50 Excellent Adobe After Effects Tutorials | The Jotform Blog
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Who knows… this tutorial might just save your job. The more you get into After Effects, the more you realize how cool it is to bring in stuff from outside the program. This tutorial shows how take a scene from Cinema 4D and bring it over into AE. Using basic AE tools and some expressions you will learn how to create this 3D wall made of custom shapes and a nice laser beam to reveal your text. In this tutorial, Chad Castleberry will walk you through an all new, updated technique to creating an opening title sequence seen in movies like Superman or The Last Starfighter.
Concepts covered: The Echo Effect, simple keyframe animation, and using fractal noise to create an interesting starscape. In this tutorial Mathias shows that corner pin tracking can do much more than just replacing some pictures on a wall. We are going to compose a wound on a moving head and use the Mocha tracker in combination with his script MochaImport. Trust me, this is so much easier then creating a real head wound! It is all done in After Effects without any third party plug-ins.
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What is the best way to learn Adobe After Effects? Adobe After Effects is one of the more useful places to brush up on After Effects techniques. MotionWorks provides After Effects tutorials, tips, and training with a rich collection of free courses for users of all skills. For more visit worldforcrack. I was looking for this certain information for a very long time.
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The features are across the top, and filters are accessible from a drop-down menu. Some of the special effects are pretty cool: sharpen, blur, distort, emboss, etc.
You can even get some Instagram-esque vintage effects in there for good measure. The best software for post production, made my work real great. I am using this version: Thank you for going through it, taught me a lot. Can someone explainme please how to watch every tutorial? Because when I click in the picture the link goes to other website and doesn't showme the video tutorial.
I don't speak english very well so maybe I wrote many things wrong. These are great tutorials, but I think the majority of your viewers new to moderate proficiency wanting to move up a notch with the software. I'd like to see some tuts that don't require so many additional plugins. Mainly because we don't have admin rights on the machines we work on and can't instantly get the plugins you have access to.
This makes our follow-along abilities very limited. Just a tip. Thanks and great sight. Hi all, Could I advertise my resource here? I'm publishing After Effects tutorials, created by me and by other people on my site -.
I would like to get the installer about adobe after effects, let me know pls. Memory, storage, performance Memory and storage CS5. Improve performance Memory and storage CS6 Expressions and automation Plug-ins Scripts Automation Expression basics Expression language reference Expression examples Rendering and Exporting Basics of rendering and exporting Rendering and exporting for Flash Professional and Flash Player Rendering and exporting still images and still-image sequences Automated rendering and network rendering Converting movies Page: 5 What's New 1.
This feature allows you to incorporate 3D objects into a 2D scene effectively. You can render compositions in a separate environment from the existing Advanced 3D composition renderer now called Classic 3D. Many of the existing capabilities of the Classic 3D renderer are available in the new Ray-traced 3D renderer. Examples include soft shadows, motion blur, and depth-of-field blur. Options include beveled and extruded text and shape layers, bending of footage and composition layers, environment map support and additional material options.
Resources: Extruding text and shape layers CS6 Video tutorial: New features workshop: Using the ray-traced 3D renderer Beveled and extruded text and shape layers 3D text and shape layers can take on a bevel or extrusion or both.
Properties such as bevel style, bevel depth, bevel hole depth, and extrusion depth determine the look. Resources: Extruding text and shape layers CS6 Video tutorial: New features workshop: Extruding 3D text and shapes and modifying geometry options Video tutorial: Learn by Video: Extruding Shapes Bendable footage and composition layers In the ray-traced renderer, you can curve 3D footage and nested compositions around a vertical axis using controls in Geometry Options: Curvature: The amount of bend as a percentage Segments: The smoothness the bend Resources: Bending a footage layer Video tutorial: New features workshop: Bending 2D layers Video tutorial: Learn by Video: Bending Layers Environment layer support Use 3D footage or nested compositions as a spherically mapped environment around the scene, visible on reflective objects.
