Play the composition. The text has a wild animation Figure In the Composition Settings dialog box, name the composition Character Animation, select an appropriate video preset, accept the other defaults, and click OK. Click anywhere in the Composition panel screen, and type enough text to fill the width of the screen. Figure 31 Timeline panel Animator options A text layer appears in the Timeline panel.

In the Text Animate menu of the Timeline panel, select Scale. Figure 32 Tracking Amount value set to 30 5. Offset option Time-Vary stopwatch button Note: This keeps the text from getting too tightly spaced. The actual first three characters of your text string are treated as the 4th through 6th characters of this animation, so they initially display at their regular size.

Figure 33 Timeline panel Range Selector options 8. In the Timeline panel, click the text layer name whatever you typed in the Composition panel to select that layer. Note: This ensures that the next Animate menu selection creates a separate Animator option. Note: The Fill Color default color is Red.

You can change that and use keyframes to animate color changes over time. In this case, let the Wiggly function change the intensity of a single color. Figure 34 Fill Color option Play the composition and note how the red color shifts as the characters animate Figure Figure 35 Per-character animation Using text animation presets Many other types of text animation are available in After Effects.

You can animate text outlines and text interiors with scribbles, wiggles, multiple colors, and such. Letters can bounce, move through 3D space, twist, bend, curl, flip, invert, change colors and opacities, and even change randomly to different characters or to preselected words. Test the many parameters available within the Add and Animate menus built into any text layer in the Timeline panel and refer to After Effects Help for more information.

One quick way to get an idea of the possibilities is to use a preset. After Effects has hundreds of text animation presets, including 3D text animation. To use a text animation preset: 1. In the Composition Settings dialog box, name the composition Text Animation Presets, select an appropriate video preset, accept the other defaults, and click OK. In the Tools panel, select the Horizontal Type tool, click anywhere in the Composition panel screen, and type at least two words.

There are more than a dozen text-animation preset bins Figure These are Animator layers that have been renamed as a convenience. Spiral applies rotation keyframes and Fade In adds opacity keyframes. Press the spacebar to play the animation. Mid-animation, the text should look something like the example Figure Three option sets are added to the text layer in the Timeline ruler: More Options, Animator 1, and Animator 2.

Figure 38 Center Spiral text animation preset 9. Play that animation. The text flips onto the screen, one word at a time. In the Timeline panel, display the Animator 1 options, display the Range Selector 1 options, and display the Advanced options Figure In the Advanced options Based On menu, select Characters. Play the animation. This time the text flies on-screen one character at a time Figure Trying out text animation presets is guaranteed to keep you busy for a long time.

When you add a preset, take a look at the Timeline panel and note that each preset adds options and keyframes. You can customize presets by changing the option values and keyframe locations. You can use them to create some wild, animated art or to add animation or images to video in rotoscope style. Working with paint tools is slightly different from working with text tools.

When you create text, you automatically create a new layer in the Timeline panel and you work directly in the Composition panel. With paint tools, you create a composition layer and work on that layer in the Layer panel.

To use the paint tools: 1. In the Composition Settings dialog box, name the composition Paint Tools, select an appropriate video preset, accept the other defaults, and click OK. The Solid Settings dialog box appears Figure Select a color and click OK to close the Solid Settings dialog box.

Double-click the solid layer in the Timeline panel. The Layer panel appears, with the solid color layer displayed in it Figure The Paint and Brushes panels appear. In the Tools panel, select the Brush tool Figure Figure 43 Brush tool The options in the Paint and Brushes panels become active and accessible. In the Brushes panel, select a brush Figure You can change the tip diameter, put it at an angle, change its roundness turn it into an oval , alter its hardness more or less diffusion around its perimeter , and select and update spacing.

