Saturday, November 3, 2012

after effects trick Creating layer solids and shapes with masks

after effects trick Creating layer solids and shapes with masks

after effects trick Creating layer solids and shapes with masks 
 This is finally starting to change as of AE CS6 - but this release is just a first .... and bevel only vector-based text and shape layers in After Effects CS6.
Shape layers contain vector graphics objects called shapes. By default, a shape consists of a path, a stroke, and a fill.
You create shape layers by drawing in the Composition panel with the shape tools or the Pen tool.
Shape paths have two varieties: parametric shape paths and Bezier shape paths. 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. You work with Bezier shape paths in the same way that you work with mask paths. All mask paths are Bezier paths.
You can modify a shape path by applying path operations, such as Wiggle Paths and Pucker & Bloat. You apply a stroke to a path or fill the area defined by a path with color by applying paint operations.
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Tuesday, October 30, 2012

after effects best method for slow motion effect

after effects best method for slow motion effect

after effects best method for slow motion effect
As a recent convert to Adobe Premiere one of my favorite discoveries is the Rate Stretch tool. It allows you to visually pull the length of a clip to fill how ever much time you need, then immediately preview the results. As someone who uses a lot of b-roll and slow motion in his filmmaking this tool is a serious time-saver. (check out the video after the jump)
The only problem with the Rate Stretch tool is the quality of the motion quality. In order for Premiere to slow the clip down it has to create new frames, and the more you slow it down the more frames Premiere has to create out of thin air. Premiere does a decent job of this, but most of the times I need a lot better than "decent" - I need "amazing".
In order to get great results you need something like Pixel Motion (within After Effects) to really get top-quality slow motion. In the past that meant slowing the clips down in Final Cut, exporting them into AE, applying the effect, exporting them back into FCP and hoping I guessed right on the slow down rate. 
(if not, I get to repeat the whole process again)
Enter Dynamic Linking...
Using Dynamic Linking allows you to spend 98% of your time working in the editor, actually crafting stories. (you'll need the Production Premium suite to rock this) Here's the workflow -
1. Edit your entire sequence in Premiere; use the Rate Stretch tool to get the slow motion clips where you want them. (don't worry about the playback quality at this point)
2. Right-click the clip you've slowed down and select "Replace with After Effects Composition". After Effects will automatically open with a new project based on the clip.
3. In After Effects timeline click the "Enables Frame Blending on all layers with the Frame Blend switch set" button to enable frame blending (pictured below).
4. Next, click the Frame Blend radio button twice so the line becomes solid. This tells AE to use Pixel Motion high-quality frame blending.
5. Hit "Save" in After Effects.
6. You're done! Head back over to Premiere and your changes will be reflected in the clip on the sequence timeline.
Depending on the power of the machine you're editing on you should be able to immediately preview the improved frame blending. The great news is that you don't need to render, at all, until you're ready to do your final render in Premiere. It's that simple.
This technique can be used for a number of different operations like color grading and noise reduction. I personally prefer to do most of these processes in the editor itself; high-quality time stretching just isn't possible at this point without After Effects. Check out this video to see the difference in quality -
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Friday, October 26, 2012

