You may need to use the Hand tool to reposition the view in the panel.

The Pen tool creates straight lines or curved segments. When a circle appears next to the pointer as in the middle image below , click to close the mask path. So you need to invert the mask. Alternatively, you could change the mask mode, which is set to Add by default. About mask modes Blending modes for masks mask modes control how masks within a layer interact with one another.

By default, all masks are set to Add, which combines the transparency values of any masks that overlap on the same layer. Each additional mask that you create interacts with masks located above it in the Timeline panel.

The results of mask modes vary depending on the modes set for the masks higher up in the Timeline panel. You can use mask modes only between masks in the same layer.

Using mask modes, you can create complex mask shapes with multiple transparent areas. For example, you can set a mask mode that combines two masks and sets the opaque area to the areas where the two masks intersect. Working with Masks There are two ways to invert this mask: by choosing Subtract from the Mask Mode pop-up menu, or by selecting the Inverted option. The mask inverts. If you look closely at the monitor, you will probably see portions of the screen still appearing around the edges of the mask.

Bezier curves give you the greatest control over the shape of the mask. With them, you can create straight lines with sharp angles, perfectly smooth curves, or a combination of the two. Selecting Mask 1 makes the mask active and also selects all the vertices. Press the G key multiple times to cycle through the Pen tools. The Convert Vertex tool changes the corner vertices to smooth points. The angle and length of these handles control the shape of the mask.

Notice how this changes this shape of the mask. You can also change the zoom level and use the Hand tool to reposition the image in the Composition panel as you work. Click the vertex. Drag the handle. Breaking direction handles By default, the direction handles of any smooth point are connected to one another. As you drag one handle, the opposite handle moves as well. However, you can break this connection to get greater control over the shape of the mask, and you can create sharp points or long, smooth curves.

The left direction handle remains stationary. Drag the right direction handle of the upper-left vertex, and then the left direction handle, to follow the curve of the monitor.

If you need to shift a corner point, use the Selection tool. You should not see any of the monitor screen. You can drag the image with the Hand tool. To temporarily switch to the Hand tool, press and hold the spacebar. Then click where you want to place the next vertex, and drag in the direction you want to create a curve. The white background allows you to see that the edge of the monitor screen looks a little too sharp and unrealistic. Replacing the content of the mask You are now ready to replace the background with the TV news promo movie and blend it with the overall shot.

The Position property for a 3D layer has three values: From left to right, they represent the x, y, and z axes of the image. The z axis controls the depth of the layer. You can see these axes represented in the Composition panel. The red arrow controls the x horizontal axis of the layer. Then drag up or down as necessary to position the clip vertically in the monitor screen. Again, since this is a 3D layer, you can control rotation on the x, y, and z axes.

This swivels the layer to match the perspective of the monitor. This aligns the layer with the monitor. Your composition should now resemble the preceding image. This time, you want to keep the area inside the mask opaque and make the area outside the mask transparent. Applying a blending mode To create unique interactions between layers, you may want to experiment with blending modes. Blending modes control how each layer blends with, or reacts to, layers beneath it. This creates a hard glare on the monitor screen image and boosts the colors underneath.

This exercise is optional. Material Options properties determine how a 3D layer interacts with light and shadow, both of which are important components of realism and perspective in 3D animation.

This is often done to simulate light variations of a glass lens. It creates an interesting look that focuses the attention on the subject and sets the shot apart. Adjust the shape and position using the Selection tool, if necessary. Using the Rectangle and Ellipse tools The Rectangle tool, as the name suggests, creates a rectangle or square. The Ellipse tool creates an ellipse or circle. You create mask shapes with these tools by dragging them in the Composition or Layer panel.

If you want to draw a perfect square or circle, press the Shift key as you drag with the Rectangle tool or the Ellipse tool. Be careful! Even with this large feather amount, the vignette is a bit intense and constricting. You can give the composition more breathing room by adjusting the Mask Expansion property.

The Mask Expansion property represents, in pixels, how far from the original mask edge you are expanding or contracting the adjusted edge. When the point is selected, you can continue adding points. Working with Masks As you saw in this lesson, you can close a mask by clicking the starting vertex. Warming it up will make the image really pop. Because Auto Levels adjusts each color channel individually, it may remove or introduce color casts.