Note: Spacing is the distance between the brush marks in a stroke, measured as a percentage of the brush diameter. When this option is deselected, the speed at which you drag to create the brush stroke determines the spacing. Note: Brush Dynamics determines how brush marks are controlled by the features of a pressure-sensitive digitizing tablet, such as a Wacom pen tablet. In the Paint panel, select a color and paint a single line on the solid layer in the Layer panel.

You have to come and see our Graphics. You will find your happiness without problem! Adobe Dreamweaver CS5. Adobe Captivate 9 – Quizzes. Adobe Captivate 9 – NeoSpeech. Adobe Photoshop CC Adobe Photoshop CS6 Tutorial. Adobe Dreamweaver CS6 Tutorial. After Effects also integrates with several other Creative Suite applications, such as Photoshop for animating 3D layers, Premiere Pro with shared effects and copy and paste support, and Flash Professional for creating engaging web animation sequences.

This course is intended for a strictly personal use, the file is of format pdf level Beginner , the size of this file is For one thing, the sun should actually rise. Previewing the animation Now, see how it all comes together. So far, so good! A new Timeline panel named Window Contents appears. It contains the Sun, Birds, and Clouds layers you selected in step 1 above.

The Window Contents composition also appears in the Composition window. Notice that the Sun, Birds, and Clouds layers have been replaced by the Window Contents layer, which refers to the Window Contents composition. About track mattes and traveling mattes When you want one layer to show through a hole in another layer, set up a track matte. When you animate the track matte layer, you create a traveling matte. In both alpha-channel mattes and luminance mattes, pixels with higher values are more transparent.

In most cases, you use a high-contrast matte so that areas are either completely transparent or completely opaque.

Intermediate shades should appear only where you want partial or gradual transparency, such as along a soft edge.

A B C Traveling matte A. Track matte layer: a solid with a rectangular mask, set to Luma Matte. The mask is animated to travel across the screen. The alpha channel of the layer above Window Lit 2 is used to set transparency for the Window Contents layer, so that the scenery outside the window shows through the transparent areas of the windowpane.

Adding motion blur The birds will look more authentic if they include motion blur. Larger values create more motion blur. In a realistic time-lapse image, they would shorten as the sun rises. For example, you could use 3D layers and lights. You can use it to stretch, shrink, skew, or twist an image, or to simulate perspective or movement that pivots from the edge of a layer, such as a door opening. Small circles appear around the corner points of the Shadows layer in the Composition panel.

To adjust that corner, switch to the Hand tool , and drag up in the Composition panel so that you can see some of the pasteboard below the image. Then switch back to the Selection tool , and drag the lower-right corner-pin handle to the approximate location of the lower-right corner of the glass tabletop.

You may also need to move the two upper corners in slightly so that the bases of the shadows still align properly with the vase and clock. Then switch back to the Selection tool , and deselect the layer. Click OK to return to the Solid Settings dialog box. The hands of the clock should be spinning quickly to show the progress of time.

Close the sunrise Layers folder, and then double-click an empty area in the panel to open the Import File dialog box. The QuickTime movie clock.

Drag the clock. The Render Queue panel opens. Then click Save. So far, you have created a straightforward time-lapse simulation. Time remapping lets you dynamically speed up, slow down, stop, or reverse footage. You can also use it to do things like create a freeze-frame result. Now you can remap all of the elements of the project at once. A Time Remap property also appears under the layer name in the Timeline panel; this property lets you control which frame is displayed at a given point in time.

The Layer panel provides a visual reference of the frames you change when you remap time. It displays two time rulers: The time ruler at the bottom of the panel displays the current time. The Source Time ruler, just above the time ruler, has a remap-time marker that indicates which frame is playing at the current time.

That will change as you remap time. This remaps time so that frame plays at The composition now runs at half-speed until , and at a regular speed thereafter. In layer bar mode, in contrast, the time ruler represents only the horizontal time element, without a graphical display of changing values. The angle of the line is shallow up to , and then becomes steeper.

