To animate text with text animator groups
Once you create and format your text layers, use text animator groups to quickly and easily create elaborate animations. A text animator group includes one or more selectors and one or more animator properties. A selector is like a maskit specifies which characters or section of a text layer you want an animator property to affect. Using a selector, you can define a percentage of the text, specific characters in the text, or a specified range of text. Using a combination of animator properties and selectors, you can create complex text animations that would otherwise require painstaking keyframing. Most text animations require you to animate only the selector valuesnot the property values. Consequently, text animators use a small number of keyframes even for complex animations. For example, to animate the opacity gradually from the first character to the last, set the Opacity value (in the Animator group) to 0, and
About the Expression selector
The Expression selector lets you dynamically specify how much you want characters to be affected by an animator property through the use of expressions. You can add one or more Expression selectors to an animator group, and that animator group can contain one or more properties.

LESSON 4

Lesson 4: Animating a Multimedia Presentation
Lesson 4 builds a complex animation involving multiple layers, several types of keyframes, audio, and more. It starts from a layered, imported Photoshop file. These notes provide additional background and teaching material on how After Effects works with Photoshop and Illustrator files. shop or Illustrator file becoming a separate layer in the composition and changing dimensions to match the composition size. This option, Composition, is helpful when you need to align layers manually. As a single still-footage item imported from any one layer in the Photoshop or Illustrator file. As a single still-footage item merged as you import multiple Photoshop or Illustrator layers.

Layered files

You can import Adobe Photoshop, Adobe Illustrator, EPS, and many PDF files directly into an After Effects project. After Effects imports attributes that were applied in Photoshop, including position, blending modes, opacity, visibility, transparency (alpha channel), layer masks, layer groups (imported as nested compositions), adjustment layers, common layer styles (Drop Shadow, Inner Shadow, Outer Glow, Inner Glow, Bevel and Emboss, and Color Fill), layer clipping paths, vector masks, image guides, and clipping groups. You can also create a new Photoshop file and add it as the top layer in a composition from within After Effects, or use After Effects to create a new Photoshop file without adding it to a specific composition. When you import an Illustrator file, After Effects makes all empty areas transparent by converting them into an alpha channel. After Effects can import Illustrator CMYK files. However, to maintain accurate color, convert your CMYK images to RGB images in Illustrator. You can import a multilayered Photoshop or Illustrator file in the following ways: As a new composition, with each layer in the Photoshop or Illustrator file becoming a separate layer in the composition that keeps its original dimensions. This option, Composition - Cropped, makes it easier to manipulate layers and speeds their rendering time. As a new composition, with each layer in the Photo-

Preparing layered Photoshop files
Importing layers into After Effects makes it possible to prearrange a composition in Photoshop using layers and preserve those layers in After Effects so that they are ready for animation. Preserving layers is also useful if you want to use a single Photoshop file as a source for both print and dynamic media. Before you import a layered Photoshop file, prepare it thoroughly to reduce preview and rendering time. Avoid problems importing and updating Photoshop layers by naming them properly. Before you import them into After Effects, do the following: Organize and name layers. If you change a layer name in a Photoshop file after you have imported it into After Effects, After Effects retains the link to the original layer. However, if you delete a layer, After Effects is unable to find the original layer and lists it as Missing in the Project panel. Make sure that each layer has a unique name to avoid confusion. If you want to import a composited version of a layered Photoshop file along with a layered version, select Always Maximize Compatibility For Photoshop (PSD) Files in the Photoshop File Handling Preferences dialog box.
Preparing Illustrator files
Before you save an Illustrator file for importing into
After Effects, consider doing the following: To ensure that Illustrator files appear correctly in After Effects, select Create PDF Compatible File in the Illustrator Options dialog box. To copy paths between Illustrator and After Effects, make sure that the AICB and Preserve Paths options are selected in the Files & Clipboard section of the Illustrator Preferences dialog box. If you dont select AICB in Illustrator, After Effects prompts you when you attempt to paste the path. To ensure that files rasterize most faithfully in After Effects, save your file in AI format instead of Illustrator 8.x or 9.x EPS format.
To use adjustment layers from Photoshop
Adjustment layers in Photoshop change the color and tonal qualities of an image without permanently modifying the original image. Photoshop adjustment layers affect the appearance of all layers below them. When you import a Photoshop file containing one or more adjustment layers as a composition, After Effects directly converts the Photoshop adjustment layers to After Effects adjustment layers. To remove the effect and display the layer as a white solid, turn off the Adjustment Layer switch in After Effects. To remove the effect and the white solid, either delete the adjustment layer or turn off the Video switch for the layer.
Transparency in Photoshop files
Photoshop supports a transparent area and one optional layer mask (alpha channel) for each layer in a file. You can use these layer masks to specify how different areas within a layer are hidden or revealed. If you import one layer, After Effects combines the layer mask (if present) with the transparent area and imports the layer mask as a straight alpha channel. If you import a layered Photoshop file as a merged file, After Effects merges the transparent areas and layer masks of all the layers into one alpha channel that is premultiplied with white. If the layered Photoshop file contains clipping groups, After Effects imports each clipping group as a composition nested within the main composition. After Effects automatically applies its Preserve Underlying Transparency option to each layer in the clipping-group composition, maintaining transparency settings. When you import a Photoshop file as a composition, any vector masks convert to After Effects masks. You can then modify and animate these masks within After Effects. After Effects also supports any blending modes applied to the file. For more details about how After Effects works with transparency in Photoshop files, visit the support area of the Adobe website.