learn after effects Parenting

learn after effects Parenting

learn after effects Parenting
Combining two Adobe After Effects compositions into a single composition is helpful when you want to re-use a composition multiple times. Additionally, it is useful for applying complex changes to a group of compositions at once. Nesting is the process through which you combine compositions into a single composition, known as a nested composition or a precomposition. The entire set of compositions that are related to each other through nesting are known as the composition network.
Since switching to Premiere Pro, my editing workflow has been to lock picture in Premiere and then finish in After Effects. To date I've been using a workflow similar to the one I'd use when editing in Final Cut Pro, which was to import a final sequence into After Effects (either as an XML or by using Premiere Pro as an intermediary), and apply color correction, titling, and other effects in AE. While this approach gives a very high quality output, a problem rears its head if you want to make changes to the edit after "locking" picture. So what's the best workflow between Premiere and After Effects?
Once I change the coloring and add the final titles and effects, I find my picture lock often becomes unlocked. But now if I make changes to my edit in Premiere, they aren't reflected in AE, and so I find myself making edits in AE, which is far from ideal given the program's lack of real-time editing features (and editing tools like trim, slide, etc). And then if I need to revisit the edit in Premiere, I in fact have a newer edit in AE than I do in PPro. It's a version control nightmare. However, it's hard to beat from a price:quality perspective — this is the reason this workflow is spotlighted in Stu Maschwitz's DV Rebel's Guide. In theory, Adobe has designed Dynamic Link to solve this problem. But does it?
As far as I can tell, not really. Dynamic Link gives you two options, both of which are nice to have, but neither of which accomplishes what I'm looking for. The two options are: one, you can create an After Effects composition within Premiere Pro, and have that comp dynamically update in your Premiere sequence when you make changes in AE. The second option is to use Dynamic Link to open a Premiere project in After Effects, at which point you can import sequences and have them show up in AE — as a single object. There's no way to drill down to the individual clips to make changes unless you import a Premiere sequence, at which point I'm back in the same boat I was in before when using Final Cut (though it's worth noting that Premiere's integration is far more advanced, as most effects and transitions carry over flawlessly). While I'm happy to have the ability to open a Premiere Pro sequence in After Effects, one can't but wonder if the two programs could be combined in order to prevent this non-ideal workflow. As it is, once you go AE, it's hard to go back. At least, this is my understanding — am I missing something? Is all of this just confusing? Please share your experiences in the comments.
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Wednesday, October 24, 2012

Multiple 3D Cameras : Adobe After Effects tutorial

Multiple 3D Cameras : Adobe After Effects tutorial

Multiple 3D Cameras : Adobe After Effects tutorial
Adjustable Mask Edge Feathering
The new Mask Feather Tool (located in the Pen Tool drop-down palette) in After Effects CS6 allows you to select specific points along the edge of your mask to adjust the amount and direction of the feathering you need. This eliminates the necessity to build multiple masks that have to be tracked or modified over time, and instead you can concentrate on one adjustable edge mask around objects you intend to roto. You can select existing Vertices along the path with the Mask Feather Tool and add an adjustment handle between the selected point to create a soft transition, or select several points to confine your adjustments to specific regions. And of course all of the Mask Feather Tool points are keyframable along the Timeline.
Adobe has addressed many user requests in the release of After Effects CS6 and provided several powerful features to help motion graphics designers and filmmakers produce better content without needing to rely on a lot of third-party plug-ins or apps. The totally revamped 3D environment now includes bendable footage and comps and extrusions for text and vector shapes - all integrated into an interactive raytracing environment where the various 3D layers truly interact with each other. Adjustable mask feathering, Rolling Shutter repair for DSLR footage and an amazing 3D Camera tracker have also been added to the mix. Built on top of major performance enhancements and caching features, makes After Effects CS6 a must-have update.
Rolling Shutter Repair
One of the most problematic issues with DSLR footage is the rolling shutter or "jello effect" caused by rapid panning against vertical lines in your scene - such as the edges of buildings, windows, busses, poles, trees, etc. Adobe has included the Rolling Shutter Repair effect to After Effects CS6 (also included in Premiere Pro CS6 as well). While the effect is applied directly to the footage layer, it can reduce the effect greatly but may require some additional tweaking and keyframing to control the amount of correction on certain footage.
Learn how to use the new 3D Camera Tracker by creating a 3D project that adds animated text to a movie. See how the tracker works in the background to analyze a scene and then automates the addition of an animated 3D camera with text. See how to adjust, manipulate and add animators and other effects to the text for amazing results.
Place and track 3D elements on 2D footage for precise visual effects and motion graphics. The 3D camera tracker automatically analyzes 2D footage in the background and places elements on that footage, with complete control over depth of field, shadows, and reflections.
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ramp slow motion with Adobe After effects

