Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software. START NOW. ADOBE AFTER EFFECTS CLASSROOM IN A BOOK ( RELEASE) v. 2 CREATING A BASIC ANIMATION USING EFFECTS AND PRESETS. Getting started. 1, Pages·· MB·, Downloads·New! Your all-in-one guide to Adobe’s new Creative Cloud Packed with more than a thousand pages of content, Adobe.
 
 

Calaméo – Adobe After Effects Classroom In A Book

 

The organization of the lessons is also design-oriented rather than feature-oriented. Additional resources Adobe After Effects Classroom in a Book Release is not meant to replace documentation that comes with the program or to be a comprehensive reference for every feature. Only the commands and options used in the lessons are explained in this book.

The Learn panel opens with a series of tutorials. Find solutions for education at all levels, including free curricula that use an integrated approach to teaching Adobe software and can be used to prepare for the Adobe Certified Associate exams. This lesson will take about an hour to complete.

The After Effects interface facilitates your work and adapts to each stage of production. About the After Effects work area After Effects offers a flexible, customizable work area. The main window of the program is called the application window. Panels are organized in this window in an arrangement called a workspace. The default workspace contains stacked panels as well as panels that stand alone, as shown below.

Application window B. Composition panel C. Workspace bar D. Stacked panels E. Tools panel F. You can drag panels to new locations, change the order of stacked panels, move panels into or out of a group, place panels alongside each other, stack panels, and undock a panel so that it floats in a new window above the application window.

As you rearrange panels, the other panels resize automatically to fit the window. When you drag a panel by its tab to relocate it, the area where you can drop it—called a drop zone— becomes highlighted. The drop zone determines where and how the panel is inserted into the workspace. Dragging a panel to a drop zone either docks it, groups it, or stacks it.

If you drop a panel along the edge of another panel, group, or window, it will dock next to the existing group, resizing all groups to accommodate the new panel. If you drop a panel in the middle of another panel or group, or along the tab area of a panel, it will be added to the existing group and be placed at the top of the stack.

Grouping a panel does not resize other groups. You can also open a panel in a floating window. To do so, select the panel, and then choose Undock Panel or Undock Frame from the panel menu. Or, drag the panel or group outside the application window. Getting started A basic After Effects workflow follows six steps: importing and organizing footage, creating compositions and arranging layers, adding effects, animating elements, previewing your work, and rendering and outputting the final composition so that it can be viewed by others.

You may delete the sample movies from your hard disk if you have limited storage space. You can do this with a simple keyboard shortcut. Alterna- preferences. After Effects displays an empty, untitled project. It also contains compositions, which are the individual double-click the panel tab. To return it to its containers used to combine footage, apply effects, and, ultimately, drive the output. Shift-click to select the movement. Then click Import or Open. A footage item is the basic unit in an After Effects project.

You can import footage items at any time. As you import assets, After Effects reports its progress in the Info panel. You can use 5 Double-click in the lower area Adobe Bridge to search for, manage, preview, of the Project panel to open the and import footage. Import File dialog box.

Choose Composition from the Import As menu. After Effects opens an additional dialog box that displays options for the file you are importing. The footage items appear in the Project panel. Notice that a thumb- nail preview appears at the top of the Project panel. You can also see the file type and size, as well as other information about each item, in the Project panel columns.

Instead, each footage item in the Project panel contains a refer- ence link to the source files. When After Effects needs to retrieve image or audio data, it reads it from the source file. This keeps the project file small and allows you to update source files in another application without modifying the project. You can also type Missing Footage into the Search box in the Project and then choose Find panel to look for the missing assets.

Missing Fonts or Find Missing Effects. However, Missing Effects into you may sometimes need to import a source file more than once, such as if you want the Search box in the Project panel.

Creating a composition and arranging layers The next step of the workflow is to create a composition. You create all animation, layering, and effects in a composition.

An After Effects composition has both spatial dimensions and a temporal dimension time. Compositions include one or more layers, arranged in the Composition panel and in the Timeline panel. Any item that you add to a composition—such as a still image, moving-image file, audio file, light layer, camera layer, or even another composition—becomes a new layer.

Simple projects may include only one composi- tion, while elaborate projects may include several compositions to organize large amounts of footage or intricate effects sequences. The New Composition From Selection dialog box appears.

After Effects bases the dimensions of the new composition on the selected footage. When you add a footage item to a composition, that footage becomes the source for a new layer. A composition can have any number of layers, and you can also include a composition as a layer in another composition, which is called nesting. Some of the assets are longer than others, but you want them all to continue only as long as the swimming dog is on the screen.