Design an Illustrator CS2 workflow for video production
When you import Illustrator CS2 files into video production applications, you can save production time by setting up Illustrator CS2 files for maximum efficiency: Customize the startup fileYou can customize the default settings for new files by editing the startup file that Illustrator CS2 uses for RGB files. In the Plug-ins folder within the Adobe Illustrator CS2 applications folder, youll find two files: Adobe Illustrator CS2 Startup_CMYK.ai and Adobe Illustrator CS2 Startup_ RGB.ai. These files contain the default settings for new Illustrator CS2 CMYK and RGB documents, respectively. For a video production workflow, edit the Adobe Illustrator CS2 Startup_RGB.ai file. You can set the default Artboard Size to match your most frequently used After Effects composition size. In addition, you can customize the contents of any palette. For example, if your shop has a standard set of Illustrator CS2 graphic styles or symbols, you can save them into the Adobe Illustrator CS2 Startup_RGB.ai file, and theyll be available in every Illustrator CS2 document you create. As you create documents using the File > New command, you can adjust the artboard size, orientation, and document color mode in the New Document dialog box. Create document templatesA template is a customized Illustrator CS2 document that creates an untitled document when you open it. You can use templates to create frequently-used documents that differ from your customized startup file. Theres only one difference between saving a document as a document or as a template: To save a document as a template, choose Illustrator CS2 Template from the Format menu in the Save As dialog box. Open a template using the same methods you use to open a document.
Edit Illustrator CS2 files from within After Effects projects
Whenever you have an Illustrator CS2 file in an After Effects project, you can open the file in Illustrator CS2 directly from After Effects. To open an Illustrator CS2 file, select it in the Project panel and choose Edit > Edit Original. When you save the file in Illustrator CS2, the file is automatically updated in After Effects.

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Lesson 5: Animating Layers
Lesson 5 introduces students to the Layer panel, which they use to remap time, and to the Graph Editor, where they edit Time Remap keyframes.
To select Graph Options in the Graph Editor
Click the Graph Options button at the bottom of the Graph Editor, and select from the following options: Auto-Select Graph Type Automatically selects the appropriate graph type for a property: speed graphs for spatial properties (such as position), and value graphs for other properties. Edit Value Graph Displays the value graph for all properties. Edit Speed Graph Displays the speed graph for all properties. Show Reference Graph Displays the unselected graph type in the background for viewing only. (The gray numbers to the right of the Graph Editor indicate the values for the reference graph.) Show Audio Waveforms Displays the audio waveform for any layer that has at least one property in the Graph Editor. Show Layer In/Out Points Displays In and Out points of all layers that have a property in the Graph Editor. Show Layer Markers Displays layer-time markers in the Graph Editor, if they exist. Show Graph Tool Tips Toggles the graph tool tips on and off. Show Expression Editor Shows or hides the expression editor field. Allow Keyframes Between Frames Allows placement of keyframes between frames for fine-tuning animation.

Create motion paths in Illustrator CS2
The path-drawing features in Illustrator CS2 are wellsuited to any task that involves drawing a path. Motion graphics typically depend on motion paths, and you can draw motion paths more quickly and precisely in Illustrator CS2 than you can in After Effects. In After Effects, you create a motion path by animating the Position property and setting a different position for each keyframe. You then refine the path by dragging handles on the path. This method works well for freeform paths, but it can be time-consuming to edit a motion path into a regular shape such as a perfect circle. Instead of building a motion path from two original points as in After Effects, you can draw a path in Illustrator CS2 using the tool that most efficiently creates the shape you want. For example, lets look at animating a layer along a perfect semicircular arc. In After Effects, you establish the layer position at the beginning and ending keyframes, and then drag control handles to form the arc; it isnt easy to form a perfect semicircle in this way. And while its possible to animate along an arc using a mathematical expression, not every motion graphics designer is a mathematician. For a quick alternative, draw the shape

LESSON 7 14

Lesson 7: Keying
Lesson 7 is about keying. A common task in video production, keying removes the background of a clip so that you can place the subject in another environment. Keying allows the weather anchor to appear in front of a map, a superhero to fly across the night sky, and more prosaically, production artists to prepare video files for compositing in other applications. You create a key by isolating the background pixels; After Effects uses the keyed pixels to create an alpha channel that defines the transparent background. The alpha channel can be included in certain video formats, such as Flash Video (FLV), for use in other applications. After Effects offers a comprehensive set of keying controls that lets you create seamless compositions. In this tutorial, which you can use in class to supplement the keying exercises in Lesson 7, youll key livemotion footage of a DJ shot against a green screen. Not only will you remove the green background, youll also explore ways to finesse the key to minimize spill (or halo effects) and clean up the edges of the subject. The files used in this tutorial are on Disc 2 of the Total Training Video Workshop (included with After Effects). Depending on the television standard for your region, copy either the NTSC or PAL folder from the After Effects 7.0 folder to your desktop. Alternatively, you can follow along using your own files. Youll need footage shot against a green screen.

Lesson 8 covers color correction. To ensure that color appears on a viewers system as students see it on their computers, a complete understanding of color and color management is useful. Transitions between colors are smoother with less visible banding, and more detail is preserved than with 8-bpc color (though less than with 32-bpc color). You can import 16-bpc images, including those from Adobe Photoshop, and composite and color-correct footage in 16-bpc mode. Take advantage of 16-bpc color when performing most After Effects tasks, including layer adjustment, frame blending, 3D compositing, and Cineon file import. The Info panel displays 16-bpc color values with exact precision. When rendering to output module depths of Trillions Of Colors, set the project to 16-bpc color depth to take advantage of the output files extra color precision.

About color depth

Color depth is the number of bits per channel (bpc) used to represent the color of a pixel. Channels contain color information: RGB images have channels for red, green, and blue. The more bits per channel, the more colors can be represented. In After Effects, you can work in 8-bpc, 16-bpc or 32bpc color mode for each project; 16-bpc and 32-bpc color modes are available only in After Effects Professional. Many effects support 16 and 32 bits per channel (see Color depth and effects). Even if your output is 8-bpc (Millions Of Colors), you can obtain better rendering quality by having the project (or render) color depth set at 16-bpc or 32-bpc because of the added precision achieved by calculating color values at higher bit depths. 32-bpc color mode (Pro only) is for working with HDR (high dynamic range) images. After Effects assumes that all HDR footage represents color linearlyin linear light. When you import HDR images, After Effects converts floating-point 32-bit values from linear light to the projects working color space. If you havent chosen a working color space for your project, After Effects converts HDR footage from linear light using a gamma value of 2.2; this value represents the gamma for a typical monitor. Gamma is the exponent used in converting RGB levels. When you render to a 32-bpc output format, After Effects removes the gamma applied on import, converting 32-bit values back to linear light. 16-bpc color-mode (Pro only) frames require half the memory of 32-bpc frames and offer advantages in terms of speed and storage. Use 16-bpc mode when you work with high-resolution images that contain a narrow range of colors, such as when youre creating subtle gradients for film effects or HDTV output.

