By Mark Christiansen
This is often the one ebook out there to concentration completely at the construction of visible results for After results clients, and is a one-stop source for someone who desires in-depth reasons that demystify the world of visible results and the way they have been created, due to veteran writer Mark Christiansen's pleasant and obtainable type. A completely packed, informative learn, this masterful advisor makes a speciality of explaining the fundamental ideas, good points, and strategies which are key to making seamless movie-quality visible results. clients who're ok with After results will discover a important evaluation of the basics - handling pictures, viewing and enhancing layers, animating variety, and extra - to allow them to how to paintings smarter and extra successfully. Readers of all degrees will study center ideas for results compositing together with colour matching, keying, rotoscoping, movement monitoring, emulating the digital camera, and concluding with utilizing expressions in After results, written by way of contributor and specialist Dan Ebberts. a really necessary appendix on scripting in After results is incorporated to boot, written by means of Adobe engineer Jeff Almasol. the ultimate element of the booklet delves into artistic explorations, demonstrating specialist results which are usually visible in motion pictures and video games which readers can re-create. Readers also will locate finished assurance of all that is new and makes this model of Adobe's results programa must-have replace, together with the innovative new Roto Brush, all new results equivalent to the hot Refine Matte influence, new help for colour Look-Up Tables, workflows that benefit from the all-new 64-bit aid, inclusion of third-party instruments for extra creativity, and masses extra.
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This can be the single ebook out there to concentration completely at the production of visible results for After results clients, and is a one-stop source for a person who wishes in-depth causes that demystify the area of visible results and the way they have been created, because of veteran writer Mark Christiansen's pleasant and available sort.
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Extra resources for Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques
8 This is all a little abstract without working on the actual elements. I have done whole After Effects animations that have no source elements at all, but these are typically type animations with solid, shape, and particle-based effects created right in the application—in other words, they are more motion graphics than visual effects, which are almost always based on source footage—on the effects plate. Let’s have a look. 2). Listed are its pixel dimensions (1280 x 720), pixel aspect ratio (1 or square), duration (in frames or time, depending on your project settings—more on all of these later), frame rate, and color depth.
If QuickTime is fast food—convenient but potentially bad for the health of your project, causing bloat and slowness—then image sequences are a home-cooked meal, involving more steps but offering more control over how they are made and consumed. One surprise for the novice is that video images are not typically made up of whole frames containing square pixels like stills. A video frame, and in particular one shot for broadcast, is often interlaced into two ﬁelds, and its pixels are stored nonsquare, for the purpose of faster and more efﬁcient capture and delivery.
For sending ﬁles internally, TIFF with lossless LZW compression is solid and can handle higher bit depths and color management. Low-loss output could be QuickTime with Photo-JPEG at around 75 percent. It works cross-platform and at 100 percent quality, it provides 4:4:4 chroma sampling, and at 75 percent, 4:2:2 (see Chapters 6 and 11 for details on what that means). 264 are most successful on multiple passes. Assemble the Shot Naming Conventions Part of growing a studio is devising a naming scheme that keeps projects and renders organized.