ramp slow motion with Adobe After effects

ramp slow motion with Adobe After effects
Speeding up or slowing down an entire layer by the same factor throughout is known as time-stretching. When you time-stretch a layer, the audio and the original frames in the footage (and all keyframes that belong to the layer) are redistributed along the new duration. Use this command only when you want the layer and all layer keyframes to change to the new duration.
If you time-stretch a layer so that the resulting frame rate is very different from the original frame rate, the quality of motion within the layer may suffer. For best results when time-remapping a layer, use the Timewarp effect.
Time-stretch a layer from a specific time
In the Timeline or Composition panel, select the layer.
Choose Layer > Time > Time Stretch.
Type a new duration for the layer, or type a Stretch Factor.
To specify the point in time from which the layer will be time-stretched, click one of the Hold In Place options, and then click OK.
Layer In-point Holds the starting time of the layer at its current value and time-stretches the layer by moving its Out point.
Current Frame Holds the layer at the position of the current-time indicator (also the frame displayed in the Composition panel), and time-stretches the layer by moving the In and Out points.
Layer Out-point Holds the ending time of the layer at its current value and time-stretches the layer by moving its In point.
Time-stretch a layer to a specific time
In the Timeline panel, move the current-time indicator to the frame where you want the layer to begin or end.
Display the In and Out columns by choosing Columns > In and Columns > Out from the Timeline panel menu.
Do one of the following:
To stretch the In point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the In time for the layer in the In column.
To stretch the Out point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the Out time for the layer in the Out column.
Time-stretch a layer but not its keyframes
When you time-stretch a layer, the positions of its keyframes stretch with it by default. You can circumvent this behavior by cutting and pasting keyframes.
Make a note of the time at which the first keyframe appears. (Placing a composition marker is a good way to mark the time.)
In the Timeline panel, click the name of one or more layer properties containing the keyframes you want to keep at the same times.
Choose Edit > Cut.
Move or stretch the layer to its new In and Out points.
Move the current-time indicator to the time at which the first keyframe appeared before you cut the keyframes.
Choose Edit > Paste.
This seems to be the most common question with After Effects so here's a tutorial that will show you how to export/render in After Effects.
1. Generally when working in After Effects you'll constantly be setting the work area start/end points (B key / N key) so you can preview only the part of your composition that you're working on. Before you add your composition to the render queue you'll need to reset this (assuming you want to render the whole composition).
2. Place the playhead at the start of your composition. You can drag, but pressing the home key is the easier and more reliable method.
3. Now that the playhead is in the right location press B to set the work area start location. Again, you could drag the bar below the playhead, but using the shortcut keys is easier, more efficient, and more reliable.
4. Now drag the playhead to the end of the composition or press the end key.
5. Press the N key and set your work area end location. Then add the composition to the render queue.
6. The Render Queue tab will appear in the timeline area. I'll be leaving the name of my file and output location alone, but if you want to give your movie a filename to be saved as you would click on the "Comp1.mov" text and it would bring up the "Output Movie To" menu. The menu will also allow you to change the location of where your movie will be saved.
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Friday, October 19, 2012

after effects KEYFRAME-READY EFFECTS

after effects KEYFRAME-READY EFFECTS

This is a Beginners tutorial to animation with keyframes in Adobe After Effects. We will go through how to create moving animation (from imported graphics) and also how to use and apply a filter within the animation.
First what is After Effects?
After effects is called a post production software or can be called a compositing application. AE primary purpose is to create motion effects for completed media (art/film already created in other applications), such as movies, bitmaps , vectors. It is true that after effects can create media on its own in the application but its generally used for imported media.Preparing the scene.
Open up AE, open a new Composition (clt-n) and copy the setting as this screen shot here. We now need to import our graphic, we will be using a image I created a while ago for Kirupa. Download it here.
( In the aetut.zip I also provided two AE 6 project files, one is the start of the project and the other is the completed file, use this to compare with your own.)
Now go to File / import / file (or Ctrl i), locate the file Klogo.png and open it, the file now should be imported into the library, usually placed on the top left of your screen.
( I used a PNG file so i could keep the transparency of the image, you could do the same with a Tiff, gif, targa, and any other format you can export transparency with. You can also import a PSD file, that allows you to bring all the layers in as a composition but today we will make it simple and just work with one file.)
[ Library ]
Select the file in the Library and drag it into the scene (composition we name klogo_animation). The image will seem a little large for the scene size, This is force of habit because in any case that I would like to scale the image to a size larger than the scene size there will be no loss of quality in the image. Select the image ( hit v to have the selection tool selected ) and scale it down to a size which fits comfortably in the scene by click and dragging on a corner point (hold down shift to constraint proportion).
[ in the scene ]
You may notice that the image may look like it had loss some quality when you reduced the size, this actually isn't the case, when rendered this will be fine, so to have it appear smooth in preview, in your timeline area, next to your source name there is a backslash , click on this to turn on quality (this is basically always anti-aliased, I advice to click this when you are working with vector graphics).
[ Anti- Aliased switch
before and after shots ]