and produce more consistent output. Make sure your monitor is displaying millions of colors or 24-bits-per-pixel or higher. Remove colorful background patterns on your monitor desktop and set your desktop to display neutral grays. Busy patterns or bright colors surrounding a document interfere with accurate color perception. Do one of the following to calibrate and profile your monitor: In Windows, use the Adobe Gamma utility, located in the Control Panel.
Note: Dont use Adobe Gamma to calibrate an LCD (flat panel) monitorit doesnt produce reliable results. Instead, use a hardware calibrator.
In Mac OS, use the Calibrate utility, located in the System Preferences/Displays/Color tab. For best results, use third-party software and measuring devices. In general, using a measuring device such as a colorimeter along with software can create more accurate profiles because an instrument can measure the colors displayed on a monitor far more accurately than the human eye can.
Note: Monitor performance changes and declines over time; recalibrate and profile your monitor every month or so. If you find it difficult or impossible to calibrate your monitor to a standard, it may be too old and faded.
To calibrate and profile your monitor
When you calibrate your monitor, youre adjusting it so that it conforms to a known specification. After your monitor is calibrated, the profiling utility lets you save a color profile. The profile describes the color behavior of the monitorwhat colors can be reproduced on the monitor and how the color values in an image must be converted so that colors are displayed accurately. Before you calibrate and profile your monitor, make sure that your work environment provides a consistent light level and color temperature. For example, the color characteristics of sunlight change throughout the day and alter the way colors appear on your screen, so keep shades closed or work in a windowless room. Make sure your monitor has been turned on for at least half an hour. This gives it sufficient time to warm up
Most profiling software automatically assigns the new profile as the default monitor profile. For instructions on how to manually assign the monitor profile, refer to the Help system for your operating system.
To choose a working color space
If you dont choose a working color space for a project, After Effects uses the color space of the monitor. For best results, choose a working color space that matches your output color space. For example, choose SDTV (Rec 601 NTSC) if youre preparing footage for broadcast video, or choose sRGB IEC61966-2.1 if youre preparing footage for the web. A good match between working and output color spaces not only lets you take advantage of the After Effects color manage-

LESSON 8 18

ment feature but also gives more accurate previews and somewhat more accurate results when linear blending is used (see To enable linear blending). Setting a working color space, however, can significantly slow RAM previews. The color spaces available in After Effects vary based on the color profiles installed on your computer.
1. Choose File > Project Settings. 2. Choose a working color space from the Working Space menu. 3. Use the Color Profile Converter effect to convert a layer from one color space to another. For example, apply the Color Profile Converter effect to an adjustment layer at the top of a composition to convert output to a different color space.

To proof colors

If youve chosen a working color space, you can choose to proof your colors as theyd appear without the working color space applied; that is, as raw color values in the color space of the monitor.
1. Choose View > Proof Setup > Unmanaged. 2. Choose View > Proof Colors to toggle the proof display on and off. When proofing is enabled, a check mark appears next to the Proof Colors command.

LESSON 9 19

Lesson 9: Building and Animating a 3D Object
Lesson 9 is the first of a two-part project that covers all aspect of 3D animation in After Effects. Here is some additional useful information about 3D editing in After Effects. folder as the imported PIC file. Similarly, Electric Image (EI) files can now have associated EIZ files with z-depth channel data. Just as with ZPIC files, you cannot import EIZ files into After Effects; instead, you simply store them in the same folder as the EI files. For information about creating EIZ files, see your Electric Image documentation. After Effects can also import baked camera data, including focal length, film size, and transformation data, from Maya project files as a single composition or two compositions.
Using third-party 3D files
Though After Effects can import some third-party files with depth information and interpret the z-axis information in those files, it cannot animate individual objects within those files. After Effects treats each composited third-party 3D file as a single layer. That layer, as a whole, can be given 3D attributes and treated like any After Effects 3D layer, but the objects contained within that 3D file cannot be manipulated individually. To access the 3D depth information in these files, use the 3D Channel effects.

Camera settings

You can set up cameras in After Effects to simulate the capabilities of real-world cameras. Use camera settings to configure the camera view to match the settings you use to record video footage or to look at the footage from a new perspective. You can change camera settings at any time by selecting the camera layer and choosing Layer > Camera Settings. NameSpecifies the name of the camera. By default, After Effects assigns the name Camera 1 to the first camera you create in a composition, and all subsequent cameras are numbered in ascending order. If you delete a camera, and are still using the After Effects default naming convention, After Effects names the next camera you create with the lowest available number. You should choose distinctive names for multiple cameras to make it easier to distinguish them. PresetSpecifies the type of camera settings you want to use. Cameras come with several presets. The presets are named according to focal lengths. Each preset is meant to represent the behavior of a 35mm camera with a lens of a certain focal length. Therefore, the preset also sets the Angle Of View, Zoom, Focus Distance, Focal Length, and Aperture values. The default preset is 50mm. You can also create a custom camera by specifying new values for any of the settings. ZoomSpecifies the distance from the position of the camera to the image plane. Angle Of ViewSpecifies the width of the scene captured in the image. The Focal Length, Film Size, and Zoom values determine the angle of view. A wider angle of view creates the same effect as a wide-angle lens. Enable Depth Of FieldApplies custom variables to the Focus Distance, Aperture, F-Stop, and Blur Level settings. Using these variables, you can manipulate the depth of field to create more realistic camera-focus-
ApertureSpecifies the size of the lens opening. The Aperture setting also affects the depth of field; increasing the aperture increases the depth of field blur. When you specify new values for Aperture, the values for F-Stop change dynamically to match it. F-StopRepresents the ratio of the focal length to aperture. Most cameras specify aperture size using the fstop measurement; thus, many photographers prefer to set the aperture size in f-stop units. When you specify new values for F-stop, the values for Aperture change dynamically to match it. Blur LevelControls the amount of depth-of-field blur in an image. A setting of 100% creates a natural blur as dictated by the camera settings. Lower values reduce the blur. Film SizeSpecifies the size of the exposed area of film, which is directly related to the composition size. When you specify new values for Film Size, the Zoom value changes to match the perspective of a real camera. Focal LengthSpecifies the distance from the film plane to the camera lens. In After Effects, the cameras

LESSON 10 21

position represents the center of the lens. When you specify new values for Focal Length, the Zoom value changes to match the perspective of a real camera. In addition, the Preset, Angle of View, and Aperture values change accordingly. UnitsSpecifies the units of measurement in which the camera setting values are expressed. Measure Film Size Specifies the dimensions used to depict the film size. About 3D previews You can speed up preview time for 3D layers by enabling Wireframe mode on the Fast Previews menu or by using Draft 3D mode. These preview modes reduce the amount of data displayed in a 3D layer, so the screen redraws faster. You can also use OpenGL for faster previews of 3D layers.

