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Adobe after effects cs5 classroom in a book lesson files download free download
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Unpublished-rights reserved under the copyright laws of the United States. For U. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order , as amended, Section of the Vietnam Era Veterans Readjustment Assistance Act of 38 USC , and Section of the Rehabilitation Act of , as amended, and the regulations at 41 CFR Parts through , , and You will need to copy these lesson folders to your hard drive before you can begin each lesson.
The Stock Footage folder contains seven minute video clips so you can apply what you've learned and express your creativity. You can experiment with QuickTime movies, and delve deeper with uncompressed footage. The lessons are designed to let you learn at your own pace. You should have a working knowledge of your computer and operating system. You must also have Apple QuickTime 7. Follow the onscreen instructions.
Optimizing performance Creating movies is memory-intensive work for a desktop computer. The instructions in this book assume that you see the default interface when they describe the appearance of tools, options, windows, panels, and so forth. Then type the new name. Type the new name, and drag the folder to the location you want to use. If you have limited storage space on your computer, you can copy each lesson folder individually as you need it, and delete it afterward if desired.
About copying the sample movies and projects You will create and render one or more QuickTime movies in some lessons in this book. You cannot play movies from the DVD. Some lessons build on projects created in preceding lessons; some stand alone. All of these lessons build on each other in terms of concepts and skills, so the best way to learn from this book is to proceed through the lessons in sequential order.
The organization of the lessons is also design-oriented rather than feature-oriented. Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products.
Search results will show you not only content from Adobe, but also from the community. This companion application lets you search and browse Adobe and community content, plus you can comment on and rate any article just like you would in the browser.
You can download the application from www. You can contribute in several ways: Add comments to content or forums, including links to web content; publish your own content using Community Publishing; or contribute Cookbook Recipes. Find out how to contribute: www. Adobe Design Center: www. Adobe Developer Connection: www. Resources for educators: www. Adobe BrowserLab is for web designers and developers who need to preview and test their web pages on multiple browsers and operating systems.
Unlike collaborating via email and attending time-consuming in-person meetings, Acrobat. Adobe Story is for creative professionals, producers, and writers working on or with scripts.
SiteCatalyst NetAverages is for web and mobile professionals who want to optimize their projects for wider audiences. NetAverages provides intelligence on how users are accessing the web, which helps reduce guesswork early in the creative process.
The data is derived from visitor activity to participating Omniture SiteCatalyst customer sites. Unlike other web intelligence solutions, NetAverages innovatively displays data using Flash, creating an engaging experience that is robust yet easy to follow. Note that this option does not give you access to the services from within your products. See www. This lesson will take about an hour to complete.
When you are done, quit QuickTime Player. You may delete this sample movie from your hard disk if you have limited storage space. You can do this with a simple keyboard shortcut.
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 groups of panels as well as panels that stand alone, as shown below. Application window B. Tools panel C.
Project panel D. Composition panel E. Timeline panel F. Time graph G. Grouped panels Info and Audio H. Preview panel I. 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 or groups 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. 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.
You can use Adobe Bridge to search for, manage, preview, and import footage. Shift-click to select the dancers. Then click Open. You can import footage items at any time. Choose Composition from the Import As menu, and then click Open.
The footage items appear in the Project panel. Notice that a thumbnail preview appears at the top of the Project panel. To save time and minimize the size and complexity of a project, import a footage item once, and then use it multiple times in a composition. Compositions include one or more layers, arranged in the Composition panel and in the Timeline panel. The New Composition From Selection dialog box appears.
In this example, all of the footage is sized identically, so you can accept the default settings. When you add a footage item to a composition, the 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 appear only as long as the dancers are on the screen. The Timeline panel displays the same duration for each of the layers. Without layers, a composition consists only of an empty frame. In general, the layer order in the Timeline panel corresponds to the stacking order in the Composition panel.
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. Selection B. Hand C. Zoom D. Rotation E. Camera tools F. Pan Behind G.
Mask and Shape tools H. Pen tools I. Type tools J. Brush K. Clone Stamp L. Eraser M. Roto Brush N. 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 press Enter or Return again to accept the new name. Notice that layer handles appear around the layer in the Composition panel. To return to the Composition panel, click the Composition tab.
Dragging to change values is sometimes called scrubbing. The left and right values are x and y coordinates, respectively. Center the blur at approximately , It simulates the result of modifying the exposure setting in f-stops of the camera that captured the image.
