Climate and the EnvironmentSmoke Trails, Plumes, and More Many effects, including smoke trails, don’t require particle generation in order to be re-created faithfully. This example shows how, with a little creativity, you can combine techniques in After Effects to create effects that you might think require extra tools. Initial setup of such an effect is simply a matter of s...
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Appendix Scripting CS5User Interface When you want to provide control over the behavior of a script, some form of a user interface is needed. It can be a fl oating panel with settings to customize, or simply a prompt dialog with OK and Cancel buttons. This section gives an overview of ScriptUI, the module that provides user interface controls and functionality for a scr...
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Color Fidelity: Management, Depth, LUTsColor and light would seem to be arbitrary, and the idea that they could be measured and made consistent as a source image works its way from camera to output seems ludicrous and even undesirable. While it’s true that your goal is rarely if ever the one set out at the beginning of the chapter—to make output match source exactly—there are stages alo...
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Effects Compositing EssentialsNote that the boundaries don’t really matter here. Capturing most of the foreground monitor, including its edges and even a bit of what’s behind it, is fi ne. 6. Now track the shot, fi rst forward to the end of the clip, then drag back to the beginning of the blue line of tracked frames and track backward to the opening of the shot. Note that mocha...
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ExpressionsExpressions are cool. You can use them to create amazing procedural effects that would otherwise be impossible (or at least impractical). You can also use them to create complex relationships between various parameters. Unfortunately, many After Effects users are afraid of expressions. Don’t be. The fact that you’re reading this chapter indicates t...
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Color KeyingThe clip from Figure 6.27 can be garbage matted procedurally in this manner. Just as with the cmatte, create a hard, chewy matte that pushes all of the background pixels to black and the foreground to white. Now spread that matte using one of the following methods. Simple Choker allows you to spread the alpha channel using a negative number. You ca...
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Eff ects Compositing EssentialsMidtones and highlights pink (light red). If, instead, you adjust Input Black or Output White inward, the tinting moves in the opposite direction—toward cyan—in the corresponding shadows and highlights. As you probably know, each primary on the digital wheel of color (red, green, or blue) has an opposite (cyan, magenta, or yellow, respectively). As...
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Selections: The Key to CompositingWhen you ask After Effects to “guess” how to interpret the footage (on import, by choosing Guess in the Interpret Footage dialog, or pressing Ctrl+Alt+G/Cmd+Opt+G), it looks for sections of uniform color that are mixed into edge pixels, indicating that the correct setting is Premultiplied. Back in Chapter 1, Figure 1.13 presented the same foregroun...
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Working FoundationsIn general, the more responsive you can make your user interface, the better will be the result because you can make more decisions in a shorter period of time. Just leave time to double-check the result if you are in the habit of disabling screen viewers. Multiprocessing Multiprocessing, which allows After Effects to use all of the processor cores...
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After effects CS5 visual effects and compositing studio techniquesContents Foreword xi Introduction xxi Section I Working Foundations 1 Chapter 1 Composite in After Effects 3 Organization 11 Take Control of Settings 18 View Panels and Previews 26 Effects: Plug-ins and Animation Presets 33 Output and the Render Queue 34 Assemble the Shot 37 Chapter 2 The Timeline 39 Organization 40 Keyframes and the Graph Editor 4...
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