About 3D rendering

After Effects provides three 3D rendering plug-ins: Advanced 3D, Standard 3D, and OpenGL Hardware. These plug-ins compute the motion blur, lighting, shadow, and depth-of-field information unique to 3D. OpenGL also provides rendering support for a number of other 2D effects. After Effects can also use OpenGLif the appropriate hardware is available during interactions like moving and rotating layers. After Effects can use the Advanced 3D rendering plugin to create both RAM previews and output files. The 3D rendering plug-in you specify becomes the default for future compositions.

LESSON 11 22

Lesson 11: Advanced Editing Techniques
Lesson 11 looks at some of the advanced editing techniques available in the Professional version of After Effects 7.0. However, it only touches on one new and important feature: support for HDR color. Here is some additional information about HDR, as well as a tutorial, to supplement the lesson. much more like natural light, even through several color corrections.
Adjust the exposure of an HDR image
1. Open the After Effects project HDR_1.aep. Select the PSD file. Its thumbnail, labeled Floating Point, appears at the top of the Project panel. The bottom of the Project panel indicates that the file is in 32 bpc mode. 2. From the Workspace menu, choose Standard to ensure that the Info panel is clearly visible. Select Auto Color Display from the Info panel menu. 3. Move the pointer around the image in the Composition panel, noting the R, G, and B values in the Info panel. Most of the images pixel values are in the normal Decimal range of 0.0 to 1.0. (In 8-bit terms, this range is 0 to 255.) Now move the pointer over the brightest areas of the image, and note that the values are greater than 1.0. These areas contain whiter-than-white values. 4. Select the HDR.psd layer in the Timeline panel, and choose Effect > Color Correction > Levels. Move the pointer over the brightest areas again, and note that the values are 1.00. In the Effect Controls panel, deselect Clip To Output White. Note that the values are again greater than 1.0. Set Output White to 0.5. The result is similar to stopping down a cameras lens aperture, reducing the amount of light entering the camera. 5. Select Clip To Output White, and notice that the bright values turn gray. If the brightest possible white is limited to 1.0 (with clipping on), setting Output White to 0.5 turns it medium gray. But if the brightest possible white is limited to 2.0 (with clipping off), setting Output White to 0.5 turns it back to full white, or 1.0 (with clipping on). Darker values in the visible range also change proportionally. 6. Apply a second Levels effect just as you did in step 3. This time, set Output White to 2.0. Look familiar? Essentially, you restored the levels to their original values with the second occurrence of the effect. Toggle the effects off for this layer by clicking the Effect switch in the Timeline panel. Note that no loss of image quality occurs, even though you made two drastic Levels adjustments. The image quality is retained because the HDR pipeline provides space to store and retrieve the value changes.

Working with natural light in HDR
Its a common yet mistaken assumption that the only After Effects Professional users who have any business using 32-bit mode are artists working on big-budget blockbuster films. The reality is that anyone using the Professional edition can benefit from the 32-bit HDR pipeline. Not only does 32-bit mode mean more colors and more accuracy than the 8-bit or 16-bit modes, it also means that the behavior of light and color in After Effects is remarkably similar to the behavior in the natural world. In this tutorial, youll explore how 32-pbc images preserve the full range of light data, and how the same principals apply whether or not youre starting with a 32-bit source. The files used in this tutorial are on Disc 2 of the Total Training Video Workshop (included with After Effects). Depending on the television standard for your region, copy either the NTSC or PAL folder from the After Effects 7.0 folder to your desktop. Alternatively, you can follow along using your own files. Youll need an After Effects project file and a layered 32 bpc PSD file.

Work with 32-bit input

The most obvious advantage for 32-bit support is that it allows you to work with 32-bit source images. Such images can store light values beyond what your monitor displays as full white. These light values are useful when you want to manipulate the light, such as bringing the light values of your scene down. In 8-bit and 16-bit images, really bright white values are clipped to the color spaces highest value; bringing these clipped colors down turns them gray. However, 32-bit images, which retain the original (non-clipped) values, behave

LESSON 11 23

Take advantage of HDR without 32-bit source
Even if you dont have HDR source material available, the ability to work with values that fall outside the range of your monitor can still transform your work.
1. Open the project HDR_2.aep. The Main composition consists of three layers: a precomposed Source Text 3D layer, a Camera 1 layer, and a Light 1 layer. In the Timeline panel, reveal the properties for the Camera 1 layer. Notice that Depth Of Field is on, and Focus Distance is at the center of the text layer. Reveal the properties for the Light 1 layer. Notice that at frame 0 Intensity is set to 100%, and at the end frame its set to 1000%, ten times greater. 2. In the lower right corner of the Composition panel, adjust the Exposure control by dragging across the value beside it. Dragging to the right increases the exposure; dragging to the left decreases exposure. Increasing the value by 1.0 is equivalent to increasing exposure by one stop. 3. Alt-click (Windows) or Option-click (Mac OS) the 32 bpc button at the bottom of the Project panel, toggling the mode to 8 bpc. Not only do the lighting effects disappear, but so does the Exposure control, which is available only in 32 bpc mode.

Note: The Exposure control is for previewing purposes only. To achieve similar results that show up in your final render, increase the Intensity of the light or apply the Exposure effect. (Keep reading for more information.)
What is happening in 32-bit HDR mode?
As youve just seen, 32 bpc can calculate and hold values even above the brightest value that your monitor can display. (Monitors display brightness at 1.0 on a decimal scale, or at 255 in 8 bpc color.) But what use are these color values if your monitor cant display them? Because the bright values arent clipped, theyre more realistic. The real world contains brightness values far beyond what your monitor can display. And now you can capture a little bit of that reality in After Effects.