This will make everything brighter in the layer to simulate an overexposed image. This keyboard shortcut displays only the Position property, which is the only property you want to change for this exercise. Leave the y coordinate at You will move this layer to the right. Now you can see the three waveforms—left, center, and right—in the Composition panel, hanging like a beaded light curtain.
To contrast the left and right waveforms with the center waveform, you will reduce their opacity. It all looks great, but how about some movement? For this exercise, you will animate the Position property of a text layer using keyframes, and then use an animation preset so that the letters appear to rain down on the screen. 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. Composition name B. Current time C. Time navigator start and end brackets B. Work area start and end brackets C. Time ruler D. Timeline panel menu E. Composition marker bin F. Time zoom slider G.
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.
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. Two layers—Title Here and Background—appear in the Timeline panel. The Title Here layer contains placeholder text that was created in Photoshop. At the top of the Composition panel is the Composition Navigator bar, which displays the relationship between the main composition bgwtext 2 and the current composition bgwtext , which is nested within the main composition.
You can nest multiple compositions within each other; the Composition Navigator bar displays the entire composition path. Before you can replace the text, you need to make the layer editable. 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. Then type AQUO. Then type bubble in the search box. Easing into and out of animations keeps the motion from appearing to be too sudden or robotic.
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.
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.
All three methods are accessible through the Preview panel, which appears on the right side of the application window in the Standard workspace. Using standard preview Standard preview commonly called a spacebar preview plays the composition from the current-time indicator to the end of the composition.
Standard previews usually play more slowly than real time. The number of frames played depends on the amount of RAM available to the application. In the Timeline panel, RAM preview plays either the span of time you specify as the work area, or from the beginning of the time ruler. Before you preview, check which frames are designated as the work area. When all of the frames in the work area are cached, the RAM preview plays back in real time.
It provides fast screen previewing of a composition without degrading resolution, which makes it a desirable preview option for many situations. When OpenGL does not support a feature, it simply creates a preview without using that feature. For example, if your layers contain shadows and your OpenGL hardware does not support shadows, the preview will not contain shadows. 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 Paint and Brushes panels open. The Composition panel is replaced by the Layer panel, for easy access to the tools and controls you need to paint in your compositions. Saving a custom workspace You can save any workspace, at any time, as a custom workspace. You can click Default to restore the default brightness setting.
You can narrow the results to view only Adobe Help and support documents. You can easily obtain these updates through Adobe Application Manager, as long as you have an active Internet connection. Adobe Application Manager automatically checks for updates available for your Adobe software. Click Done to accept the new settings. Compositions include one or more layers—video, audio, still images—arranged in the Composition panel and in the Timeline panel.
A standard preview plays your composition from the current-time indicator to the end of the composition, usually more slowly than real time. A RAM preview 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 use them to create great-looking animations quickly and easily. You will animate the travel show ID so that it fades to become a watermark that can appear in the lower-right corner of the screen during other TV programs.
In this exercise, you will jump to Adobe Bridge to import the still image that will serve as the background of your composition.
If you receive a message about adding an extension to Adobe Bridge, click OK. Adobe Bridge opens, displaying a collection of panels, menus, and buttons. Click the arrows to open nested folders. You can also double-click folder thumbnail icons in the Content panel.
The Content panel updates interactively. In Lesson 1, you created the composition based on footage items that were selected in the Project panel. You can also create an empty composition, and then add your footage items to it. This preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition to NTSC standards. Importing the foreground element Your background is now in place.
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. Leave all other options in the Character panel at their defaults. Leave all other options in the Paragraph panel at their defaults. Show Grid to make the nonprinting grid visible to help you position objects. Then click the triangle next to Stylize to expand the category.
The text appears, letter by letter, until the words travel Europe are fully onscreen at Precomposing is a way to nest layers within a composition. Precomposing moves the layers to a new composition. This new composition 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. Press the spacebar to stop playback at any time. Adding transparency Many TV stations display logos semi-transparently in the corner of the frame to emphasize the brand.
Click the stopwatch icon to set an Opacity keyframe at this location. When you place your composition in the render queue, it becomes a render item that uses the render settings assigned to it. You will prepare this animation for two formats so that it can be used for broadcast purposes as well as on a website. The Render Queue panel opens automatically. The SWF format is a widely used vector graphics and animation format for the web—a compact, binary format that can contain audio and vector objects.