Sometimes video cameras favor a certain color channel that makes the image cooler bluer or warmer redder. In this lesson you have worked with the mask tools to hide, reveal, and adjust portions of a composition to create a stylized inset shot. Number List 2 Name two ways to adjust the shape of a mask. A mask consists of segments and vertices. An additional tool, the Puppet Sketch tool, lets you record animation in real time.

Shift-click to select the backdrop. Creating the composition As with any project, you need to create a new composition. The preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition. The banana peel moves to the left side of the composition.

Sometimes you can make your work easier by making some adjustments before animation. About the Puppet tools The Puppet tools turn raster and vector images into virtual marionettes. When you move the string of a marionette, the body part attached to that string moves; pull the string attached to the hand, and the hand goes up. The Puppet tools use pins to indicate where strings would be attached. These pins determine which parts of the image should move, which parts should remain rigid, and which parts should be in front when areas overlap.

If you add more pins anywhere in the timeline, they are placed based on the original position of the mesh. As soon as you place a pin, the area within an outline is automatically divided into a mesh of triangles.

Each part of the mesh is associated with the pixels of the image, so as the mesh moves, so do the pixels. When you animate a Deform pin, the mesh deforms more in the area closest to the pin, while keeping the overall shape as rigid as possible. Where you place those pins and how you position them determine how the objects move on the screen. When you select the Puppet Pin tool, the Tools panel displays the Puppet tool options. Pin the character according to his left and right, not yours!

A yellow dot representing the Deform pin appears in the Composition panel. If at this point you were to use the Selection tool to move the Deform pin, the entire character would move with it. You need more pins to keep the other parts of the mesh in place.

Now you can move the right hand with the Selection tool. Each Deform pin is listed. This setting determines how many triangles are included in the mesh. Increasing the number of triangles results in a smoother animation, but also increases rendering time. To expand the mesh, increase the Expansion property in the options section of the Tools panel. You can also place pins without viewing the mesh.

Then select the Puppet Overlap tool again. As you add a pin, you may want to adjust its Extent value in the options area of the Tools panel. Use this image as a guide. You can also use negative numbers to reduce the rigidity of another pin. Now you can change the Deform pin positions to animate the character. Creating a walking cycle Initially, the character should be walking across the screen.

To create a realistic walking cycle, keep in mind that as humans walk, wave patterns develop in the motion path. However, the values will vary slightly to add a bit of randomness, and to keep the character from looking too much like a robot. So equals 1 second and 15 frames. At Squash and stretch As the character moves, his body squashes and stretches.

Squash and stretch is a traditional animation technique that adds realism and weight to objects. The easiest way to understand the principle of squash and stretch is to view an animation of a bouncing ball. As it bounces up, it stretches. The falling movements occur more quickly than the walking cycle. Moving an object Of course, when the man slips on the banana peel, the banana peel moves, too. Then make a RAM preview and view your animation.

If necessary, adjust the Position property for Deform pins in the Timeline panel. Roving keyframes create smooth movement across several keyframes at once. Go ahead and experiment with the Easy Ease and roving keyframe features, but start by trying to make your keyframes match those shown below.

Recording animation Changing the Position property for each pin at each keyframe worked, but you probably found it slow and tedious. Instead of manually animating keyframes, you can use the Puppet Sketch tool to drag the objects into position in real time. The composition moves forward through time as you move the pin.

When you stop recording, the current-time indicator returns to the point at which you began recording, so that you can record the path for another pin during the same time period. To change the ratio of recording speed to playback speed, click Record Options in the Tools panel, and change the Speed value before recording. Select Puppet to see the pins in the Composition panel. The current-time indicator returns to Use the outline of the character to guide you.

Remember that you can use the Puppet tools to deform and manipulate many kinds of objects, not just drawn art. And watch out for banana peels! The Puppet Overlap tool creates Overlap pins, which determine which areas of an object remain in front when two areas overlap. Additionally, you can create smoother movement by increasing the number of triangles in the distortion mesh, but increasing the number of triangles also increases the time it takes to render the animation.

To animate pin positions more quickly, use the Puppet Sketch tool: With the Puppet Pin tool selected, press Ctrl or Command, and drag a pin to record its movement. This lesson will take approximately 90 minutes to complete. For example, a common use of rotoscoping is to trace an object, using the path as a mask to separate it from the background so you can work with it separately. A matte is a mask used to hide part of an image so that another image can be superimposed. If a background or foreground object is a consistent, distinct color, you could use color keying to separate the object from the background.