Go further with HDR

Several effects have been upgraded to work in 32 bpc, and new effects have been added to take advantage of HDR. In the Effects & Presets panel, choose Show 32 bpc Effects Only from the panel menu to see these effects. Many are ideal for blurs and color correction. A separate, somewhat more complicated benefit of HDR is the Linear Blending option. To set this option, choose File > Project Settings. Linear Blending changes the way that After Effects works internally with gamma; it combines light levels in a way thats similar to how theyre combined in the real world. However, to use this option properly, the source images and the working space of your project must be converted to support an altered gamma. For more information, see After Effects Help.

LESSON 12 24

Lesson 12: Rendering and Outputting
Lesson 12 covers the topics rendering and outputting. Here is some addition information about DV and HD output. Because the multigigabyte storage media that would be needed is costly, and the process of uploading can be very time-consuming, projects and source files are not usually saved in their entirety. If you do want to save your entire project, you can trim unused frames from some or all of your source clips and remove unused clips in their entirety from Project Bins. Typically, however, a digital master file is exported and archived, the original raw footage is stored on tapes, and an Edit Decision List (EDL) is saved. If the project needs to be revised later, the master file can often be edited. For more extensive repurposing, the EDL can be used to recapture the necessary clips from the original tapes. Files used to develop titles, graphics, and animations, as well as portions of the project that have undergone extreme manipulation to achieve special effects can also be archived. Today, more and more production professionals are exporting Advanced Authoring Format (AAF) files rather than EDLs to archive or exchange projects. AAF is a widely supported industry standard for high-end exchange of data, such as the information necessary to transfer a video project from one platform to another. An AAF file helps you preserve as much of the projects integrity as possible when you transfer it to another system. However, not all elements of a project can be successfully transferred using AAF. Also, the application you use to open the AAF file may not support all features. In general, an AAF file dependably translates editing data and commonly used transitions, such as cross-dissolves and wipes, but does not support effects (filters) or audio fade and pan information, including audio transitions.

Getting video out of your computer
Once you have finished assembling and editing clips, its time to get your final production out of your computer and on its way to distribution. These days, creative professionals are expected to deliver video that can be used in multiple media. Broadcast and film professionals alike are now creating web-based work, while web designers may need to create animations that are output in video formats. DVDs have also become an extremely popular way to combine high-quality video and audio content with menu-driven interactivity. To address this growing need for flexibility, After Effects offers a wide range of options that enable you to produce high-quality deliverables for any medium. The project you edited in the Timeline does not actually contain the material from which it was pieced together. Rather, it references your source files. Before export, make sure that the Timeline is ready to output at the quality you require. For example, replace any offline files with high-resolution files suitable for final export. To get your edited program out of your computer in one piece, you can: Record the timeline to physical media including videotape or motion picture film, assuming that you have the proper hardware for video or film transfer, or have access to a service provider that offers the appropriate equipment and services. Export a video file for viewing from a hard disk, removable cartridge, CD, DVD, or the web. Export portions of your timeline as clips. Capture stills or sequences of stills.

Exporting to videotape

You can record your edited program onto videotape directly from your computer. This process can be as simple as playing the Timeline and recording on a connected device. When you record standard DV video back to standard DV tape, all that is required is an IEEE 1394 connection. However, if you plan to record DV audio and video to an analog format, such as VHS

Good housekeeping

In professional production environments, after a video project has been completed, it is typically cleared from the editing system to make room for new work.

LESSON 12 25

tape, youll need a device that can convert DV to analog using the connectors supported by your analog video recorder. Most DV cameras and all DV video tape recorders are capable of this conversion; some DV cameras require you to record the video to DV tape, then copy the DV tape to the analog video recorder.

dio solution set. To learn more about DVD production and Adobe Encore DVD, take a look at the Adobe DVD Primer on the Adobe website at www.adobe.com/motion/primers.html.

What is high definition?

After years of anticipation, high definition (HD) video production has become widespread. Over-the-air HDTV is rapidly building an audience, and high definition DVD development is proceeding quickly. Even people not producing for an HD audience are using HD formats during production and post-production. For example, the pioneering DVD company Criterion uses HD on D5 tape for digital intermediates from their telecine captures. Suddenly, companies are finding that they have HD content to distribute and are looking for ways to distribute it. The myth is that HD is very expensive and difficult to author. The reality is that HD has become cheaper and easier to use than standard definition (SD) was only a few years ago. Today, you can build a complete entrylevel HD production system, including storage, software, and camera, for under U.S.$10,000. Higher-end and uncompressed HD editing systems can be much more expensive, but they are also declining in price as more options enter the market.
Exporting to digital files
You can prepare variations of a program or clip for a variety of different uses. For example, you can create separate versions for DVD distribution and web viewing. Adobe Premiere Pro and After Effects both offer built-in support for exporting the following digital video file formats: Microsoft AVI, Animated GIF, QuickTime, MPEG-1 and -2, as well RealMedia and Windows Media files for the web. After Effects also exports Adobe Flash (SWF) files. Several audio-only formats and a variety of still-image and sequence formats are also supported by both applications. Additional file formats may be available if provided with your video capture card or if you add third-party plug-in software. To start the export process, you enter settings that determine the properties of the final file. These settings may include the data rate for playback, the color depth, the frame size and frame rate, the quality, and what type of compression method, or codec, to use. Choosing compression settings is a balancing act that varies depending on the type of video material, the target delivery format, and the intended audience. Often, you discover the optimal compression settings through trial and error. Prior to distribution, you should always test the files you export on the type of platform or equipment you expect your audience to use.