The Timeline panel displays the same duration for each of the layers. In this composition, there are three footage items, and therefore three layers in the Timeline panel. Depending on the order in which the elements were selected when you imported them, your layer stack may differ from the one shown on the previous page.

About layers Layers are the components you use to build a composition. Without layers, a composition consists only of an empty frame. Using layers, you can work with specific footage items in a composition without affecting any other footage. For example, you can move, rotate, and draw masks for one layer without disturbing any other layers in the composition, or you can use the same footage in more than one layer and use it differently in each instance.

In general, the layer order in the Timeline panel corresponds to the stacking order in the Composition panel. Drag the of the Timeline panel or press F2. You can add any combination of iceberg.

The easiest way to start is to apply any of the hundreds of Basic Animation Using effects included with After Effects. Changing Transform properties The title is currently in the center of the screen, obscuring the dog and distracting from the action. Notice that layer handles appear around the layer in the Composition panel.

Better yet, select the title layer name again, and press P. Expand Transform to see all its properties. Press P to see just the Position property.

This keyboard shortcut displays only the Position property, which is the only property you want to change for this exercise. Or use the Selection tool to drag the title to the lower left corner of the screen. Adding an effect to correct color After Effects includes several effects to correct or modify color in your projects.

To return to the Composition panel, click the Composition tab. After Effects searches for effects and presets that contain the letters you type, and displays the results interactively. Before you have finished typing, the Auto Contrast effect—located in the Color Correction category—appears in the panel. After Effects applies the effect and automatically opens the Effect Controls panel in the upper left area of the workspace. The contrast intensifies colors a little more than you need.

Adding a stylistic effect After Effects also includes many stylistic effects. It all looks great, but how about some movement? Two layers—Title Here open the Project panel. The Title Here layer contains place- holder text that was created in Photoshop.

At the top of the Composition panel is the Composition Navigator bar, which dis- plays the relationship between the main composition movement and the current composition title , which is nested within the main composition. You can nest multiple compositions within each other; the Composition Navigator bar displays the entire composition path.

Arrows between the composition names indicate the direction in which information flows. Before you can replace the text, you need to make the layer editable.

If Adobe Fonts opens, activate the missing font. A T icon appears next to the layer name in the Timeline panel, indicating that it is now an editable text layer. The layer is also selected in the Composition panel, ready for you to edit.

The blue lines at the top, bottom, and sides of the Composition panel indicate title-safe and action-safe zones. Television sets enlarge a video image and allow some portion of its outer edges to be cut off by the edge of the screen.

This is known as overscan. The amount of overscan is not consistent between television sets, so you should keep important parts of a video image, such as action or titles, within margins called safe zones. Keep your text inside the inner blue guides to ensure that it is in the title-safe zone, and keep important scene elements inside the outer blue guides to ensure that they are in the action-safe zone.

Then type on the move. About the Tools panel As soon as you create a composition, the tools in the Tools panel in the upper left corner of the After Effects application window become available. After Effects includes tools that enable you to modify elements of your composition. Some of these tools—the Selection tool and the Hand tool, for example—will be familiar to you if you use other Adobe applications, such as Photoshop. Others will be new. Home B. Selection C. Hand D. Zoom E. Orbit Camera F.

Pan Camera G. Rotation I. Pan Behind J. Mask and Shape tools K. Pen tools L. Brush N. Clone Stamp O. Eraser P. Roto Brush and Refine Edge tools Q. A small triangle in the lower right corner of the button indicates that one or more additional tools are hidden behind it. Click and hold the button to display the hidden tools, and then select the tool you want to use. Then, in the Character panel docked on the right side of the screen , change the text size to px and the tracking to — Animating text with animation presets Now that the text is formatted, you can apply an animation preset.

After Effects adds the effect. The words fade in, so that they are all onscreen by About timecode and duration The primary concept related to time is duration, or length. Each footage item, layer, and composition in a project has its own duration, which is reflected in the beginning and ending times displayed in the time rulers in the Composition, Layer, and Timeline panels.

The way you view and specify time in After Effects depends on the display style, or unit of measure, that you use to describe time. Note that the figures are separated by semicolons in the After Effects interface, representing drop-frame timecode which adjusts for the real-time frame rate , but this book uses a colon to represent non-drop-frame timecode. To learn when and how to change to another system of time display, such as frames, or feet and frames of film, see After Effects Help.