Resources: Environment layer Video tutorial: New features workshop: Environment layers Video tutorial: Learn by Video: Material Options Environment Layers New material options 3D layers in the ray-traced renderer include additional materials properties, which affect how 3D objects interact with light.
For example, you can use reflection, transparency, index of refraction as materials properties. This menu button has been reordered from highest quality and slower performance to lowest quality and faster performance. Some options have been renamed, and keyboard shortcuts have been assigned to them. Previously, the width of the feather was the same around the entire closed mask.
The Mask Feather tool is available from the Pen tool. Press G to toggle between the Pen tool and the Mask Feather tool.
Resources: Variable-width mask feathering CS6 Video tutorial: New features workshop: Variable-width mask feathering Layer bounding boxes and selection indicators Layer bounding boxes and selection indicators include features to support the new 3D features. They support beveled, extruded, or curved layers, in addition to standard "flat" layers. You can scale and rotate a 3D layer by manipulating the bounding box from any side.
Snapping the anchor point to different parts of a side of a bounding box is also available. Resources: Layer bounding boxes and selection indicators Video tutorial: New features workshop: Layer bounding boxes and selection indicators Video tutorial: reTooled. Furthermore, with the new 3D extrusion support, you can extrude artwork.
For example, you can extrude and stylize logos in After Effects CS6. Resources: Vector art footage-to-shape conversion Video tutorial: New features workshop: Converting imported vector graphics from Illustrator to shape layers Rolling shutter repair effect Rolling shutter distortion occurs mainly in digital cameras with CMOS sensors.
This distortion usually occurs when the subject or the camera moves. The Rolling Shutter Repair effect fixes footage containing rolling shutter distortion. The Warp Stabilizer effect also has rolling shutter repair function. However, the Rolling Shutter Repair effect has more controls and is useful when the footage does not need stabilizing. In CS6, you can now run aerender or use Watch Folder in a non-royalty bearing mode, with serialization not required.
Resources: Network rendering with watch folders and render engines Scripting changes Numerous scripting changes have been made, and are compiled on the After Effects Region of Interest blog.
See this series on the video2brain website for video training about every new and changed feature in After Effects CS5. For the tutorials, see this Adobe TV video series. Top new features in After Effects CS5. Source timecode: Source timecode CS5. Light falloff: Light settings. Plus many more. Legal Notices Online Privacy Policy 7. However, there were still a couple of issues. See these posts on the After Effects user-to-user forum for a discussion of alternatives and feedback.
This post on the After Effects Region of Interest blog has more information about giving feedback in general. Projects and compositions changes The default composition settings are now for a second x HDTV composition: Composition settings In previous versions, if you were entering or editing text when it was time for an auto-save, you would be forced out of text-editing mode. Now, if you're in text-editing mode when it's time for an auto-save, that auto-save is skipped: Save and back up projects in After Effects CS5 The Frame Rate control in the Composition Settings dialog box now includes a menu that allows you to select from a list of common frame rates: Change frame rate for a composition 8.
Page: 13 The composition background color setting is now located in the Composition Settings dialog box instead of on the Composition menu, and the keyboard shortcut for accessing only the composition background color has been removed: Composition settings When you double-click a precomposition layer when the Roto Brush tool or a paint tool is active, the precomposition layer opens in a Layer panel. To open the nested composition in a Composition panel instead, Alt-double-click Windows or Option-double-click Mac OS the precomposition layer: Opening and navigating nested compositions Importing and managing footage items changes Added interpretation rules and gamma rules for ProRes media: Interpret footage items Added.
After Effects CS5 can import and export FLV files encoded with the On2 VP6 codec: Render and export a composition as an FLV or F4V file When you drag a completed output module to a folder in the Project panel, you import the output file or files into that folder: Output modules and output module settings Double-click a footage item in the Project panel to open it in a Footage viewer. Alt-double-click Windows or Option-double-click Mac OS a footage item in the Project panel to open the source file in the media player assigned for that file type by the operating system.