Before exporting to SWF, you need to adjust the composition a bit for online display. So you need to reposition and resize the layers for the new output medium, including moving the logo to the top of the composition. Leave all other settings at their defaults, and then click OK. Nested layers are rasterized. Precomposing moves the layers to a new composition, which takes the place of the selected layers.
This lesson will take approximately 2 hours to complete. 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. Importing the footage You need to import two footage items to begin this lesson. Arrange the layers so that compass. You can create and edit text directly on the screen in the Composition panel, and quickly change the font, style, size, and color of the text.
You can add horizontal or vertical text anywhere in a composition. The Tools, Character, and Paragraph panels contain a wide range of text controls. Use point text to enter a single word or a line of characters; use paragraph text to enter and format text as one or more paragraphs.
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 text you enter appears in a new text layer. The small line through the I-beam marks the position of the text baseline.
Then press Enter on the numeric keypad to exit text-editing mode and to select the text layer in the Composition panel. Or, you can select the layer name to exit text-editing mode. Animating Text Using the Character panel The Character panel provides options for formatting characters.
If no text is highlighted and no text layers are selected, the changes you make in the Character panel become the new defaults for the next text entry.
If a type layer is selected, the text in the Composition panel takes on 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 aligns horizontal text to the center of the layer, not to the center 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 applying an animation preset, you can customize it and save it to use again in other projects.
This lesson steps you through the process of acquiring, resizing, and retouching a photo intended for a print layout. For many images, you can achieve your desired outcome with just a few clicks in Adobe Camera Raw, which is installed with Adobe Photoshop. For others, you may start in Camera Raw to adjust the white point, for example, and then move on to Photoshop for more advanced retouching, such as applying filters to selected parts of an image.
Organizing an efficient sequence of tasks Most retouching procedures follow these general steps: t Duplicating the original image or scan Working in a copy of the image file makes it easy to recover the original later if necessary.
Otherwise, the settings without risking damage to the results of one process may cause unintended changes to other aspects of the image, original image. Photoshop supports the CMYK color mode for preparing an image to be printed using process colors, as well as RGB and other color modes for web and mobile authoring. To illustrate one application of retouching techniques, this lesson takes you through the steps of correcting a photograph intended for four-color print publication.
Resolution is determined by pixel dimensions, or the number of pixels Pixels in a photographic image along the width and height of an image. An image with a high resolution has more pixels and therefore a larger file size than an image of the same dimensions with a low resolution. Images in Photoshop can vary from high resolution ppi or higher to low resolution 72 ppi or 96 ppi. Image pixels are translated directly into monitor pixels.
In Photoshop, if the image resolution is higher than the monitor resolution, the image appears larger onscreen than its specified print dimensions. For example, when you display a 1x1-inch, ppi image on a ppi monitor, the image fills a 2x2-inch area of the screen. Higher resolution images output to higher image size in inches, resolution printers generally produce the best quality. Mac OS. To enlarge the thumbnails in the Content panel, drag the humbnail slider at the bottom of the Bridge window to the right.
In the 02Start. You'll fix all of these problems in this lesson, starting with the color and tone of the image. As you make changes to the image, Camera Raw saves those changes in a separate file that is associated with your original image file.
You can return to the original at any time when working in Camera Raw. Adjusting the white balance changes all the colors in the image. To set an accurate white balance, select an area that should be white or gray.
Selecting a white balance is a good start. You can use either the Crop tool or the Crop command to crop an image. Both methods permanently delete all the pixels outside the crop selection area.
Drag the tool to the upper-right corner of the photo, and click again. Photoshop straightens the photograph. For Width, type 3. As you drag, the marquee retains the same proportion as the dimensions you specified for the target size 3.
When you release the mouse button, a cropping shield covers the area outside the cropping selection, and the options bar displays choices about the cropping shield.
If you need to adjust the size of the marquee, drag one of the corner handles. You can also use the arrow keys on the keyboard to adjust the marquee in 1-pixel increments. Replacing colors in an image Use the Color Replacement tool to paint over one color with another. When you start painting with the Color Replacement tool, it analyzes the first pixels you paint over. In the Color Picker, select a color of green. Make sure Anti-Alias is selected.