The steeper the line, the faster the playback time. Using the Graph Editor to remap time When remapping time, you can use the values in the time-remap graph to determine and control which frame of the movie plays at which point in time. These initial Time Remap keyframes have vertical time values equal to their horizontal position. Every time you add a Time Remap keyframe, you create another point at which you can change the playback speed or direction.

As you move the keyframe up or down in the time-remap graph, you adjust which frame of the video is set to play at the current time. Have some fun with the timing of this project. Watch the time ruler and Source Time ruler in the Layer panel to see which frames are playing at any given point in time.

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

Scaling the animation in time Finally, use the Graph Editor to scale the entire animation in time. The entire graph shifts, reducing the top keyframe values and slowing playback.

If you press Alt Windows or Option Mac OS and drag one corner of the free-transform box, the animation is skewed in that corner as you drag. You can also drag one of the right transform handles to the left to scale the entire animation so that it happens more quickly.

It also preserves other features, such as adjustment layers and type. The pick whip is also a way to create parenting relationships. To use the pick whip, simply drag the pick whip icon from one property to another. When remapping time, you can use the values in the time-remap graph in the Graph Editor to determine and control which frame of the movie plays at which point in time. Use masks to control what appears.

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

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

The Pen tool creates straight lines or curved segments. When a circle appears next to the pointer as in the middle image below , click to close the mask path. So you need to invert the mask. Alternatively, you could change the mask mode, which is set to Add by default.

About mask modes Blending modes for masks mask modes control how masks within a layer interact with one another. By default, all masks are set to Add, which combines the transparency values of any masks that overlap on the same layer. Each additional mask that you create interacts with masks located above it in the Timeline panel. The results of mask modes vary depending on the modes set for the masks higher up in the Timeline panel.

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

Bezier curves give you the greatest control over the shape of the mask. With them, you can create straight lines with sharp angles, perfectly smooth curves, or a combination of the two.

Selecting Mask 1 makes the mask active and also selects all the vertices. Press the G key multiple times to cycle through the Pen tools.

The Convert Vertex tool changes the corner vertices to smooth points. The angle and length of these handles control the shape of the mask. Notice how this changes this shape of the mask. You can also change the zoom level and use the Hand tool to reposition the image in the Composition panel as you work.

Click the vertex. Drag the handle. Breaking direction handles By default, the direction handles of any smooth point are connected to one another. As you drag one handle, the opposite handle moves as well. However, you can break this connection to get greater control over the shape of the mask, and you can create sharp points or long, smooth curves. The left direction handle remains stationary. Drag the right direction handle of the upper-left vertex, and then the left direction handle, to follow the curve of the monitor.

If you need to shift a corner point, use the Selection tool. You should not see any of the monitor screen. You can drag the image with the Hand tool. To temporarily switch to the Hand tool, press and hold the spacebar. Then click where you want to place the next vertex, and drag in the direction you want to create a curve. The white background allows you to see that the edge of the monitor screen looks a little too sharp and unrealistic.

Replacing the content of the mask You are now ready to replace the background with the TV news promo movie and blend it with the overall shot.

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

Again, since this is a 3D layer, you can control rotation on the x, y, and z axes. This swivels the layer to match the perspective of the monitor. This aligns the layer with the monitor. Your composition should now resemble the preceding image. This time, you want to keep the area inside the mask opaque and make the area outside the mask transparent. Applying a blending mode To create unique interactions between layers, you may want to experiment with blending modes.

Blending modes control how each layer blends with, or reacts to, layers beneath it. This creates a hard glare on the monitor screen image and boosts the colors underneath. This exercise is optional. Material Options properties determine how a 3D layer interacts with light and shadow, both of which are important components of realism and perspective in 3D animation.

This is often done to simulate light variations of a glass lens. It creates an interesting look that focuses the attention on the subject and sets the shot apart. Adjust the shape and position using the Selection tool, if necessary. Using the Rectangle and Ellipse tools The Rectangle tool, as the name suggests, creates a rectangle or square.