About the Timeline panel Use the Timeline panel to animate layer properties and set In and Out points for a layer. In and Out points are the points at which a layer begins and ends in the composition. Many of the Timeline panel controls are organized in columns of related functions. Current time B. Composition name C. Timeline panel menu D. Layer switches G. Time zoom slider D.

Composition button Before delving too deeply into animation, it will help to understand at least some of these controls. The duration of a composition, a layer, or a footage item is represented visually in the time graph. On the time ruler, the current-time indicator marks the frame you are viewing or editing, and the frame appears in the Composition panel.

The work area start and end brackets indicate the part of the composition that will be rendered for previews or final output. When you work on a composition, you may want to render only a portion of it by specifying a segment of the composition time ruler as a work area.

To move to a different time, drag the current-time indicator in the time ruler—or click the current-time field in the Timeline panel or Composition panel, type a new time, and press Enter or Return, or click OK.

For more information about the Timeline panel, see After Effects Help. After Effects adds the Channel Blur effect to the layer and displays its settings in the Effect Controls panel. The Channel Blur effect individually blurs the red, green, blue, and alpha channels in a layer. It will create an interesting look for the title. The text will be blurred as it first appears. Keyframes are used to create and control animation, effects, audio properties, and many other kinds of changes that occur over time.

A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume. Values between keyframes are interpolated. When you use keyframes to create a change over time, you must use at least two keyframes—one for the state at the beginning of the change, and one for the state at the end of the change. Changing the opacity of the background The title looks good, but the ellipse is too bright.

You can preview your compo- sition using the Preview panel, which is in the stacked panels on the right side of the application window in the default workspace. The number of frames played depends on the amount of RAM available to the application.

Often, the preview will play in real time only after After Effects has cached all the included frames. In the Timeline panel, the preview plays either the span of time you specify as the work area or from the beginning of the time ruler.

In the Layer and Footage panels, the preview plays only untrimmed footage. Before you preview, check which frames are designated as the work area.

A green progress bar indicates which frames are cached to RAM. When all of the frames in the work area are cached, the preview plays back in real time. Until all the frames are cached, the playback may be slower and the audio may drag.

The more detail and precision you want to preview, the more RAM is required. You can control the amount of detail shown by changing the resolution, magni- fication, and preview quality of your composition. Optimizing performance in After Effects How you configure After Effects and your computer determines how quickly After Effects renders projects.

Complex compositions can require a large amount of memory to render, and the rendered movies can take a large amount of disk space to store. The rocket icon at the bottom of the Adobe recommends enabling GPU acceleration. Customizing workspaces In the course of this project, you may have resized or repositioned some panels or opened new ones.

As you modify a workspace, After Effects saves those modifications, so the next time you open the project, the most recent version of a workspace is used. You can save any workspace configuration, or use any of the preset workspaces that come with After Effects. These predefined workspaces are suitable for different types of workflows, such as animation or effects work. Using predefined workspaces Take a minute to explore the predefined workspaces in After Effects.

You can also change workspaces using the Workspace menu. Different panels open. The Info, Preview, Tracker, and Content-Aware Fill panels give you easy access to tools and controls commonly used when tracking motion. Saving a custom workspace You can save any workspace, at any time, as a custom workspace.

If a project with a custom workspace is opened on a system other than the one on which it was created, After Effects looks for a workspace with a matching name. Controlling the brightness of the user interface You can brighten or darken the After Effects user interface. Changing the brightness preference affects panels, windows, and dialog boxes.

If you use the default UI brightness, your panels and dialog boxes will appear darker than ours. You can click Default to restore the default brightness setting. Collaborating in After Effects You can work with others remotely using features in After Effects designed to enable collaboration. You can also create multiple versions of proj- ects and collaborate on documents using Creative Cloud. To learn about collabora- tion features, see After Effects Help. Finding resources for using After Effects After Effects includes interactive tutorials in the application itself.

To access them, select Learn in the Workspace bar. An overview of the interface and essential features is available in the Learn panel, as are several interactive tutorials. The Home window that appears when you open the application provides quick access to the tutorials in the Learn panel as well as more advanced tutorials online. Additionally, it provides links to other information to help you get the most out of After Effects.

You can return to the Home window at any time by clicking the Home icon in the Tools panel. For complete and up-to-date information about using After Effects panels, tools, and other application features, visit the Adobe website. To search for information in After Effects Help and support documents, as well as on other websites relevant to After Effects users, simply enter a search term in the Search Help box in the upper right corner of the application window.