You can zoom in if needed. Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals. You may want to zoom in to see the area better. When you press Alt or Option, the pointer appears as target cross-hairs. If necessary to help make the bricks appear to blend in naturally with the rest of the image, you can adjust your cloning by resetting the sample area as you did in step 6 and recloning.
Or, you can try deselecting the Aligned option and cloning again. It paints with sampled pixels from an image or pattern and matches the Brush tool works similarly to the Spot texture, lighting, transparency, and shading of the sampled pixels to the pixels being Healing Brush tool, healed. It automatically samples from around the retouched area.
Photoshop fills a selection with pixels that match the surroundings. Because the wall varies in color, texture, and lighting, it would be challenging to successfully use the Clone Stamp tool to touch up these areas. Fortunately, the content-aware fill feature make this process easy. We used the default value, 1.
If your image edge pixels and subsequently sharpened by the Unsharp Mask filter. The Unsharp Mask filter corrects blurring introduced during photographing, scanning, resampling, or printing. In addition, you can adjust the radius of the region to which each pixel is compared. If your final destination is print, experiment to deter- mine which settings work best for your image.
Saving the image for four-color printing Before you save a Photoshop file for use in a four-color publication, you must change the image to CMYK color mode. For more information about converting between color modes, see Photoshop Help. Click OK when Photoshop displays an Merge Visible before you change the color alert about the color management profile.
For more information about file formats, see Photoshop Help. You can combine Photoshop images with other elements in a layout application such as Adobe InDesign. Click Open. You can also experiment with options from the preset menu, such as Darker or Infrared.
Or, select the tool in the upper-left corner of the Adjustments panel, and then drag it across the image to adjust the colors associated with that area. We darkened the bike itself and made the background areas lighter. In Camera Raw: 1 In Bridge, select the bike. Review answers 1 he term resolution refers to the number of pixels that describe an image and establish its detail. Image resolution and monitor resolution are measured in pixels per inch ppi.
Printer, or output, resolution is measured in ink dots per inch dpi. Content-aware fill replaces a selection with content that matches the surrounding area. You can make selections based on size, shape, and color. Freehand selections Drag the Lasso tool around an area to trace a freehand selection.
Using the Polygonal Lasso tool , click to set anchor points in straight- line segments around an area. Color-based selections he Magic Wand tool selects parts of an image based on the similarity in color of adjacent pixels. It is useful for selecting odd-shaped areas that share a specific range of colors. Move the thumbnail slider to the right if you want to see the image in more detail.
Using the Quick Selection tool he Quick Selection tool provides one of the easiest ways to make a selection. You simply paint an area of an image, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want. Leave the selection active so that you can use it in the next exercise. To move the selected area to another part of the composition, you use the Move tool.
Notice that the sand dollar remains selected. Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area. Julieanne Kost is an official Adobe Photoshop evangelist.
The layers that are under the pointer appear in the context menu. Manipulating selections You can reposition selections as you create them, move them, and even duplicate them. One of the best things about this section is the introduction of keyboard shortcuts that can save you time and arm motions.
Repositioning a selection marquee while creating it Selecting ovals and circles can be tricky. As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed. If you accidentally release the mouse but- ton at the wrong time, simply start the exercise again from step 1.
If you accidentally release the mouse button, draw the selection again. In most cases—including this one—the new selection replaces the previous one. Position it so that it more closely aligns with the bowl.
If necessary, hold down the spacebar again and drag to the shape of the bowl, move the selection marquee into position around the bowl of shells. Begin dragging a selection. Press the spacebar to move it. Complete the selection. Leave the Elliptical Marquee tool and the selection active for the next exercise.
Photoshop reverts to into the exact position in a minute. Moving with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys.
You can nudge the selection in increments of either one pixel or ten pixels. When a selection tool is active in the Tools panel, the arrow keys nudge the selec- tion border, but not the contents. When the Move tool is active, the arrow keys move the selection border and its contents. Before you begin, make sure that the bowl of shells is still selected in the image window. Notice that each time you press the arrow key, the bowl of shells moves one pixel.
When you hold down the Shift key, the selection moves ten pixels every time you press an arrow key. Sometimes the border around a selected area can distract you as you make adjust- ments. Either command hides the selection border around the bowl of shells.
If you want to adjust the position after you stop dragging, simply start dragging again. Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time.
