Adobe after effects cs5 classroom in a book pdf free
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Links This web site contains links to other sites. Requests and Contact Please contact us about this Privacy Notice or if you have any requests or questions relating to the privacy of your personal information. Last Update: November 17, Email Address. Other Things You Might Like. Panels are organized in this window in an arrangement called a workspace. You customize a workspace by arranging the panels—usually by dragging them— into the layout that best suits your style of working.
You can create and save several custom workspaces for different tasks—for example, one for editing and one for previewing. You can drag panels to new locations, move panels into or out of a group or stack, place panels alongside each other, and undock a panel so that it floats in a new window in front of the application window.
As you rearrange panels, the other panels resize automatically to fit the window. You can use floating windows to create a customized workspace, and can place panels on multiple monitors. Stacked panels are new in this release of After Effects. Students may be familiar with stacked panels in Adobe Lightroom. The Standard workspace includes grouped panels; to point out the differences between stacked and grouped panels, you can have the students move between the workspaces.
The exercises in this lesson and all folloowing lessons assume students have discarded application preferences and thus are using the default workspace, Essentials, which includes stacked panels. Finding missing dependencies In After Effects CC, you can quickly find missing fonts, effects, or footage files. Emphasize that After Effects does not store the original footage files within your project file; it links to the files it needs.
You can use the same method to find missing fonts and effects, too. For instance, you can scroll in the Composition panel even if the Effect Controls panel is currently active. When you are in the Timeline panel, rolling backward moves you forward in time and vice versa. Previewing compositions Remind your students to have patience when they preview a composition. The status bar appears as After Effects renders the frames, caching them in RAM; during this time, the preview may not play in real-time.
Once all the frames have been rendered and cached, the preview plays in real-time. Remember that you can preview for a small portion of the project by adjusting the work area in the Timeline panel. Answers 1 To add a footage item to a composition, drag it from the Project panel to the Timeline panel, positioning it where you want it to appear in the layer stack. Lesson 2 explores how to create a composition using some of these presets. These notes provide additional background about animation presets.
About animation presets Animation presets let you save and reuse specific configurations of properties and animations, including keyframes, effects, and expressions. After Effects includes hundreds of animation presets that you can drop into your projects and then modify to suit your needs. You can apply an entire animation preset to a layer, or you can apply a single effect or property from an animation preset.
If a property or effect exists in the animation preset but not in the target layer, the property or effect is added to the target layer. You can save one or more properties with all of the desired settings to an animation preset without including keyframes. A particularly convenient category of animation presets is behaviors, which you can use to quickly and easily animate without keyframes.
Animation presets can be saved as FFX files and transferred from one computer to another. By default, animation presets are stored in the Presets directory. For additional information, see After Effects Help. Saving animation presets You can save settings of one or more effects as an animation preset.
Saving an effect as an animation preset also saves any set keyframes, as well as expressions used in the effect. For example, if you created an explosion using several effects with complex parameter and animation settings within those effects, you can save all those settings as a single animation preset. You can then apply that animation preset to any other footage, or you can apply any single effect from that animation preset to any footage.
The 20 most recently saved or applied animation presets appear under Recent Animation Presets in the Animation menu. The Animation Presets menu in the Effect Controls panel lists only those animation presets that contain the current effect. For example, if the Mirror effect is selected, the menu shows only those presets that include the Mirror effect. Answers 1 To enlarge or reduce thumbnail previews in the Content panel, drag the thumbnail slider at the bottom of the Adobe Bridge window.
Alternatively, you can drag a footgage item onto the Create A New Composition button in the Project panel. Lesson 3: Animating Text Lesson 3 explores the many text options and text animation features in After Effects.
The following material provides additional background on formatting and animating text in After Effects. About text layers With After Effects, you can add text to layers with flexibility and precision. You can create and edit text directly onscreen in the Composition panel, and quickly change the font, style, size, and color of the text. You can apply changes to individual characters and set formatting options for entire paragraphs, including alignment, justification, and word wrapping.