You can narrow the results to view only Adobe Help and support documents. For additional resources, such as tips and techniques and the latest product infor- mation, check out the After Effects Help And Support page at helpx. Review questions 1 What are the basic components of the After Effects workflow? Review answers 1 Most After Effects workflows include these steps: importing and organizing footage, creating compositions and arranging layers, adding effects, animating elements, previewing your work, and rendering and exporting the final composition.

An After Effects composition has both spatial and temporal time dimensions. Compositions include one or more layers—video, audio, still images—arranged in the Composition panel and in the Timeline panel. Simple projects may include only one composition, while elaborate projects may include several compositions to organize large amounts of footage or intricate effects sequences.

Or type Missing Footage into the Search field in the Project panel. After Effects allocates enough RAM to play the preview with audio as fast as the system allows, up to the frame rate of the composition. You can drag panels to new locations, move panels into or out of groups, place panels alongside each other, stack panels, and undock a panel so that it floats above the application window.

As you rearrange panels, the other panels resize automatically to fit the application window. You can use them to create great-looking animations quickly and easily.

Getting started In this lesson, you will become more familiar with the Adobe After Effects project workflow. You will animate the title and logo so that they fade to become a watermark in the lower right corner of the screen during the presentation.

When prompted, click OK to delete your preferences. After Effects opens to display a blank, untitled project. However, you can also use Adobe Bridge—a powerful, flexible tool for organizing, browsing, and locating the assets you need to create content for print, web, television, DVD, film, and mobile devices.

You can drag assets into your layouts, projects, and compositions as needed; preview your assets; and even add metadata file information to assets to make files easier to locate. Adobe Bridge is not automatically installed with After Effects; you need to install it separately from Creative Cloud. If you receive a message about enabling an exten- your files.

To open sion to Adobe Bridge, click Yes. You may also be asked to allow Adobe Bridge to Adobe Bridge directly, choose Adobe Bridge access various content folders on your computer. Click the macOS. You can also double-click folder thumbnail icons in the Content panel. The Content panel updates interactively. Information about the file, including its creation date, bit depth, and file size, appears in the Metadata panel.

Alternatively, you can drag the MauiCoast. Creating a new composition Following the workflow you learned in Lesson 1, the next step is to create a new composition. This preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition to NTSC standards.

After Effects displays an empty com- position named Explore Hawaii in the Composition panel and in the Timeline panel. Importing the foreground element Your background is now in place. The file appears as BlueCrabLogo if file extensions are hidden.

A folder named BlueCrabLogo Layers also appears. This folder contains the three individual layers of the Illustrator file. Click the arrow to open the folder and see its contents if you like. You should now see both the background image and the logo in the Composition panel and in the Timeline panel.

The composition opens in its own Timeline and Composition panels. After Effects Character. You may applies it to the text you typed. Leave all other options in the Character panel at need to expand the their defaults.

The guide moves to the position you specified. Align the top of the logo with the lower guide. This will apply the effect to all of the layers nested in the BlueCrabLogo composition. The effect you create next will be applied only to the logo elements, not to the back- ground image.

A soft-edged shadow appears behind the nested layers of the BlueCrabLogo layer— the logo graphic and the words Explore Hawaii—in the Composition panel. You can customize the effect using the Effect Controls panel, which appears in front of the Project panel when you apply an effect. You can set each value by clicking the field and typing the number or by dragging the blue value.

Applying and controlling effects You can apply or remove an effect at any time. By default, when you apply an effect to a layer, the effect is active for the duration of the layer. However, you can make an effect start and stop at specific times, or make the effect more or less intense over time.

Note, however, that when you apply an effect to an adjustment layer, the effect is applied to all layers below it in the Timeline panel. Effects can also be saved, browsed, and applied as animation presets. The drop shadow is nice, but the logo will stand out even more if you apply an emboss effect.

Then click the arrow next to Stylize to expand the category. The Color Emboss effect sharpens the edges of objects in the layer without sup- pressing the original colors. The text appears, one word at a time, until the words Explore Hawaii are fully onscreen at To do this, you need to precompose the other three layers of the BlueCrabLogo composition: text, crab, and background.

Precomposing is a way to nest layers within a composition. Precomposing moves the layers to a new composition, which takes the place of the selected layers. When you want to change the order in which layer components are rendered, precomposing is a quick way to create intermediate levels of nesting in an existing hierarchy. Then click OK. This new, precomposed layer contains the three layers that you selected in step 1. The Dissolve — Vapor animation preset includes three components—a master dissolve, a box blur, and a solid composite, all of which appear in the Effect Controls panel.