If the logo graphic image is no longer selected, reselect it now, using the techniques you learned earlier. A bounding box appears around the selection. As you resize the object, the selection marquee resizes, too. Pressing the Shift key as you move a selection constrains the movement horizon- tally or vertically in degree increments. Dragging with the Move tool saves memory because the clipboard is not used as it is with the Copy, Copy Merged, Cut, and Paste commands.
Photoshop has several copy and paste commands: t Copy copies the selected area on the active layer. The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask. This can make the pasted portion appear out of proportion to the new image. Use the Image Size command to make the source and destination images the same resolution before copying and pasting. Using the Magic Wand tool he Magic Wand tool selects all the pixels of a particular color or color range.
As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection. You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image. Make sure that your selection is large enough so that a margin of white appears between the coral and the edges of the marquee.
At this point, the coral and the white background area are selected. A minus sign appears next to the wand in the pointer icon. Anything you select now will be subtracted from the initial selection.
Now all the white pixels are deselected, leaving the coral perfectly selected. Selecting with the lasso tools Photoshop includes three lasso tools: the Lasso tool, the Polygonal Lasso tool, and the Magnetic Lasso tool. You can use the Lasso tool to make selections that require both freehand and straight lines, using keyboard shortcuts to move back and forth between the Lasso tool and the Polygonal Lasso tool.
Make sure you can see the entire mussel in the window. Starting at the lower-left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible. Do not release the mouse button. Do not release the Alt or Option key. Be sure to hold down the Alt or Option key throughout this process. Drag with the Lasso tool.
Click with the Polygonal Lasso tool. Click along the lower side of the mussel with the Polygonal Lasso tool as you did on the top. Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image.
Leave the mussel selected for the next exercise. Before you begin, make sure that the mussel is still selected. Drag to rotate the mussel to a —degree angle. You can verify the angle in the Rotate box in the options bar. Press Enter or Return to commit the transformation changes. Selecting with the Magnetic Lasso tool You can use the Magnetic Lasso tool to make freehand selections of areas with high-contrast edges.
When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast.
You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border. You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting. Or you can move the Magnetic Lasso tool over the starting point and click once.
Photoshop dims the area outside the crop border. Be careful not to include any part of the image that you want to keep. Anti-aliasing smooths the jagged edges of a selection by softening the color transi- tion between edge pixels and background pixels. Since only the edge pixels change, no detail is lost. Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images. Select the tool to display its options in the options bar.
To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it. Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels.
This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection. Once you have a selection, you can use the Refine Edge option to smooth the outline, feather it, or contract or expand it.
Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK. Use a size 6 brush to get a more precise selection. You can also view the selection edges as if masked or against various backgrounds. A black background appears under the selection, and the selection edges disappear. We used a value of 4.
Increase the brush size to select it more quickly. Remember that you can add or subtract from the selection using the buttons in the options bar. Delete Layer button at the bottom of the Layers panel. Images with a clearly delineated outline and a uniform back- ground—such as the 03Start. To try it, open the 03Start. Photoshop automatically crops each image in the start file and creates individual Photoshop files for each. You can close each file without saving.
Review answers 1 Only the area within an active selection can be edited. To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract. You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac OS as you drag or click. New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers.
All new layers in an image are transparent until you add text or artwork pixel values. When the sheets are stacked, the entire composition is visible. Press the spacebar for a full-screen view. You will create it now, and, in doing so, learn how to create, edit, and manage layers.
Saving another version of the start file frees you to make changes without worrying about overwriting the original. You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers.
Right-click Windows Notice the layer thumbnail and the icons on the Background layer level: or Control-click Mac OS a thumbnail t he lock icon indicates that the layer is protected. No Thumbnails, Small Thumbnails, Medium he first task for this project is to add a photo of the beach to the postcard.
Notice that only one layer appears in the Beach. An image can have only one background. You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer. Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file. Before you begin, make sure that both the 04Working.
Keep the layer selected. Photoshop displays both of the open image files. Select the Beach. Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier.
Viewing individual layers he 04Working. Some of the layers are visible and some are hidden. To select the layer, click the layer name in the Layers panel. A white border appears around the beach photo. Rearranging layers he order in which the layers of an image are organized is called the stacking order. In this case, the postmark is too dark on the flower.
You can also type the value in the Opacity box or scrub the Opacity label. Currently, the blending mode for both layers is Normal. Click OK in the Duplicate Layer dialog box. In this case, the postmark becomes a little stronger. A Transform bounding box appears around the beach image. Watch the Width and Height percentages in the options bar.