CERTIFIED EXPERT

Adobe After Eects 7.0 Professional

EX AM PREPAR ATION GUIDE

May 2006

EXAM PREPARATION GUIDE

This guide provides all the information you need to get started in preparing for Adobe Certified Expert (ACE) and recertification exams. Passing ACE and recertification exams demonstrates your proficiency with Adobe software products and allows you to promote your expertise with customers and employers. As an ACE, you can stand out from your competitors and be noticed.
ACE Frequently Asked Questions What is an ACE? What are the benefits of being certified? What are the exams like? Get all your ACE questions answered in a brief, to-the-point FAQ. FourStep Check List Learn about the process for getting certified. Step 1: Step 2: Step 3: Step 4: Choose your certification level. Register for your exam(s). Prepare for and take your exam(s). Read the ACE Agreement and join the Adobe Certified community.
Exam Topic Areas and Objectives Review the test contenttopic areas and objectivesfor each product exam. The topic lists will help direct your studies, so please review correctly. Practice Exams Review sample questions to get an idea of the types of questions that will be on the exam. Note: Though helpful, these practice exams are not necessarily representative of the difficulty of the questions that you will encounter on the actual exam. Practice exams are available for all of the following Adobe products: Adobe Acrobat 6.0 Professional Adobe Acrobat 7.0 Professional - Print Production - with Adobe LiveCycle Designer Adobe After Effects 6.0 Professional Adobe GoLive CS Adobe GoLive CS2 Adobe Illustrator CS Adobe Illustrator CS2 Adobe InDesign CS Adobe InDesign CS2 Adobe Photoshop CS Adobe Photoshop CS2 Adobe Premiere Pro 2.0 Adobe Premiere Pro

ADOBE CERTIFIED EXPERT

FREQUENTLY ASKED QUESTIONS
What is an Adobe Certified Expert (ACE)?
A. An Adobe Certified Expert (ACE) has earned a certification created specifically for graphic designers, Web designers, video professionals, system integrators, value-added resellers, developers, or business professionals seeking recognition for their expertise with Adobe products. By passing one or more ACE exams, you become eligible to promote yourself to prospective clients as a highly skilled, expert-level user of Adobe software. Q. What is the main benefit of passing ACE exams and becoming Adobe certified?
A. Adobe certification is an industry standard in excellence that can be used to demonstrate your product knowledge and expertise, and also serves as a catalyst when finding a job or seeking a promotion. The Adobe Certified Expert (ACE) and Adobe Certified Instructor (ACI) logos and credentials have been created for self-promotional use by individuals who have met all requirements of the Adobe Certified Expert or Adobe Certified Instructor programs. Those who have passed the tests may place certification logos on business cards, resums, Web sites, and other promotional materials. Q. What are ACE Specialist and ACE Master?
A. There are three levels of Adobe certification. 1. Single product certification: Recognizes your proficiency in a single Adobe product. To qualify as an ACE, you must pass one product-specific exam. Example: ACE, Adobe InDesign CS2 Specialist certification: Recognizes your proficiency in a specific medium: Print, Web or Video. To become certified as a Specialist, you must pass the exams on the required products listed below. Example: ACE Print Specialist (with passing marks on the tests for Adobe InDesign, Adobe Acrobat, and either Adobe Photoshop or Adobe Illustrator)
Specialists must pass all required (R) exams and any one elective (E) within any given certification track: Print Specialist Adobe InDesign Adobe GoLive Adobe Acrobat* Adobe Photoshop Adobe Illustrator Adobe Premiere Adobe After Effects R R E E Web Specialist R E R E Video Specialist R R R
Note: Exam requirements are subject to change. *Adobe Acrobat 7.0 Professional Print Production exam only.

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Master certification: Recognizes your skills in terms of how they align with the Adobe product suites. To become certified as a Master, you must pass the exam for each of the products in the suite. Example: ACE, Creative Suite Master (with passing marks on the tests for Adobe Acrobat, Adobe GoLive, Adobe Illustrator, Adobe InDesign, and Adobe Photoshop)
What is an Adobe Certified Instructor (ACI)?

A. An Adobe Certified Instructor (ACI) is an ACE who provides instruction on Adobe products. ACIs must have an instructor qualification (a teaching credential, passed the CompTIA CTT+ (http://www.comptia.org/certification/ctt/) or equivalent), in addition to passing one or more ACE exams. For more information, visit the ACI home page, http://www.adobe.com/support/ certification/aci.html Q. How do I prepare for an ACE Exam?
A. The keys to preparing for an ACE exam are experience with the product and studying this Exam Preparation Guide (http://partners.adobe.com/public/ace/main.html). To access online training, user guides, and many other study materials, visit Adobes training resources page (http://www.adobe.com/support/training.html). The following resources may also help you prepare for your ACE exam: Adobe product user guides Adobe Press books Adobe Authorized Training Centers (find the AATC nearest you through the Adobe Partner Finder online at: http://partners.adobe.com/asn/partnerfinder/search_training. jsp) Adobe online training at www.adobe.elementk.com Tutorials and materials from Total Training, at www.totaltraining.com Other training resources online at www.adobe.com/support/training.html

How do I get training?

A. Once you know what product you want to get certified in, use the Adobe Partner Finder (http://partners.adobe.com/asn/partnerfinder/trainingprovider/index.jsp) database to locate an Adobe Certified Instructor or an Adobe Authorized Training Center in your area that teaches a class on the Adobe product you want to learn. Contact them directly for more information about their classes and registration details. Q. What are the benefits to becoming an ACE?
A. As an individual with an ACE, you can: Differentiate yourself from competitors Get your resum noticed Attract and win new business Gain recognition from your employer Get the inside track on Adobes latest offerings Leverage the power of the Adobe brand and resources If you are an employer, use ACE as a benchmark so you can: Find the right person for the job Quickly assess candidate skill level Invest in your most promising employees Increase productivity and efficiency

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What type of exam are the ACE exams?
A. Adobe ACE exams (which are administered by Pearson VUE and Thomson Prometric, independent third-party testing companies) are computer-delivered, closed-book tests consisting of 60 to 90 multiple-choice questions. Each exam takes approximately one to two hours to complete, and results are given to you at the testing center immediately after you complete the test.

