Adobe After Effects

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Getting Started and Getting to Know the Workflow of Adobe After Effects CS4: Mar 2, 2009; Learn the how to get started and the basic workflow of Adobe After Effects CS4, including how to create a project and import footage, create compositions and arrange layers, navigate the Adobe After Effects interface and more.

Color Keying in After Effects CS3: Nov 19, 2008; Are your matte edges crunchy, chewy, contrasty, solid, sizzling? Do these terms even mean anything to you? They will by the time Mark Christiansen finishes showing you how to work with After Effects CS3 color keying.

Distorting Objects with the Puppet Tools in After Effects CS3: Nov 14, 2008; Pull, squash, stretch, and otherwise deform objects onscreen using the After Effect CS3 Puppet tools. Whether you're creating realistic animations, fantastic scenarios, or modern art, the Adobe Creative Team shows you how the Puppet tools can expand your creative freedom.

Animating Layers in After Effects CS3: Nov 13, 2008; Animation is all about making changes over time to an object or image's position, opacity, scale, and other properties. In this step-by-step exercise, the Adobe Creative Team explores some of the fun possibilities for animating a Photoshop file in After Effects CS3.

Pyrotechnics: Creating Fire, Explosions, and Energy Phenomena in After Effects 7.0: Nov 13, 2008; Humans are so familiar with fire that we can tell when it looks wrong, even if we don't understand the physics of explosions and fireworks. By using Mark Christiansen's After Effects techniques, however, you can provide at the compositing stage what the filmmaker couldn't afford on set: realism.

Virtual Cinematography in After Effects 7.0: Nov 13, 2008; Mark Christiansen's far-reaching article discusses multiple aspects of replicating a physical camera in After Effects, with the ultimate goal of matching, influencing, or changing the camera's perspective.

Climate: Air, Water, Smoke, Clouds in After Effects 7.0: Nov 12, 2008; If you think of a color key as an edge matte surrounded by two holdout mattes (one for the core, one for the background), how do you combine these mattes in Keylight? Mark Christiansen explains.

Color Correction in Adobe After Effects CS3: Nov 12, 2008; Mark Christiansen demonstrates that color matching in After Effects is a skill that you can practice and refine, even if you have no feel for adjusting images - and even if you tend to think of yourself as colorblind.

Keying in After Effects CS3: Nov 12, 2008; Does the idea of keying conjure up images of a meteorologist on the evening news, or a shooting technique used in motion pictures? With After Effects, even the simplest, least-expensive project can take advantage of keying. The Adobe Creative Team takes us through a step-by-step example of this technique.

Using Keylight for Adobe After Effects CS4: Oct 23, 2008; If you think of a color key as an edge matte surrounded by two holdout mattes (one for the core, one for the background), how do you combine these mattes in Keylight? Mark Christiansen explains.

Using Adobe After Effects CS4: Creating Compositions in Device Central: Oct 21, 2008; Learn how to create compositions in Device Central to create movies that play correctly and look as you intend on the mobile devices you choose.

Keyframing a Motion Path in Adobe After Effects CS4: Oct 20, 2008; This excerpt, adapted from Adobe After Effects CS4 Classroom in a Book, shows you ways to animate a car.

Controlling the View in the Footage Panel in After Effects CS4: Oct 8, 2008; The Footage panel in After Effects CS4 provides a myriad of features for adjusting how you view your footage. Antony Bolante discusses helpful options such as grids, guides, rulers, magnification, and more.

After Effects CS4: How to Use All Those Panels: Sep 23, 2008; When you first start working with After Effects CS4, all those many panels and tools onscreen can be really intimidating. Antony Bolante provides a quick panoramic overview of the main panels, pointing out the uses for each, to help you get familiar with the interface quickly.

Preprocessing: How Real Movie Magic is Made: May 5, 2008; In this excerpt from Real World Video Compression, author Andy Beach shares industrial-strength preprocessing techniques that will make your video look professional no matter what device you're watching it on.

What's the Score? Creating Compositions in After Effects: Feb 8, 2008; Antony Bolante shows you step-by-step how to create compositions in After Effects CS3 Professional that will be music to your ears.

Get a Grip! How to Manage Your Footage in After Effects 7: Jan 26, 2007; In this chapter, you'll learn how to use the Project panel in After Effects 7 to organize and sort the items contained in your project. You'll also learn about other aspects of asset management such as how to replace missing footage and use placeholders and proxies to temporarily stand in for footage items. As always, taking a little time to prepare will save you a lot of time in the long run.

Selections: The Key to Compositing in Adobe After Effects 7.0: Dec 22, 2006; A particle physicist works with atoms, bakers and bankers work with their own types of dough, and compositors work with selections—many different types of selections, each of them derived uniquely. In this chapter, you'll look at the foundation techniques that define how a layer merges with those behind it.

Managing Footage in Adobe After Effects 7: Dec 8, 2006; In this chapter, you'll learn how to use the Project panel in Adobe After Effects 7 to organize and sort the items contained in your project. You'll also learn about other aspects of asset management such as how to replace missing footage and how to use placeholders and proxies to temporarily stand in for footage items. As always, taking a little time to prepare will save you a lot of time in the long run.