Drag clockwise to rotate the beach image approximately 15 degrees. You can also enter 15 in the Set Rotation box in the options bar. Adding empty layers to a file is comparable to adding blank sheets of acetate to a stack of images.
A new layer, named Layer 1, appears between the Background and Pineapple layers. We selected a color with the following values: R 48, G , and B Realistic- looking clouds appear behind the image. Photoshop places the image as a Smart Object, which is a layer you can edit without making permanent changes. Click OK to close the Color Picker. Do the following in the Character panel: t Select a serif font we used Birch Std.
Applying a gradient to a layer You can apply a color gradient to all or part of a layer. If you want to be sure you drag straight up, press the Shift key as either Small List or you drag. Large List. Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name.
Like layers, layer styles can be hidden by clicking eye icons in the Layers panel. Layer styles are nondestructive, so you can edit or remove them at any time. Earlier, you used a layer style to add a stroke to the beach photo. Do not click OK. As you edit the text, the layer styles are applied to the new text. Adding a border he Hawaii postcard is nearly done.
A pixel border is selected around the entire image. Flattening combines all the layers into a single background layer. So flattening is well worth it in this case. Only one layer, named Background, remains in the Layers panel. A layer comp is simply a definition of the settings in the Layers panel.
Then, by switching from one layer comp to another, you can quickly review the two designs. The beauty of layer comps becomes apparent when you want to demonstrate a number of possible design arrangements. You might have the French text on one layer, and the English text on another in the same image file. With a little imagination, you can appreciate how much time this saves for more complex variations.
When both layers are visible, Layer 2 shows the tall man in the center blinking, and the two girls in the front looking away. Now for the fun part! You can also hide individual layers as you work on other layers. It was shot with a Canon Digital Rebel camera and has the Canon proprietary.
Depending on which layer is visible, either the glass in the foreground or the beach in the background is in focus.
Many digital cameras can save images in camera raw format. You can go back and reprocess the file any time you like to achieve the results you want. When you download the file from your camera, it has Raw format. In Bridge or format for transferring Photoshop, you can process camera raw files from a myriad of supported digital images between cameras from Canon, Kodak, Leica, Nikon, and other makers—and even process applications and computer platforms.
Photoshop Raw with camera raw file formats. Although Camera Raw can open and edit a camera raw image file, it cannot save an image in camera raw format. You used Camera Raw to edit the color and lighting in an image in Lesson 2. Processing files in Camera Raw When you make adjustments to an image in Camera Raw, such as straightening or cropping the image, Photoshop and Bridge preserve the original file data. Opening images in Camera Raw You can open Camera Raw from either Bridge or Photoshop, and you can apply the same edits to multiple files simultaneously.
Filmstrip B. Toggle Filmstrip C. Toolbar G D. Page Previewing the entire animation Page Using motion stabilization Page Using single-point motion tracking Page Using multipoint tracking Page Creating a particle simulation Page Retiming playback using the Timewarp effect Page Creating templates for the rendering process Page Creating templates for output modules Page Exporting to different output media Page A Page C Page I Page O Page R Page T Page Z Page Thank you for purchasing this digital version of: Adobe After Effects CS5 Classroom in a Book The print version of this title comes with a disc of lesson files.
As an eBook reader, you have access to these files by following the steps below: 1. Download the ZIP file or files from the web site to your hard drive. Unzip the files and follow the directions for use in the Read Me included in the download. Please note that many of our lesson materials can be very large, especially image and video files.
You will be able to see the size of any file for download once you reach the URL listed above. If you are unable to locate the files for this title by following the steps above, please email [email protected] and supply the URL from step one.
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The Stock Footage folder contains seven minute video clips so you can apply what you've learned and express your creativity. You can experiment with QuickTime movies, and delve deeper with uncompressed footage. The lessons are designed to let you learn at your own pace. You should have a working knowledge of your computer and operating system.
You must also have Apple QuickTime 7. Follow the onscreen instructions. Optimizing performance Creating movies is memory-intensive work for a desktop computer. The instructions in this book assume that you see the default interface when they describe the appearance of tools, options, windows, panels, and so forth. Then type the new name. Type the new name, and drag the folder to the location you want to use.