Press Enter on the numeric keypad to open selected footage items in a Footage viewer. The behavior in previous versions was less predictable and more complex, and was limited to specific media players: View footage item in the Footage panel or media player assigned by operating system Layers and properties changes Added Divide and Subtract blending modes: Blending mode reference The Label Colors and Label Defaults preferences categories have been combined into one Labels preference category.
Null Object and Text items have been added to the Label Defaults section, and a new label color control Dark Green has been added in the 16th position. In After Effects CS5, the default center cut action-safe margin is Page: 14 corner of each view such as Top or Right to indicate which view is associated with which camera perspective.
To hide these labels, choose Show 3D Labels from the Composition panel menu: Choose a 3D view When you click the Current Time control in the upper-left corner of the Timeline panel, you can now enter a time directly in the box instead of opening the Go To Time dialog box: Move the current-time indicator CTI When you click the Time Navigator in the Timeline panel, the Info panel shows the times of the beginning and end of the Time Navigator duration: Zoom in or out in time for a composition When you click the Work Area bar in the Timeline panel, the Info panel shows the times of the beginning and end of the work area.
This change corresponds with a change in gamma from 1. Use the corresponding tools to apply the effects: Paint tools: Brush, Clone Stamp, and Eraser and Animating with Puppet tools The histogram in the Levels effect provides the option to see individual color channels in context with other color channels, as well as showing color channels as colorized: Levels effect The Alpha Levels effect has been removed.
Instead, use the Levels effect, which can be assigned to work only on an alpha channel, has a histogram, and is a bpc effect. Old projects that use the Alpha Levels effect will still open, and you will still be able to modify the Alpha Levels effect properties in these projects: Levels effect The Vector Paint effect has been removed.
Compositions created with a previous version of After Effects that use the Vector Paint effect will still render, but you will not be able to modify the Vector Paint effect properties in these compositions. Instead, use paint tools and shape layers: Drawing, painting, and paths Font preview support the Show Font option has been removed from the Basic Text, Path Text, and Numbers effects.
Even if a property of an effect is selected, the effect itself not just the selected properties visible in the Timeline panel will be copied. The start-up time for the background processes used in Render Multiple Frames Simultaneously multiprocessing is also reduced.
Plug-ins, scripts, and automation changes Esc key interrupts a running script: Loading and running scripts After Effects CS5 can load and run only bit plug-ins, not bit plug-ins: Plug-ins Pixel Bender Toolkit 2. The dialog box contained an option for using RLE run-length encoding. This option is now Page: 16 always on. Remaining are color depth options for Colors 8-bpp color , Millions Of Colors 8-bpc , Trillions Of Colors bpc , and Floating Point bpc : Output modules and output module settings Removed overflow volumes feature.
Changed Segment Movie Files At preference to Segment Video-only Movie Files At preference: Segment settings Removed some fractional audio sample rates and ability to set audio sample rate to an arbitrary, custom value in output module settings. These changes are for Mac OS only. For a complete list of keyboard shortcuts, see Keyboard shortcuts. Rolling the mouse scroll wheel zooms in this context: Scroll or zoom with the mouse wheel Page: 17 Many dialog boxes now have a Preview option that allows you to see the results of changes before you close the dialog box.
In the Project, Render Queue, and Effect Controls panels, you can use the arrow keys to expand or collapse groups. Several more features now operate on the visible viewer in ETLAT mode, including keyboard shortcuts for toggling grids, toggling guides, showing channels, working with snapshots, and sending a preview to an external video monitor: Edit this, look at that ETLAT and locked Composition viewers Changed some user interface strings to make their meaning and function more clear.