The Ellipse tool creates an ellipse or circle. You create mask shapes with these tools by dragging them in the Composition or Layer panel. If you want to draw a perfect square or circle, press the Shift key as you drag with the Rectangle tool or the Ellipse tool. Be careful! Even with this large feather amount, the vignette is a bit intense and constricting. You can give the composition more breathing room by adjusting the Mask Expansion property.

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

Sometimes video cameras favor a certain color channel that makes the image cooler bluer or warmer redder. In this lesson you have worked with the mask tools to hide, reveal, and adjust portions of a composition to create a stylized inset shot. Number List 2 Name two ways to adjust the shape of a mask.

A mask consists of segments and vertices. An additional tool, the Puppet Sketch tool, lets you record animation in real time. Shift-click to select the backdrop. Creating the composition As with any project, you need to create a new composition. The preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition.

The banana peel moves to the left side of the composition. Sometimes you can make your work easier by making some adjustments before animation. About the Puppet tools The Puppet tools turn raster and vector images into virtual marionettes. When you move the string of a marionette, the body part attached to that string moves; pull the string attached to the hand, and the hand goes up.

The Puppet tools use pins to indicate where strings would be attached. These pins determine which parts of the image should move, which parts should remain rigid, and which parts should be in front when areas overlap. If you add more pins anywhere in the timeline, they are placed based on the original position of the mesh. As soon as you place a pin, the area within an outline is automatically divided into a mesh of triangles.

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

A yellow dot representing the Deform pin appears in the Composition panel. If at this point you were to use the Selection tool to move the Deform pin, the entire character would move with it. You need more pins to keep the other parts of the mesh in place. Now you can move the right hand with the Selection tool. Each Deform pin is listed. This setting determines how many triangles are included in the mesh.

Increasing the number of triangles results in a smoother animation, but also increases rendering time. To expand the mesh, increase the Expansion property in the options section of the Tools panel.

You can also place pins without viewing the mesh. Then select the Puppet Overlap tool again. As you add a pin, you may want to adjust its Extent value in the options area of the Tools panel.

Use this image as a guide. You can also use negative numbers to reduce the rigidity of another pin. Now you can change the Deform pin positions to animate the character. Creating a walking cycle Initially, the character should be walking across the screen. To create a realistic walking cycle, keep in mind that as humans walk, wave patterns develop in the motion path. However, the values will vary slightly to add a bit of randomness, and to keep the character from looking too much like a robot.

So equals 1 second and 15 frames. At Squash and stretch As the character moves, his body squashes and stretches. Squash and stretch is a traditional animation technique that adds realism and weight to objects. The easiest way to understand the principle of squash and stretch is to view an animation of a bouncing ball. As it bounces up, it stretches. The falling movements occur more quickly than the walking cycle. Moving an object Of course, when the man slips on the banana peel, the banana peel moves, too.

Then make a RAM preview and view your animation. If necessary, adjust the Position property for Deform pins in the Timeline panel.

Roving keyframes create smooth movement across several keyframes at once. Go ahead and experiment with the Easy Ease and roving keyframe features, but start by trying to make your keyframes match those shown below.

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

The composition moves forward through time as you move the pin. When you stop recording, the current-time indicator returns to the point at which you began recording, so that you can record the path for another pin during the same time period. To change the ratio of recording speed to playback speed, click Record Options in the Tools panel, and change the Speed value before recording.

Select Puppet to see the pins in the Composition panel.

 
 

 

[Getting Started with Adobe After Effects CC download free tutorial in pdf

 
Use the Learn workspace and Learn panel. Learn panel. Designed for new-to-After Effects users, you can use tutorials in the Learn panel to quickly learn. Chris & Trish Meyer provide free video tutorials about new features in After Effects CS For the tutorials, see this Adobe TV video series.