The default settings are fine for this project. Press the spacebar to stop playback at any time. Adding transparency The logo should appear semitransparently in the corner of the frame during the presentation. Click the stopwatch icon to set an Opacity keyframe at this point in time. After Effects adds a keyframe. Click the stopwatch icons to set initial keyframes for both properties. When you place your composition in the Render Queue, it becomes a render item that uses the render settings assigned to it.

Media Encoder. The Render Queue panel opens automatically. By default, After Effects uses lossless compression to encode the rendered composition into a movie file. After Effects displays a progress bar in the Render Queue panel as it encodes the file, and issues an audio alert when all items in the Render Queue have been rendered and encoded.

Review questions 1 How do you use Adobe Bridge to preview and import files? In Bridge, you can search for and preview image assets. When you locate the asset you want to use in an After Effects project, double-click it or drag it to the Project panel. This lesson will take about two hours to complete.

Getting started Adobe After Effects offers many ways to animate text. You can animate text layers by manually creating keyframes in the Timeline panel, using animation presets, or using expressions. You can even animate individual characters or words in a text layer. As you start the application, restore the default settings for After Effects. This makes After Effects an incredibly powerful application for compositing and motion graphics work.

About text layers In After Effects, you can add text with flexibility and precision. The Tools, Character, and Paragraph panels contain a wide range of text controls. You can create and edit horizontal or vertical text directly on the screen in the Composition panel, and quickly change the font, style, size, and color of the text. You can apply changes to individual characters and set formatting options for entire paragraphs, including alignment, justification, and word-wrapping.

In addition to all of these style features, After Effects provides tools for easily animating specific characters and properties, such as text opacity and hue. After Effects uses two types of text: point text and paragraph text. Use point text to enter a single word or line of characters; use paragraph text to enter and format text as one or more paragraphs.

In many ways, text layers are just like any other layers in After Effects. You can apply effects and expressions to text layers, animate them, designate them as 3D layers, and edit the 3D text while viewing from multiple angles. As with layers imported from Illustrator, text layers are continuously rasterized, so when you scale the layer or resize the text, it retains crisp, resolution-independent edges. The two main dif- ferences between text layers and other layers are that you cannot open a text layer in its own Layer panel and you can animate the text in a text layer using special text- animator properties and selectors.

After Effects opens the Adobe Fonts page in your default browser. Using your own text as the sample text lets you get a feel for how a font will work in your project.

Then, on the left side of the page, hide the Tags area, and select Sans Serif in the Classification area. In the Properties area, select the buttons for medium weight, medium width, medium x-height, low contrast, and standard capitalization. Adobe Fonts displays several fonts that meet the requirements you specified.

Calluna Sans, which is probably on the second page, will work nicely. Adobe Fonts displays sample text for all the fonts in the selected family as well as additional information about the font. The selected fonts are automatically added to your system and are then available in any application, including After Effects. The text you enter appears in a new text layer. The small line through the I-beam marks the position of the text baseline.

The text layer is selected in the Composition panel. Using the Character panel The Character panel provides options for formatting characters. If no text Paragraph. To open is highlighted and no text layers are selected, changes you make in the Character both panels, select the Horizontal Type tool, and panel become the defaults for the next text entry. If a type layer is selected, the text in the Composition panel is formatted with the newly selected font.

Using the Paragraph panel Use the Paragraph panel to set options that apply to an entire paragraph, such as alignment, indentation, and leading. For point text, each line is a separate paragraph. You can use the Paragraph panel to set formatting options for a single paragraph, multiple paragraphs, or all paragraphs in a text layer. This scales the layer to fit to the width of the composition. Now you can position the text layer using a grid.

Press Shift after you start dragging to constrain the movement and help you position the text. After Effects adds a new Scale keyframe at the current time. Although the composition is 13 seconds long, you need to preview only the first five seconds, since that is where the text animation occurs. The scale animation ends shortly before The movie title scales to a smaller size.

Adding Easy Ease The beginning and end of the scale animation are rather abrupt. In nature, nothing comes to an absolute stop. Instead, objects ease into and out of starting and stopping points. The keyframe becomes a left- pointing icon.

The keyframe becomes a right- pointing icon. Using a text animation preset Currently, the title appears when the video begins. The easiest way to do that is to use one of the many anima- tion presets that come with After Effects.