This option is now always on. Legal Notices Online Privacy Policy Page: 18 After Effects getting started tutorials To learn more, view these recommended resources online. After Effects CS6: what's new and changed Apr. Page: 21 Planning and setup To the top Planning your work Planning for playback on computer monitors and mobile devices Cross-platform project considerations Planning your work Correct project settings, preparation of footage, and initial composition settings can help you to avoid errors and unexpected results when rendering your final output movie.
The best way to ensure that your movie is suitable for a specific medium is to render a test movie and view it using the same type of equipment that your audience will use to view it. Aharon Rabinowitz provides an article on the Creative COW website about planning your project with the final delivery specifications in mind. For a video tutorial on creating and organizing projects, go to the Adobe website. You can use Adobe Photoshop and Adobe Illustrator to create storyboards.
You can use Adobe Story to collaboratively write and manage screenplays. Adobe Story also converts information from a screenplay into XMP metadata that can automate the creation of shooting scripts, shot lists, and more.
Acquiring, choosing, and preparing footage Before importing footage, first decide which media and formats you'll use for your finished movies, and then determine the best settings for your source material. For example, if you want an image to fill your composition frame, configure the image in Adobe Photoshop so that the image size and pixel aspect ratio match the composition size and pixel aspect ratio.
See Pixel aspect ratio and frame aspect ratio. Consider using Adobe OnLocation while shooting footage to make sure that you get the most out of your time and footage.
If possible, use uncompressed footage or footage encoded with lossless compression. Lossless compression means better results for many operations, such as keying and motion tracking. Certain kinds of compression—such as the compression used in DV encoding—are especially bad for color keying, because they discard the subtle differences in color that you depend on for good bluescreen or greenscreen keying.
See Keying introduction and resources. See Frame rate. For example, if you know that you want to animate using motion tracking, consider shooting your scene in a manner that optimizes for motion tracking—for example, using tracking markers. See Motion tracking workflow. David Van Brink shows an excellent example on his omino pixel blog of why shooting in a high-definition format is useful even for standard- definition delivery, because the extra pixels give you a lot of room for synthetic fake camera work, such as zooms and pans in post-production.
Page: 22 To the top Project settings Project settings fall into three basic categories: how time is displayed in the project, how color data is treated in the project, and what sampling rate to use for audio. Of these settings, the color settings are the ones that you need to think about before you do much work in your project, because they determine how color data is interpreted as you import footage files, how color calculations are performed as you work, and how color data is converted for final output.
See Color management and Timecode and time display units. If you enable color management for your project, the colors that you see are the same colors that your audience will see when they view the movie that you create. Note: Click the color depth indicator at the bottom of the Project panel to open the Project Settings dialog box. Alt-click Windows or Option-click Mac OS to cycle through color bit depths: 8 bpc, 16 bpc, and 32 bpc.
See Color depth and high dynamic range color. Composition settings After you prepare and import footage items, you use these footage items to create layers in a composition, where you animate and apply effects. When you create a composition, specify composition settings such as resolution, frame size, and pixel aspect ratio for your final rendered output.
For example, the composition frame size should be the image size in the playback medium. See Composition settings. Later, you can use output modules in the Render Queue panel to encode and export a separate version of the composition for each format. See Output modules and output module settings. Performance, memory, and storage considerations If you work with large compositions, make sure that you configure After Effects and your computer to maximize performance.
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. Before you attempt to render a three-hour movie, make sure that you have the disk space available to store it. See Storage requirements for output files. If your source footage files are on a slow disk drive or across a slow network connection , then performance will be poor. When possible, keep the source footage files for your project on a fast local disk drive.
Planning for playback on computer monitors and mobile devices When you create a movie for playback on a personal computer—whether downloaded from the Web or played from a CD-ROM—specify composition settings, render settings, and output module settings that keep file size low.
Consider that a movie with a high data rate may not play well from an older CD-ROM drive that cannot read data from the disc fast enough.
Similarly, a large movie may take a long time to download over a dial-up network connection. When rendering your final movie, choose a file type and encoder appropriate for the final media. The corresponding decoder must be available on the system used by your intended audience; otherwise they will not be able to play the movie.