If the subject was shot against a green or blue background green screen or blue screen , keying is usually much easier than rotoscoping. The Roto Brush tool does much of the work for you, leaving only a little clean-up work to be done.

Creating the composition You need to import three footage items for this exercise, and then create a composition. Shift-click to select the Flamingo. The Flamingo composition has one layer: Flamingo. It creates a segmentation boundary between the foreground and background.

Creating a base frame To use the Roto Brush tool to isolate a foreground object, you start by adding strokes to a base frame to identify foreground and background areas. This is where you will do all your Roto Brush work. Adding background strokes will let you remove any extraneous areas in the matte.

Getting close to the area to be removed and painting a background stroke may be all that is needed. Just make sure the mask is within 2 to 3 pixels of the edge of the foreground object. The masked area is white against a black background, so you can see the matte clearly. The foreground area appears in color, and the background has a red overlay. Click the Toggle Alpha button to display the matte on a black background. Click the Toggle Alpha Overlay button to display a red overlay.

As you use the Roto Brush tool, the Alpha Boundary is the best way to see how accurate your boundary is, because you can see everything in the frame. However, the Alpha and Alpha Overlay options can be useful when you want to see the foreground without the distraction of the background. Cached frames have a green bar in the time ruler.

The Roto Brush span appears below the time ruler at the bottom of the Layer panel. Depending on how complex your foreground and background elements are, the boundary may or may not conform exactly to the area you hoped it would. In this case, you may notice changes to the segmentation boundary along the breast of the bird, near the feet, the tail feathers, or where the neck and body meet. As you move through the frames, the span range may increase automatically, or you can drag it to extend the span.

The scene in this project remains fairly consistent, so you could extend the span and make additional adjustments as needed. A new base frame represented by a gold rectangle is added to the time ruler, and the Roto Brush Span extends twenty frames behind and ahead of the new base frame. Depending on your system and the complexity of the project, a RAM preview may take a long time.

If you notice any errors, correct them with the Roto Brush tool. The Freezing Roto Brush dialog box displays a progress bar as it freezes the Roto Brush tool results. Freezing may take a few minutes. As it freezes the information for each frame, the cache line turns from green to blue. Then click the Toggle Transparency Grid button.

Touching up the matte Depending on your clip, there may be some areas of the foreground subject that the Roto Brush tool cannot separate from the background. You can touch up your matte by painting directly on the alpha channel. If you need to add to the foreground, switch the foreground and background colors.

Painting in black adds to the matte; painting in white removes from it. Feathering the edge of a matte helps to blend it with the rest of the composition. Then drag the Flamingo.

There are two Flamingo. Rename the layer Flamingo Video, and press Enter or Return again. Rename the Flamingo. Then you want it to dissolve over 15 frames.

Select None, and click OK. Select Solid Color, and click OK. Press the Shift key as you draw to create a rounded square.

If you need to reposition the shape, use the Selection tool. The default values will work for this project.

The border now appears to have depth. Flamingo Roto 2 appears above Flamingo Roto in the Timeline panel. The currenttime indicator was at when you split the layer, so becomes the Out point for Flamingo Roto and the In Point for Flamingo Roto 2. Splitting a layer is faster than duplicating a layer and then trimming the In and Out points for both layers. The Logo layer is added to the top of the layer stack in the Timeline panel.

It becomes active at the same time as the Flamingo Roto 2 layer. Use the default settings to match the bevel of the border.

Name the new composition Logo. The rest of the time bar disappears in the Timeline panel; all that remains for the Logo layer is the freeze frame icon at Press the P key to reveal the Position property for the layer; then hold the Shift key and press the S key to reveal the Scale property as well. Change the Position value to , You have the text in position. Then double-click the Fade Up Lines preset to apply it to the text layer.

The default timing for this preset takes too long for this project. You may need to scroll to the right to see the end keyframe in the Timeline panel. Now you need to ensure that the text layer follows the Logo layer. In the Casa Luna Wildlife Sanctuary layer, choose 3. Logo from the Parent pop-up menu. Create initial keyframes for both the Scale and Position properties.

Easy Ease makes movement more natural-looking. Then select the Motion Blur switch for every layer except the Flamingo Video layer.

You imported it earlier, so you just need to add it to the Timeline panel. With the VO. Review answers 1 Use the Roto Brush tool any time you would traditionally use rotoscoping.

The Roto Brush tool adjusts the segmentation boundary as you progress through the frames in the Roto Brush span.