After applying an animation preset, you can customize it and save it to use again in other projects. After Effects applies animation presets from the current time. To help you choose the it when you choose right animation preset for your projects, you can preview presets in Adobe Bridge.

Browse Presets. Adobe Bridge opens, displaying the contents see page 2. Adobe Bridge plays a sample of the animation in the Preview panel. After Effects applies the preset to the selected layer, which is the Snorkel Tours layer, but the layer no longer appears in the composition.

Customizing an animation preset After you apply an animation preset to a layer, all of its properties and keyframes are listed in the Timeline panel. Press the spacebar again to stop the preview. The letters appear to ripple into the background. The Randomize Order property changes the order in which letters appear on the screen as they ripple into place. Purchasing this book includes valuable online extras.

Follow the instructions in the book’s “Getting Started” section to unlock access to:. Web Edition containing the complete text of the book, interactive quizzes, and videos that walk you through the lessons step by step. Software not included. Note: Classroom in a Book does not replace the documentation, support, updates, or any other benefits of being a registered owner of Adobe After Effects software. Deitel, Paul Deitel, Harvey Deitel. Even bad code can function. But if code isn’t clean, it can bring a development organization ….

Learn algorithms for solving classic computer science problems with this concise guide covering everything from fundamental …. Skip to main content. Start your free trial. Book description Gain hands-on experience creating, manipulating, and optimizing motion graphics for film, video, the web, and mobile devices.

Purchasing this book gives you access to the downloadable lesson files you need to work through the projects in the book, and to electronic book updates covering new features that Adobe releases for Creative Cloud customers. For access, go to www. Everything you need to master the software is included: clear explanations of each lesson, step-bystep instructions, and the project files for the students.

Previous page. Publication date. Print length. See all details. Next page. Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Adobe After Effects Classroom in a Book release. Lisa Fridsma. Ben Goldsmith. About the Author The Adobe Creative Team of designers, writers, and editors has extensive, real world knowledge of Adobe products. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content.

Help others learn more about this product by uploading a video! About the author Follow authors to get new release updates, plus improved recommendations. Adobe Creative Team. Read more Read less. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them. Learn more how customers reviews work on Amazon.

Images in this review. Reviews with images. See all customer images. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase.

A big plus here is that this book is an Adobe product and, like everything from Adobe, all their “stuff” is excellent! However, there is a problem with the illustrations. The screenshots replicate the very dark screens, said screens being excellent when working on a computer but which reproduce quite poorly on the printed page.

Add to this that some of those screenshots are so miniscule that making out elements is nigh impossible. Of course, if you’re seated in front of your computer while going through the lessons you will eventually be able to “interpolate” what’s on the printed page, something that really shouldn’t be necessary. After all, illustrations are meant to illustrate, not confuse or, in some cases, be almost illegible. There is definitely a learning curve with this product which is hardly a surprise considering its complexity, which of course is the key to After Effects having, well, so many after effects available for your videos.

One person found this helpful. I would recommend this for beginners or near beginners of After Effects.

 

Pdf adobe after effects cc classroom in a book free download.Adobe After Effects CC Classroom In A Book 2017

 

Editing text in text layers You can edit text in text layers at any time. If you set the text to follow a path, designate it as a 3D layer, transform it, or animate it, you can still continue to edit it. When the Type tool is selected, move the pointer an I-beam directly over a text layer and click to edit the existing text. Click in another area in the Composition panel to create a new text layer. Shift-clicking always creates a new layer.

Changing the direction of text The Vertical Type and Horizontal Type tools create text that flows horizontally or vertically. Horizontal text flows from left to right; multiple lines of horizontal text lie from top to bottom. Vertical text flows from top to bottom; multiple lines of text lie from right to left. When you convert the vertical or horizontal orientation of a text layer, paragraph text justifiable text that wraps within a bounding box behaves differently from point text independent lines of text because paragraph text flows relative to its bounding box while point text lies relative to the Composition panel.

About text animation presets You can browse and apply text animation presets as you would any other animation presets. Some preset animations move the text on, off, or through the composition. The animation preset position values may not be appropriate for a composition that is much larger or smaller than x ; for example, an animation that is supposed to start offscreen may start onscreen. The Fill And Stroke category of animation presets contains presets that may change the fill color and stroke properties of the preset that you apply.

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. In my experience most Adobe products generally require great work around skills! Seriously, Adobe — none of your “certified” trainers have the skills to create new material? The only reason I’m giving the CC version 2 stars is that Adobe FINALLY replaced that awful flamingo video in their Rotoscoping chapter with video footage containing a foreground element that doesn’t take all day to trace frame-by-frame.