Trish and Chris Meyer provide an article on the Artbeats website that describes some of the considerations for creating video for the Web. Because the amount of storage disk space and processor power are less for mobile phones than for personal computers, file size and data rate for movies must be even more tightly controlled. Screen dimensions, video frame rates, and color gamuts vary greatly from one mobile device to another. Adobe Device Central contains device profiles that provide information about these characteristics.
See Create compositions for playback on mobile devices. Use these tips when shooting video for mobile devices: Tight shots are better. Light your subjects well, and keep them separated from the background; the colors and brightness values between background and subject should not be too similar. Avoid excessive zooming and rolling, which hinder temporal compression schemes.
Page: 23 To the top Because stable non-shaky video is easier to compress, shoot video with a tripod to minimize the shaking of the camera. Avoid using auto-focus and auto-exposure features. When these features engage, they change the appearance of all of the pixels in an image from one frame to the next, making compression using interframe encoding schemes less efficient.
Use these tips when working in After Effects: Use a lower frame rate fps for mobile devices. Use motion-stabilization tools and noise-reduction or blur effects before rendering to final output, to aid the compressor in reducing file size.
Match the color palette to the mobile devices that you are targeting. Mobile devices, in general, have a limited color gamut. Previewing in Adobe Device Central can help determine if the colors used are optimal for an individual device or range of devices.
Consider using cuts and other fast transitions instead of zooming in and out or using fades and dissolves. Fast cuts also make compression easier. Cross-platform project considerations After Effects project files are compatible with Mac OS and Windows operating systems, but some factors—mostly regarding the locations and naming of footage files and support files—can affect the ease of working with the same project across platforms.
If the footage and the project are on different volumes, make sure that the appropriate volume is mounted before opening the project and that network volume names are the same on both systems. Use the Collect Files feature to gather copies of all the files in a project into a single folder.
You can then move the folder containing the copied project to the other platform. See Collect files in one location. File-naming conventions Name your footage and project files with the appropriate filename extensions, such as. If files will be used on the Web, be sure that filenames adhere to applicable conventions for extensions and paths.
Supported file types Some file types are supported on one platform but not another. See Supported import formats and Supported output formats. Resources Ensure that all fonts, effects, codecs, and other resources are available on both systems.
Such resources are often plug-ins. However, some third-party effects and other third-party plug-ins may not continue to operate, even if you have versions of these plug-ins on the target system.
In such cases, you may need to reapply some third-party effects. Installing the software Before installing Adobe After Effects software, review complete system requirements and recommendations in the Read Me file. The Read Me file is on the installation disc, as well as being included in the Release Notes document available through the After Effects support section of the Adobe website.
For assistance with installation issues, see the Creative Suite Help and Support section on the Adobe website. In addition to the full version of Adobe After Effects, you can also install additional copies on additional computers to use as After Effects render engines to assist with network rendering. You install render engines in the same manner as the full version of the application. This means that you can import and export to all of the supported file formats using the trial version.
Keylight is included, however. If your installation of After Effects is missing some third-party components, contact your system administrator to ensure that all licensed components have been installed correctly. For more information about limitations of the trial version for After Effects CS5.
For example, mocha for After Effects, some effect plug-ins, and some codecs for encoding and decoding MPEG formats are available only with the full version of Adobe After Effects software.
For more information about limitations of the trial version for After Effects CS5, see the Adobe website. After Effects CS5 and later is a bit application After Effects CS5 and later is a bit application, so it can only run on bit operating systems. To activate the CS4 versions of these applications, you must use a separate serial number.
For assistance, contact Adobe Customer Service. For more information about installing and activating the bit applications, see the Adobe website. Activate the software Activation is a simple, anonymous process. After installation, your Adobe software attempts to contact Adobe to complete the license activation process. No personal data is transmitted. Adobe Spark Getting Started.
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