If you have limited storage space on your computer, you can copy each lesson folder individually as you need it, and delete it afterward if desired. About copying the sample movies and projects You will create and render one or more QuickTime movies in some lessons in this book. You cannot play movies from the DVD. Some lessons build on projects created in preceding lessons; some stand alone.
All of these lessons build on each other in terms of concepts and skills, so the best way to learn from this book is to proceed through the lessons in sequential order. The organization of the lessons is also design-oriented rather than feature-oriented. Only the commands and options used in the lessons are explained in this book.
For comprehensive information about program features and tutorials refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products.
Search results will show you not only content from Adobe, but also from the community. This companion application lets you search and browse Adobe and community content, plus you can comment on and rate any article just like you would in the browser.
You can download the application from www. You can contribute in several ways: Add comments to content or forums, including links to web content; publish your own content using Community Publishing; or contribute Cookbook Recipes. Find out how to contribute: www. Adobe Design Center: www. Adobe Developer Connection: www. Resources for educators: www. Adobe BrowserLab is for web designers and developers who need to preview and test their web pages on multiple browsers and operating systems.
Unlike collaborating via email and attending time-consuming in-person meetings, Acrobat. Adobe Story is for creative professionals, producers, and writers working on or with scripts. SiteCatalyst NetAverages is for web and mobile professionals who want to optimize their projects for wider audiences.
NetAverages provides intelligence on how users are accessing the web, which helps reduce guesswork early in the creative process. The data is derived from visitor activity to participating Omniture SiteCatalyst customer sites. Unlike other web intelligence solutions, NetAverages innovatively displays data using Flash, creating an engaging experience that is robust yet easy to follow.
Note that this option does not give you access to the services from within your products. See www. This lesson will take about an hour to complete. When you are done, quit QuickTime Player. You may delete this sample movie from your hard disk if you have limited storage space. You can do this with a simple keyboard shortcut. 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 groups of panels as well as panels that stand alone, as shown below. Application window B.
Tools panel C. Project panel D. Composition panel E. Timeline panel F. Time graph G. Grouped panels Info and Audio H. Preview panel I. 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 or groups 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. 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. You can use Adobe Bridge to search for, manage, preview, and import footage. Shift-click to select the dancers. Then click Open. You can import footage items at any time. Choose Composition from the Import As menu, and then click Open.
The footage items appear in the Project panel. Notice that a thumbnail preview appears at the top of the Project panel.
To save time and minimize the size and complexity of a project, import a footage item once, and then use it multiple times in a composition. Compositions include one or more layers, arranged in the Composition panel and in the Timeline panel. The New Composition From Selection dialog box appears. In this example, all of the footage is sized identically, so you can accept the default settings.
When you add a footage item to a composition, the 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 appear only as long as the dancers are on the screen. The Timeline panel displays the same duration for each of the layers. Without layers, a composition consists only of an empty frame. In general, the layer order in the Timeline panel corresponds to the stacking order in the Composition panel.
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. Selection B. Hand C. Zoom D. Rotation E. Camera tools F. Pan Behind G. Mask and Shape tools H. Pen tools I. Type tools J. Brush K. Clone Stamp L. Eraser M. Roto Brush N. 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 press Enter or Return again to accept the new name. Notice that layer handles appear around the layer in the Composition panel. To return to the Composition panel, click the Composition tab.
Dragging to change values is sometimes called scrubbing. The left and right values are x and y coordinates, respectively. Center the blur at approximately , It simulates the result of modifying the exposure setting in f-stops of the camera that captured the image. This will make everything brighter in the layer to simulate an overexposed image.
This keyboard shortcut displays only the Position property, which is the only property you want to change for this exercise. Leave the y coordinate at You will move this layer to the right. Now you can see the three waveforms—left, center, and right—in the Composition panel, hanging like a beaded light curtain.
To contrast the left and right waveforms with the center waveform, you will reduce their opacity. It all looks great, but how about some movement? For this exercise, you will animate the Position property of a text layer using keyframes, and then use an animation preset so that the letters appear to rain down on the screen.
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. Composition name B. Current time C. Time navigator start and end brackets B. Work area start and end brackets C. Time ruler D. Timeline panel menu E. Composition marker bin F.
Time zoom slider G. 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.
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. Two layers—Title Here and Background—appear in the Timeline panel. The Title Here layer contains placeholder text that was created in Photoshop. At the top of the Composition panel is the Composition Navigator bar, which displays the relationship between the main composition bgwtext 2 and the current composition bgwtext , which is nested within the main composition.