Now the image is in and ready to be animated. Select the layer in the timeline, On the left of the layer you will see a arrow , this is where the controls of you object is located, now you can click the arrow and continue clicking to get to a specific control, or you can use shortcuts which are just heaven sent!.
Select the object in the layer, now on your keyboard press T (opacity) P (positioning) S (scale) R (rotation), now if you would like to have multiple controls up at the same time, for example click on T for opacity and hold down shift and press R to also have rotation up as well. Easy isn't it, and so much more neater. It might seem a little unnecessary at the moment , but once you get working, it can streamline your working methods greatly.
Before I go on, i think i should explain how AE works or creates animation. Everything in AE is based on Keyframes. Much like any animation application out there, you must apply a keyframe to record a control change, say a scale change from 0% at the start and at 20 frames its 100%, both are recorded by keyframes, where in between AE will interpolate (or create the in between animation) the animation. Each element has many attribute controls, its positioning , its scale, opacity etc.. same goes for applying filters and any other effect , but we will talk about that a little later.
Remember the time code is a very important aspect of AE, since we are using 30 frames per second, the time code will be calculated as when 30 frames equals 1 second and half a second would be 15 frames in AE.
[ timecode and controls ]
Animating with Keyframes:
Ok now lets get this Moving! , I think we will work with all 4 main controls in this tutorial, Position , Scale , Rotation, Opacity.
SCALE: Now get the scale controls up and you will notice since we have already manually scaled this object the scale percentages should be something other than 100 %, this is another way in which you can edit your setting of the object in your scene, lets change the scale of the object to 50% by double clicking on the numbers and entering 50 (if both numbers were not updated then undo (ctrl -z) and make sure the link on the left is selected, then try again)
 
[ scale values ]
Select the image in the scene, position it in the middle of the scene, to be exact use the position numbers in your timeline. Now have your scale control available, adjust the scale of the layer to 10%, make sure your time slider is positioned at the start or at time 0:00:00:00. Click on the stopwatch next to scale to place the first keyframe. Now move the time slider to frame 20 or 0:00:00:20 (hold down shift to have the slider snap to whole numbers) adjust the scale to 50%, notice that automatically a keyframe was placed in the frame 20 mark for the scale control, this is due to AE automatically recording a adjustment to a control. (while the stopwatch is on all movement is keyframed in that particular control)
Now scrub the time slider back and forth and you will see that the image will scale in size. Great !
OPACITY: Now lets do the same with the opacity, move your timeline slider to the start of your animation, since we already created keyframes you can snap to the first keyframe by holding shift and moving the slider. Once at the start of the timeline click to turn on the opacity stop-watch to create a keyframe. Change the opacity setting to 0% then hold down shift and move the slider to snap to the other keyframe at frame 20 mark, then change the setting to 100%., two keyframes should of been created and in result when you scrub the slider you should see the graphic not only scale but now also increase and decrease in opacity. You starting to get the idea?
POSITION: first have position controls available (p on the layer), Move the timeline slider to the start of the timeline, switch the stopwatch on for position, Now lets move this out to the left, in the position controls click on the first set of numbers (first is X axes, second is Y axes) change the setting to say -30.0. Next move the timeline slider to 20 frames and change the setting to 165.0. You should now have two keyframe for position. Now when you test it you should have scale, opacity and now position.

ROTATE: Now lets spin it, the cool thing about spinning objects in AE is that they really look cool after you put some motion blur on it, motion blur is actually not a filter put a switch on layers to activate real time blurring, so when motion blur is on and when a object is moved it will calculate how much blur it should have based on its speed of the object :)
To view the motion blur in your scene you will need to enable the motion blur master switch. The switch can be found on top of the timeline next to your time code, further to the right (check the image below) the icon with the "M" is the master "Layer" motion blur switch.
[ motion blur master switch ]

Like before go to the first frame, switch the stopwatch for rotation, shift move slider to frame 20 then add some rotation to the object using the numbers. Here you will find two sets of numbers the first is how many time you would like the object to rotate the set amount of degrees you apply, for complete rotation leave it at 0, 0 for the second part and put 4 in the first part, this means it will rotate 4 times 360 degrees.

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