What type of exam are the recertification exams? Adobe recertification exams are Web administered exams that are available to current ACEs only. The exams are delivered to your desktop via the Web. The tests consist of 30-60 multiple choice questions focusing exclusively on new product features. Each exam takes approximately 30 minutes to one hour to complete. Results are revealed immediately after you finish. How do I register for an ACE exam?
A. Contact Pearson VUE or Thomson Prometric by phone, on the Web, or in-person:
Pearson VUE Register online Register in-person www.pearsonvue.com Find a location online at www.pearsonvue.com
Thomson Prometric www.2test.com Find a location online at www.2test.com

Q. A. Q. A.

What is the fee for the ACE exam? Each exam is US$150 or local currency equivalent. What is the fee for the recertification exam? The fee for Web administered ACE recertification exams is US$50 or local currency equivalent. Soon after I passed an ACE exam, the exam was published for a new product version. Do I have to successfully complete the new exam within 90 days?
A. You may continue to use the ACE logo and materials in accordance with the Adobe Certified Program Guidelines for Logos and Credentials. When the ACE and recertification exams are published for the next version of the product, you must successfully complete that exam within 90 days to keep your ACE status current and continue using the ACE logo and materials. Q. What can I expect from Adobe if I pass the ACE exam? A. As soon as you pass the exam, your name and exam results are given to us by Pearson VUE or Thomson Prometric, our worldwide test administrators. Your exam data is then entered into our database. You will then be sent an ACE Welcome Kit and access to the ACE logo. You are also placed on our certification mailing list to receive special Adobe announcements and information about promotions and events that take place throughout the year. Q. How long does it take to receive my Welcome Kit?
A. You can expect your Welcome Kit to arrive four to six weeks after we receive your exam results.

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FOURSTEP CHECK LIST
STEP 1: Choose your certification level There are three levels of certification to become an Adobe Certified Expert. Choose the one thats right for you. 1. Single product certification: Recognizes your proficiency in a single Adobe product. To qualify as an ACE, you must pass one product-specific exam. Example: ACE, Adobe InDesign CS 2. Specialist certification: Recognizes your proficiency in a specific medium: print, Web, or video. To become certified as a Specialist, you must pass the exams on the required products listed below. Example: ACE Print Specialist (with passing marks on the tests for Adobe InDesign, Adobe Acrobat, and either Adobe Photoshop or Adobe Illustrator) 3. Master certification: Recognizes your skills in terms of how they align with the Adobe product suites. To become certified as a Master, you must pass the exam for each of the products in the suite. Example: ACE, Creative Suite Master (with passing marks on the tests for Adobe Acrobat, Adobe GoLive, Adobe Illustrator, Adobe InDesign, and Adobe Photoshop) Specialists must pass all required (R) exams and any one elective (E) within any given certification track: Print Specialist Adobe InDesign Adobe GoLive Adobe Acrobat* Adobe Photoshop Adobe Illustrator Adobe Premiere Adobe After Effects R R E E Web Specialist R E R E Video Specialist R R R

Note: Exam requirements are subject to change. *Adobe Acrobat 7.0 Professional Print Production exam only. STEP 2: Register for your exam(s) Adobe ACE exams are administered by Pearson VUE and Thomson Prometric, independent third-party testing companies. The tests are offered at more than five thousand authorized testing centers in many countries. To register for your ACE exam(s), contact Pearson VUE or Thomson Prometric by phone, on the Web, or in person. Please note, all recertification Web based exams are delivered through Thomson Prometric only. Pearson VUE Register online Register in-person www.pearsonvue.com Find a location online at www.pearsonvue.com Thomson Prometric www.2test.com Find a location online at www.2test.com
The ACE exam fee is US$150 worldwide. The recertification exam fee is US$50. Page 4
STEP 3: Prepare for and take your exam(s) The keys to preparing for an ACE exam are experience with the product and studying using the Exam Prep Guide. To access online training, user guides, and many other study materials, visit Adobes training resources page. The following resources may also help you prepare for your ACE exam: Adobe product user guides Adobe Press books Adobe Authorized Training Centers (find the AATC nearest you through the online Adobe Partner Finder) Adobe online training from Element K (http://adobe.elementk.com) Tutorials and materials from Total Training (http://www.totaltraining.com) Other online training resources
ACE exams are computer-delivered, closed-book tests consisting of 60 to 90 multiple-choice questions. Each exam takes one to two hours to complete, and results are given to you at the testing center immediately after you finish. Adobe recertification exams are Web administered exams that are available to current ACEs only. The exams are delivered to your desktop via the Web. The tests consist of 30-60 multiple choice questions. Each exam takes approximately 30 to 60 minutes to complete. Results are revealed immediately online after you finish. STEP 4: Sign the ACE Agreement and join the Adobe Certified community Review the ACE Agreement prior to taking the exam. You will be asked to agree to the ACE terms and conditions at the time of the exam. Once you are ACE certified, visit the Adobe Certified community where you can: Verify exam results Get a copy of the ACE Agreement Download your Adobe Certified logo Find out about recertification Connect with other Adobe certificants Update your profile Note: Information about the Adobe Certified Community is also printed on your score report. Recertify when necessary Once obtained, your ACE certification is valid until 90 days after the exam version of your certification is retired. Adobe will e-mail you a reminder when your certification is due for renewal and will let you know when you need to take the recertification exam.

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ADOBE AFTER EFFECTS
ACE EXAM TOPIC AREAS AND OBJECTIVES
ACE Exam Content: Topic Areas and Objectives Following is a detailed outline of the information covered on the ACE Exam. 1. Using and configuring Workspaces Given a scenario, configure a workspace. Create, load, and reset a workspace. Given a panel, describe the functionality and options associated with the panel. Given a tool on the Tools panel, explain the purpose of the tool. Given a composition preview option, describe how to use that option.
2. Preparing projects and importing footage Given an option from the Project Settings dialog box, list and describe the purpose of the option. Given a menu option in the Preference dialog box, list and describe the purpose of the option. List and describe the process and options available for previewing compositions, projects, and footage. List and describe the functionality provided for importing files from other Adobe applications or other supported file types. Discuss issues and prepare motion footage for import. Discuss issues and explain how to use interlaced video in a project.
3. Building 2D compositions Given an option from the Composition Settings dialog box, list and describe the purpose of the option. Describe the purpose and explain how to use options in the Timeline. Explain advantages of and when you would use pre-compose. Given a scenario, create a 2D composition.
4. Working with layers in the Timeline Given a scenario, create a layer and explain when you would use that type of layer. Given a layer switches and transfer controls in Timeline panel, explain the purpose of the layer switch or transfer control. Animate layers by using parent layers. Identify options and define procedures for using the Time Stretch, Time Remapping, and Posterize Time commands in Adobe After Effects.