You can nest multiple compositions within each other; the Composition Navigator bar displays the entire composition path. Before you can replace the text, you need to make the layer editable. 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. Then type AQUO. Then type bubble in the search box. Easing into and out of animations keeps the motion from appearing to be too sudden or robotic. 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. 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. All three methods are accessible through the Preview panel, which appears on the right side of the application window in the Standard workspace.
Using standard preview Standard preview commonly called a spacebar preview plays the composition from the current-time indicator to the end of the composition. Standard previews usually play more slowly than real time. The number of frames played depends on the amount of RAM available to the application. In the Timeline panel, RAM preview plays either the span of time you specify as the work area, or from the beginning of the time ruler.
Before you preview, check which frames are designated as the work area. When all of the frames in the work area are cached, the RAM preview plays back in real time. It provides fast screen previewing of a composition without degrading resolution, which makes it a desirable preview option for many situations. When OpenGL does not support a feature, it simply creates a preview without using that feature.
For example, if your layers contain shadows and your OpenGL hardware does not support shadows, the preview will not contain shadows. 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 Paint and Brushes panels open. The Composition panel is replaced by the Layer panel, for easy access to the tools and controls you need to paint in your compositions. Saving a custom workspace You can save any workspace, at any time, as a custom workspace.
You can click Default to restore the default brightness setting. You can narrow the results to view only Adobe Help and support documents. You can easily obtain these updates through Adobe Application Manager, as long as you have an active Internet connection. Adobe Application Manager automatically checks for updates available for your Adobe software. Click Done to accept the new settings.
Compositions include one or more layers—video, audio, still images—arranged in the Composition panel and in the Timeline panel. A standard preview plays your composition from the current-time indicator to the end of the composition, usually more slowly than real time. A RAM preview 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 use them to create great-looking animations quickly and easily.
You will animate the travel show ID so that it fades to become a watermark that can appear in the lower-right corner of the screen during other TV programs. In this exercise, you will jump to Adobe Bridge to import the still image that will serve as the background of your composition. If you receive a message about adding an extension to Adobe Bridge, click OK. Adobe Bridge opens, displaying a collection of panels, menus, and buttons. Click the arrows to open nested folders. You can also double-click folder thumbnail icons in the Content panel.
The Content panel updates interactively. In Lesson 1, you created the composition based on footage items that were selected in the Project panel. You can also create an empty composition, and then add your footage items to it.
This preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition to NTSC standards. Importing the foreground element Your background is now in place. 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. Leave all other options in the Character panel at their defaults.
Leave all other options in the Paragraph panel at their defaults. Show Grid to make the nonprinting grid visible to help you position objects.
Then click the triangle next to Stylize to expand the category. The text appears, letter by letter, until the words travel Europe are fully onscreen at Precomposing is a way to nest layers within a composition.
Precomposing moves the layers to a new composition. This new composition 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. Press the spacebar to stop playback at any time. Adding transparency Many TV stations display logos semi-transparently in the corner of the frame to emphasize the brand.
Click the stopwatch icon to set an Opacity keyframe at this location. When you place your composition in the render queue, it becomes a render item that uses the render settings assigned to it. You will prepare this animation for two formats so that it can be used for broadcast purposes as well as on a website. The Render Queue panel opens automatically. The SWF format is a widely used vector graphics and animation format for the web—a compact, binary format that can contain audio and vector objects.
Before exporting to SWF, you need to adjust the composition a bit for online display. So you need to reposition and resize the layers for the new output medium, including moving the logo to the top of the composition. Note: DVD and other supplementary materials are not included as part of eBook file. These materials are available for download upon purchase.
The AGI Creative Team develops and delivers training programs for creative, marketing, and communications professionals through the American Graphics Institute. Account Options Anmelden. Meine Mediathek Hilfe Erweiterte Buchsuche. This video and full-color book combo has quite an effect for learning After Effects CS5! Escorts you through the basics of editing and applying motion graphics and visual effects with Adobe After Effects CS5 Deciphers even the most advanced After Effects tasks and makes them less intimidating Features full-color book and video tutorials with step-by-step training that complement the topics covered in each lesson of the book Encourages you to absorb each lesson at your own pace Jam-packed with information, this book with videos and lesson files is just like having your own personal instructor guiding you through each unique lesson.
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