OMG, if I had to refine those spindly li’l bird legs one more time In short, this book is frankly good for people with little or no experience with After Effects; but if you’re a seasoned user and have slogged through the CS5 or CS6 versions of this CIB, don’t expect to find much more than a few pages of enlightenment. It was a great read, I learned a lot about After effects through this book i’m glad I bought it. To be honest I like books better than something online which is the reason why I bought this.

You don’t need this book though you can self learn. See all reviews. Top reviews from other countries. I purchased this book a week ago to learn AE with no prior experience.

I absolutely LOVE this book, its detailed, precise and very well laid out. I’m on Lesson 5 as we speak and just taking 2 minutes out to review it because its SUCH a good book, and what i love mostly about it is that its FUN learning from this book.

The exercises in the book result in some quite ugly videos BUT those ugly videos contain A LOT of things that you need to learn, so by the end of each lesson your video might be really rubbish looking but the point here isn’t to make nice looking videos, its to learn, and this book does just that, it combines a lot of different exercises and effects in each lesson to cover a wide range of AE features.

Highly recommended if your new to AE. Generally well laid out and easy to follow the lessons are a bit basic if you’ve already done the tutorials on the Adobe TV site. Report abuse. I found the entire Classroom in a Book series really easy to follow and practically oriented. This one is no exception.

Your recently viewed items and featured recommendations. Back to top. Get to Know Us. Make Money with Us. Amazon Payment Products. Creating a Basic Animation Using Effects and Presets Getting started Creating a new composition Working with imported Illustrator layers Applying effects to a layer Applying an animation preset Precomposing layers for a new animation Previewing the effects Adding transparency Rendering the composition Review questions Review answers 3.

Working with Shape Layers Getting started Creating the composition Adding a shape layer Creating a self-animating shape Duplicating a shape Creating custom shapes with the Pen tool Positioning layers with snapping Animating a shape Animating using parenting Using nulls to connect points Previewing the composition Review questions Review answers 5. Animating a Multimedia Presentation Getting started Adjusting anchor points Parenting layers Precomposing layers Keyframing a motion path Animating additional elements Applying an effect Animating precomposed layers Animating the background Adding an audio track Review questions Review answers 6.

Animating Layers Getting started Simulating lighting changes Duplicating an animation using the pick whip Using a track matte to confine animation Animating using the Corner Pin effect Simulating a darkening sky Viewing render times for layers Retiming the composition Review questions Review answers 7. Working with Masks About masks Getting started Creating a mask with the Pen tool Editing a mask Feathering the edges of a mask Replacing the content of the mask Adjusting the opacity Adding a shadow Creating a vignette Review questions Review answers 8.

Performing Color Correction Getting started Adjusting color balance with levels Adjusting color with the Lumetri Color effect Replacing the background Color-correcting using Auto Levels Motion tracking the clouds Replacing the sky in the second clip Color grading Review questions Review answers Creating Motion Graphics Templates Getting started Preparing a master composition Setting up a template Adding properties to the Essential Graphics panel Protecting the timing of a section Exporting the template Review questions Review answers IT book Matlab book.

Dashboard book IT book. Leave a Reply Cancel reply Your email address will not be published. For instance, if our service is temporarily suspended for maintenance we might send users an email.

Generally, users may not opt-out of these communications, though they can deactivate their account information. However, these communications are not promotional in nature. We communicate with users on a regular basis to provide requested services and in regard to issues relating to their account we reply via email or phone in accordance with the users’ wishes when a user submits their information through our Contact Us form. Pearson automatically collects log data to help ensure the delivery, availability and security of this site.

We use this information for support purposes and to monitor the health of the site, identify problems, improve service, detect unauthorized access and fraudulent activity, prevent and respond to security incidents and appropriately scale computing resources. Pearson may use third party web trend analytical services, including Google Analytics, to collect visitor information, such as IP addresses, browser types, referring pages, pages visited and time spent on a particular site.

While these analytical services collect and report information on an anonymous basis, they may use cookies to gather web trend information. The information gathered may enable Pearson but not the third party web trend services to link information with application and system log data. Pearson uses this information for system administration and to identify problems, improve service, detect unauthorized access and fraudulent activity, prevent and respond to security incidents, appropriately scale computing resources and otherwise support and deliver this site and its services.

