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21.
Animating Layers in After Effects CS3
By Adobe Creative Team
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.
22.
Pyrotechnics: Creating Fire, Explosions, and Energy Phenomena in After Effects 7.0
By Mark Christiansen
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.
23.
Virtual Cinematography in After Effects 7.0
By Mark Christiansen
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.
24.
Climate: Air, Water, Smoke, Clouds in After Effects 7.0
By Mark Christiansen
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.
25.
Color Correction in Adobe After Effects CS3
By Mark Christiansen
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.
26.
Keying in After Effects CS3
By Adobe Creative Team
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.
27.
Using Keylight for Adobe After Effects CS4
By Mark Christiansen
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.
28.
Using Adobe After Effects CS4: Creating Compositions in Device Central
By Adobe Creative Team
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.
29.
Keyframing a Motion Path in Adobe After Effects CS4
By Adobe Creative Team
Oct 20, 2008
This excerpt, adapted from Adobe After Effects CS4 Classroom in a Book, shows you ways to animate a car.
30.
Controlling the View in the Footage Panel in After Effects CS4
By Antony Bolante
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.
31.
After Effects CS4: How to Use All Those Panels
By Antony Bolante
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.
32.
Preprocessing: How Real Movie Magic is Made
By Andy Beach
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.
33.
What's the Score? Creating Compositions in After Effects
By Antony Bolante
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.
34.
Get a Grip! How to Manage Your Footage in After Effects 7
By Antony Bolante
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.
35.
Selections: The Key to Compositing in Adobe After Effects 7.0
By Mark Christiansen
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.
36.
Managing Footage in Adobe After Effects 7
By Antony Bolante
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.
37.
Managing Footage
Nov 3, 2006
38.
Managing Footage
Aug 28, 2006
39.
Selections: The Key to Compositing
Jul 17, 2006
40.
Animating Text in Adobe After Effects 7.0
By Adobe Creative Team
May 4, 2006
After Effects offers many ways to animate text. You can animate text layers by manually creating keyframes in the Timeline panel, by using animation presets, or by using expressions. You can even animate individual characters or words in a text layer. This lesson takes you through several different animation techniques, including some that are unique to text, while you design the opening title credits for an animated documentary called The Pond.

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