In this lesson, you will improve the color of a video clip that was shot without the proper white balance setting. Finally, you will remove an unwanted portion of the shot with the Clone Stamp tool.

Importing the footage You need to import two footage items for this lesson. Click Cancel to close the Composition Settings dialog box. There is an unappealing blue cast to the entire image. The gamma values between a computer monitor and a broadcast monitor vary greatly. What may look good on a computer screen may be too bright and washed out on a broadcast monitor. One way to accomplish this is to use a video tape recorder that accepts FireWire.

Then choose FireWire from the Output Device pop-up menu. With all of these options selected, you will be able to see every update and change you make to the composition on the video monitor.

Always be sure your video or computer monitor is properly calibrated before performing color correction. Some may do the job with a single click, but understanding how to adjust colors manually gives you the greatest freedom to achieve the look you want.

It remaps the range of input color or alpha channel levels onto a new range of output levels, functioning much the same as the Levels adjustment in Adobe Photoshop. When the selected channel is RGB, you can adjust the overall brightness and contrast of the image. Then click the triangle next to RGB to expand its properties.

The Input Black slider under the histogram moves accordingly. The Gamma value represents the midtones. In this shot, the building is supposed to be a neutral color. The values change as you move the cursor. To determine what the values should be, divide the highest possible RGB value by the highest of the values in the sample. That gives you divided by the blue value near the door , or 2.

To equalize the colors so that blue is no longer prominent, you need to multiply 2. The new values are The blue cast is gone, revealing a much more realistic scene. For each channel, the Input settings increase the value, while the Output settings decrease the value. For example, lowering the Red Input White value adds red to the highlights in the shot, and increasing the Red Output White value adds red to the shadows or dark areas in the shot. Replacing the background This shot was taken on a clear day with a cloudless sky.

Changing the background color of the composition can help you spot any keying errors. Click OK to close each dialog box. Then, in the Composition panel, click a midtone blue color in the sky to sample it. Even with the sky keyed out, a slight fringe of color remains around the building. You can remove that fringe by choking the matte.

Now you can fully see the storm clouds layer. Because Auto Levels adjusts each color channel individually, it may remove or introduce a color cast. In this case, with the default settings applied, Auto Levels introduces a blue color cast that makes the clouds more intense.

You can paint only on individual layers—not the composition as a whole. In this shot, the color correction caused the grass in front of the building to look like a mature bluegrass instead of a welcoming green lawn. Click around the grass area to create a mask. Feathering blends the layers more naturally. Use the one provided in your software package.

SA Color Finesse 3 opens in its own window. Try to sample various shades of green from light to dark; zoom in if necessary to help you select a range of hues. Now you can see the areas that are selected and those that are masked shaded in red.

You can choose a color preset to apply a hue adjustment to an image, or you can specify a custom color using the Color Picker or the eyedropper.

The new adjustment layer should be the top layer in the layer stack. Review answers 1 Color correction is performed to optimize the source material, to focus attention on a key element in the shot, to correct errors in white balance and exposure, to ensure color consistency from one shot to another, or to create a color palette to match the visual look the director prefers.

But all you have to do to move a layer in three dimensions is to turn on its 3D Layer switch. With that switch on, you can also manipulate the object along its z axis depth. You can customize the grid if you want to, but the default settings will work for this lesson. The grid is simply to help you see objects in perspective as you work. The Position property is , , the center of the composition. Whenever you add an element to the Timeline panel, its anchor point will be at this center point.

Three 3D Rotation properties appear in the Transform group for the layer, and properties that previously supported only two dimensions now display a third value for the z axis. In addition, a new property group named Material Options appears. The red arrow controls the x axis, the green arrow controls the y axis, and the blue arrow controls the z axis. At the moment, the z axis appears at the intersection of the x and y axes.

The letters x, y, and z appear when you position the pointer over the corresponding axis. Using 3D views Sometimes the appearance of 3D layers can be deceptive. Orange corner tabs appear around the active view. Creating a guide layer Guide layers help you position and edit elements in the Composition panel. For example, you can use guide layers for visual reference, audio timing, timecode reference, or even to store comments to yourself.

What better place to start than the front cover? Then drag the AEFront. The book cover is much larger than the composition, and it intersects the grid. Currently, the anchor point for the AEFront. You want the anchor point to be at the bottom of the book cover, to match the anchor point at the center of the grid. Because the current y-axis value is at the center, and therefore halfway down the book, you can simply multiply that value by 2 for the new Anchor Point value.

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