This site uses cookies and similar technologies to personalize content, measure traffic patterns, control security, track use and access of information on this site, and provide interest-based messages and advertising. Users can manage and block the use of cookies through their browser. Disabling or blocking certain cookies may limit the functionality of this site. Pearson uses appropriate physical, administrative and technical security measures to protect personal information from unauthorized access, use and disclosure.

Pearson may provide personal information to a third party service provider on a restricted basis to provide marketing solely on behalf of Pearson or an affiliate or customer for whom Pearson is a service provider. Marketing preferences may be changed at any time.

If a user’s personally identifiable information changes such as your postal address or email address , we provide a way to correct or update that user’s personal data provided to us. This can be done on the Account page. If a user no longer desires our service and desires to delete his or her account, please contact us at customer-service informit.

Users can always make an informed choice as to whether they should proceed with certain services offered by Adobe Press.

 
 

Adobe After Effects CC Classroom in a Book – PDF Drive

 
 

The 15 project-based lessons in this book teach students step-by-step the key techniques for working efficiently in After Effects and delivering in the widest possible range of media types.

In addition to the key elements of the After Effects interface, this revised edition covers new features and techniques. Learn how to create, manipulate, and optimize motion graphics for film, video, DVD, the web, and mobile devices. Gain hands-on experience animating text and images, customizing a wide range of effects, tracking and syncing content, rotoscoping, removing unwanted objects, and correcting color.

The online companion files include all the necessary assets for readers to complete the projects featured in each chapter. All buyers of the book get full access to the Web Edition: A Web-based version of the complete ebook enhanced with video and multiple-choice quizzes. Creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe Premiere Pro CC ….

Creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe After Effects CC …. Creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe InDesign choose Adobe InDesign ….

Creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe Animate choose from Adobe …. Skip to main content. Start your free trial. Show and hide more. Table of contents Product information. Getting to know the Workflow Getting started Creating a project and importing footage Creating a composition and arranging layers Adding effects and modifying layer properties Animating the composition Previewing your work Optimizing performance in After Effects Rendering and exporting your composition Customizing workspaces Controlling the brightness of the user interface Finding resources for using After Effects Review questions and answers 2.

Creating a Basic Animation Using Effects and Presets Getting started Importing footage using Adobe Bridge Creating a new composition Working with imported Illustrator layers Applying effects to a layer Applying an animation preset Precomposing layers for a new animation Previewing the effects Adding transparency Rendering the composition Review questions and answers 3. Working with Shape Layers Getting started Creating the composition Adding a shape layer Creating a self-animating shape Duplicating a shape Creating custom shapes Positioning layers with snapping Animating a shape Animating using parenting Using nulls to connect points Previewing the composition Review questions and answers 5.

Animating a Multimedia Presentation Getting started Adjusting anchor points Parenting layers Precomposing layers Keyframing a motion path Animating additional elements Applying an effect Animating precomposed layers Animating the background Adding an audio track Review questions and answers 6. Animating Layers Getting started Simulating lighting changes Duplicating an animation using the pick whip Using a track matte to confine animation Animating using the Corner Pin effect Simulating a darkening sky Retiming the composition Review questions and answers 7.

Working with Masks About masks Getting started Creating a mask with the Pen tool Editing a mask Feathering the edges of a mask Replacing the content of the mask Adding a reflection Creating a vignette Adjusting the timing Trimming the work area Review questions and answers 8. Using the Roto Brush Tool About rotoscoping Getting started Creating a segmentation boundary Fine-tuning the matte Freezing your Roto Brush tool results Changing the background Adding animated text Outputting your project Review questions and answers Performing Color Correction Getting started Adjusting color balance with levels Adjusting color with the Lumetri Color effect Replacing the background Color-correcting using Auto Levels Motion tracking the clouds Replacing the sky in the second clip Color grading Review questions and answers Creating Motion Graphics Templates Getting started Preparing a master composition Setting up a template Adding properties to the Essential Graphics panel Providing image options Protecting the timing of a section Exporting the template Review questions and answers Working with the 3D Camera Tracker About the 3D Camera Tracker effect Getting started Tracking the footage Creating a ground plane, a camera, and the initial text Creating additional text elements Locking an image to a plane with a solid layer Tidying the composition Adding a final object Creating realistic shadows Adding ambient light Adding an effect Previewing the composition Review questions and answers Advanced Editing Techniques Getting started Stabilizing a shot Using single-point motion tracking Removing unwanted objects Creating a particle simulation Retiming playback using the Timewarp effect Review questions and answers