In addition to all of these style features, After Effects provides tools for easily animating specific characters and features, such as text opacity and hue.
Most of the projects in Classroom in a Book use fonts that are common to most systems, but you can substitute other fonts if you prefer, or if the suggested font is not available on the system. One of the exercises is designed specifically to introduce students to Adobe Typekit, which is included with Adobe Creative Cloud memberships. The specific font Calluna Sans is less important than the filtering process used to arrive at that font.
Fonts synced through Typekit are available in other applications as well. Encourage students to open another application for example, Microsoft Word to confirm that the synced font is available. To apply smart quotes, choose Use Smart Quotes from the Character panel menu.
Editing text in text layers You can edit text in text layers at any time. If you set the text to follow a path, designate it as a 3D layer, transform it, or animate it, you can still continue to edit it. When the Type tool is selected, move the pointer an I-beam directly over a text layer and click to edit the existing text. Click in another area in the Composition panel to create a new text layer. Shift-clicking always creates a new layer.
Changing the direction of text The Vertical Type and Horizontal Type tools create text that flows horizontally or vertically. Horizontal text flows from left to right; multiple lines of horizontal text lie from top to bottom. Vertical text flows from top to bottom; multiple lines of text lie from right to left. When you convert the vertical or horizontal orientation of a text layer, paragraph text justifiable text that wraps within a bounding box behaves differently from point text independent lines of text because paragraph text flows relative to its bounding box while point text lies relative to the Composition panel.
About text animation presets You can browse and apply text animation presets as you would any other animation presets.
Some preset animations move the text on, off, or through the composition. The animation preset position values may not be appropriate for a composition that is much larger or smaller than x ; for example, an animation that is supposed to start offscreen may start onscreen. The Fill And Stroke category of animation presets contains presets that may change the fill color and stroke properties of the preset that you apply.
If the animation preset requires a stroke or fill color, the animation works only if you have assigned one to your text. Animating 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 mask—it 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. Most text animations require you to animate only the selector values—not the property values. Consequently, text animators use a small number of keyframes even for complex animations. Pearson uses this information for system administration and to identify problems, improve service, detect unauthorized access and fraudulent activity, prevent and respond to security incidents, appropriately scale computing resources and otherwise support and deliver this site and its services.
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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. Rendering the animation To prepare for the next task—retiming the composition—you need to render the sunrise composition and export it as a movie.
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 Graph Editor displays a time-remap graph that shows a white line connecting the keyframes at , , and 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. 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. Creating a mask with the Pen tool The computer screen currently contains a word-processing document. 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.
Editing a mask The mask looks pretty good, but instead of masking the information inside the monitor, the mask has removed everything outside the monitor. 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.
For this project, you need everything inside the mask to be transparent and everything outside the mask to be opaque. 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. 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.
Feathering the edges of a mask The mask looks good, but you need to soften the edges a bit. 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. With the Light 1 layer selected in the Timeline panel, press P to display its Position property. 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. 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.
Review questions Questions 1 What Reviewisuses a mask? Number List 2 Name two ways to adjust the shape of a mask. A mask consists of segments and vertices. Pull, squash, stretch, and otherwise deform objects on the screen using the Puppet tools. 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. Adding the character The last element in the scene is the character himself. 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. Be the first one to write a review. Books for People with Print Disabilities.
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Adobe After Effects CS5 classroom in a book : the official training workbook from Adobe Systems – Adobe after effects cs5 classroom in a book pdf free
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Adobe After Effects CS5 classroom in a book: the official training workbook from Adobe Systems. Publication date: This video and full-color book combo has quite an effect for learning After Effects CS5! Adobe After Effects is a leading motion graphics and visual effects. No preview is available for Adobe After Effects CS5 Classroom In A replace.me because its size exceeds MB. To view it, click the \”Download\” tab above. The 14 project-based lessons in this book show readers step-by-step the key techniques for working in After Effects CS5 and how to work. Adobe After Effectcs CS5Project 6 guideOverview of Adobe After Effects CS5 workspace Adobe After Effects CS5 is the.❿