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5. Animating and keyframing layers Given a type of keyframe interpolation, explain when you would use that type of interpolation. Describe procedures related to working with keyframes. List and describe the advantages of using the Graph Editor. Given an option in the Graph Editor, describe when you would use that option. Describe the functionality of motion paths. Explain the features and functionality provided by expressions. Save and apply Animation Presets.
6. Working with masks and transparency 7. List and describe the options associated with masks. Given a scenario, animate a mask. Explain how to create track mattes. Given a method of creating transparency, explain when to use that method. Creating and animating text Explain when to use and options available when working with text layers. List and describe the options available for formatting characters and paragraphs by using the Text and Paragraph panels. Explain the process and animate text by using text animator groups. Apply and adjust text animation presets.

8. Working with effects List and describe the options and procedures used to view and apply effects in the Effects & Presets panel. Given a control for an effect parameter, explain how to use that control. Given an option in the Paint panel, explain the purpose of the option. (Options include: duration, cloning, time offset, source overlay) Given a scenario and an effect, explain which effects parameters were used to create the given effect.
9. Building 3D compositions Explain how to manage and view 3D layers including configuring and setting multiple views. Explain how cameras are used in 3D compositions and configure settings in the Camera Settings dialog box. Explain how lights are used in 3D compositions and configure settings in the Light Settings dialog box. List and describe the various 3D previewing options and requirements.
10. Using frame blending and motion tracking features

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List and describe the options available for tracking motion by using the Trackers Controls panel. Given a Frame Blending mode, explain when you would use that mode. Explain when you would use the Time Warp effect versus Frame Blending.
11. Working with Color management and HDR Discuss considerations when working with and previewing HDR footage. Configure color management options. Given an HDR or color management effect, explain the purpose of that effect.
12. Rendering and exporting Describe the options for and rendering process in After Effects. Given a scenario, configure the appropriate options in the Render Queue panel to render a movie. List and describe options for rendering or exporting to specific formats. (formats include: QuickTime, Flash Video, sequences, etc.) Describe how to setup and activate network rendering.

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PRACTICE EXAM
Try out these helpful practice questions to get a feel for the types of questions on the ACE exam, but please note that your performance here does not indicate how youll do on the actual exam. To fully prepare for the exam, closely review the topic areas and objectives in this guide.
Discuss issues and prepare motion footage for import. Which setting in the Interpret Footage dialog box should you choose to import video footage with transparency data stored only on the alpha channel? A. Straight - Unmatted B. Premultiplied - Matted with Color
C. Premultiplied - Matted with Color and Invert Alpha D. Ignore and use the Extract Keying Tool Keyer effect to remove the background Correct Answer: A 2. Given an option from the Composition Settings dialog box, list and describe the purpose of the option. Which is an advantage of using the Advanced 3D Plug-in the Composition Settings dialog box? A. It uses the GPU to render. B. Layers intersect correctly.

C. It renders faster than standard 3D. D. Anti-aliasing can be set to be more accurate Correct Answer: B 3. Given a scenario, create a layer and explain when you would use that type of layer. You have four layers in a composition. You want to apply the same photo filter effect to all four layers at the same time. Which new layer type should you choose? A. light B. solid
C. camera D. adjustment Correct Answer: D 4. Identify options and define procedures for using the Time Stretch, Time Remapping, and Posterize Time commands in Adobe After Effects. You place a 20-second video clip in a 5-second composition. You adjust the inpoint of the video clip in a Layer window. You now want to have the video play in slow motion. The part of the clip that is at the start of the composition contains the frames you want to play in slow motion. The Current Time Indicator is in the middle of the composition. You choose Layer > Time Stretch. Which settings should you choose? A. Stretch Factor 50%; Hold in Place: Layer In-point B. Page 9 Stretch Factor 200%; Hold in Place: Layer In-point
C. Stretch Factor 50%; Hold in Place: Current Frame
D. Stretch Factor 200%; Hold in Place: Current Frame Correct Answer: B 5. Given a type of keyframe interpolation, explain when you would use that type of interpolation. When should you use Roving keyframes? A. when you want to create random motion along a motion path
when you want to perfectly align Position, Rotation and Scaling keyframes
C. when you want to create smooth movement across several keyframes at once D. when you want your layer to have perfectly smooth curves as it moves along the motion path Correct Answer: C 6. Given a method of creating transparency, explain when to use that method. You have imported stock footage of smoke shot against a black background. You want to make the black transparent and the smoke opaque. Which blending mode should you use? A. Darken B. Multiply
C. Lighten D. Screen Correct Answer: D 7. Given a control for an effect parameter, explain how to use that control. In the Wave World effect, raising the Ground Height value _____. A. speeds up the waves B. slows down the waves
C. increases the height of the waves D. decreases the height of the waves Correct Answer: B 8. List and describe the options available for tracking motion by using the Trackers Controls panel. You have footage of a large, dark colored bird ying against a light blue sky. You want to remove camera shake caused by hand-holding the camera at an extreme zoom. The birds size stays relatively constant. You use the Animation > Stabilize Motion command on the layer containing the video. A. Position and Scale selected, Rotation unselected; Channel: RGB B. Position and Rotation selected, Scale unselected; Channel: Saturation

C. Position selected, Rotation and Scale unselected; Channel: Luminance D. Rotation selected, Position and Scale unselected; Channel: Luminance Correct Answer: C

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Explain how to manage and view 3D layers including configuring and setting multiple views. What is the result of placing a 2D layer between two 3D layers in the timeline stack order? A. The 2D layer will be visible behind all 3D layers. B. Any 3D layer with a position value greater than Z=0 will be hidden behind the 2D layer.
C. The bottom 3D layers will be hidden behind any non-transparent areas of the 2D layer. D. The bottom 3D layer will be hidden behind the 2D layer when it has a value of less than Z=0 Correct Answer: C 10. Given a scenario, configure the appropriate options in the Render Queue panel to render a movie. You are asked to deliver a QuickTime render of simple animated white text over a black background, which will be used in a final edit. Which compression format should you choose for final delivery to ensure the highest quality without the largest file size? A. Video B. Sorenson
C. Animation D. Motion JPEG Correct Answer: C

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Adobe, the Adobe logo, Acrobat, Adobe Premiere, After Effects, FrameMaker, GoLive, Illustrator, InDesign, PageMaker, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners. 2005 Adobe Systems Incorporated. All rights reserved.