.5 introduces a number of features and enhancements that enable new capabilities and streamline your workflows and processes. Note that Adobe After Effects CS5. You can find download instructions on the page from which you downloaded this document. These lessons are in the order followed in Adobe After Effects CS5 Classroom in a Book. this update uses project files and assets from the original DVD. Several lessons use new project files that you'll have to download in order to follow along. This document contains lessons that demonstrate the most important ones. you should recopy the project files from the original DVD to make sure that what you see matches the screens presented herein. and wherever possible. If you've modified and saved these projects in the past.5 Update: Adobe After Effects CS5 Classroom in a Book Topics covered in this lesson • Lesson 1: Working with timecode • Lesson 5: Editing source audio in Audition (note) • Lesson 12: Adding light falloff • Lesson 12: Adding camera depth of field • Lesson 13: Using motion stabilization Getting Started After Effects CS5.S uses an updated format to save project files and will ask you to save the project under another name to preserve the original project file in CSS format.CS5.

making it possible to determine exactly where a clip begins and ends.00.18. press the' key (also known as the tilde or key) at the upper left of your keyboard to toggle the panel to full screen. You can now work with source timecode from moving-image clips in After Effects CSS.00. 6 In the Project panel menu. assuming their timecode is sequential. if you 're reading Adobe After Effects CSS Classroom in a Book. This clip starts at 1. choose Columns> Media Start to display that column in the panel.13. 3 Choose File> Import> File. This feature saves steps when working directly with source footage. 1 Press Ctrl+Alt+Shift (Windows) or Command-Option-Shift (Mac OS) while starting After Effects CSS. After Effects opens and displays a new. Whereas it might have been necessary in the past to create se1ects-preedited cutdowns of source material-in a nonlinear editing program that reads timecode such as Adobe Premiere Pro. click OK. and After Effects CSS. navigate to the AECSSS_CIB_Lessons/Lesson13/Assets folder.S. and then click Open. When asked whether you want to delete your preferences file. Many moving-image formats include timecode capability. S With your cursor over the Project panel.Lesson 1: Getting to Know the Workflow Working with timecode Note This section is new material. 2 Click Close to close the Welcome screen. The clip ends at 1.S puts this data to use without you needing to do anything to find it. It's also easily possible to know in what order source clips were taken. Timecode is used to log source media when recorded and edited. minutes. untitled project. you'll find this material relevant on pages 30 and 31. the timing in hours. Select the flowers.03. and frames is absolute and does not change.19. seconds. such an interim step is no longer necessary. . 4 In the Import File dialog.S to restore the default preferences.mov file. 7 Choose Columns> Media End in the Project panel menu. where timecode and duration are discussed in Lesson 1.

00. 1 Choose Composition> Composition Settings to open the Composition Settings dialog. the frame value for the starting frame matches that of the source clip.The Media Start and Media End values come from settings on the camera when the shot was taken. You can instead start numbering at 0. With a set of shots from a given reel. This is the default behavior on a clip with timecode. A window appears at the upper left of the image displaying the source timecode numbers. 18. 8 Drag the clip to the Create New Composition icon at the bottom of the Project panel. The start timecode is now zeroed out. . The UI toggles out of single-panel mode. and then press Enter (Windows) or Return (Mac OS]. Type 0. 1. but the source timecode is still there.00.00. 1 With the layer selected. 2 Press the Tab key repeatedly until the Start Timecode field is highlighted. and the clip displays in a new composition.00. choose Effect> Text> Timecode. you can click the Media Start column header to put the clips in the order they were shot.03. Take a look at the time listed in the composition timeline.

if this behavior is not desired. By leaving the source timecode data in the composition settings. This occurs by default. This data is typically used for review purposes so that you can distribute works in progress to team members and know that you are all referring to the same frame of a shot when making comments. You can instead enter whatever value you choose. . you can pass these same numbers to the final render so that it matches the source numbers. follow the previous steps to give the first frame of the composition a zero value.The Timecode effect automatically displays embedded timecode from the source clip in a window at the upper left of the frame. The updated Timecode effect automatically displays timecode information graphically when applied to a clip. but you can customize the source numbering and position of the window.

Lesson 5: Animating a Multimedia Presentation Note added to page 153 in book: Edit in Audition You can easily edit a source audio file in Adobe Audition. Just select the source in the Project panel and then choose Edit> Edit in Adobe Audition. they are updated in After Effects. . Once your changes are saved to the source file.

4 Set Radius to 870. after the "Adding motion blur" section and before the "Previewing the entire animation" section. If you 're following along with that lesson. 1 Choose the Spotlight layer. and twirl down the layer and Light Options controls. This is the result of falloff but not the result you're after here until you add some adjustments. these sections and the steps they contain are relevant on page 313. The text becomes bright again but looks no different from when you started.0. 3 Change the Falloff setting to Smooth. Falloff is at the default setting of None. 2 Go to the end frame of the animation. 5 Set Falloff Distance to 80. You can use these settings to add drama to this shot. .0. 5 adds controls for light falloff so that. a light you create in After Effects casts light that diminishes in intensity as the light travels farther from the source. After Effects CS5. The most noticeable change is that the 3D text is less bright and less intense.Lesson 12: Using 3D Features Adding light falloff Note This section supplements the material in Lesson 12 of Adobe After Effects CS5 Classroom in a Book. just like lights in the real world.

Note You can animate Radius and Falloff Distance as you would any other property. by clicking their stopwatch icons at the point in time where you want the first keyframe. it falls off. If you temporarily turn off the ambient light layer. at the lower right. it is at full intensity. changing the existing keyframe value. and the intensity is one-sixteenth (or the square of the inverse. It's a natural law that is elegant in its simplicity and consistency. The Radius setting of 870 allows the full light intensity to encompass the upper-left area of the text. Double the distance twice. almost indistinguishable from a setting of None. At the upper-left corner. for a quadruple overall increase in distance. This is even clearer with the ambient light layer off. 7 Lower the Radius setting to 670. and you can see it happening across the text.5" title. Inverse Square Clamped lighting re-creates the falloff of natural light. 6 Change Falloff to Inverse Square Clamped.0. The more subtle falloff that you see across the text reflects the realism of this setting. the light is four times less intense.0.Smooth falloff is set to be clearly visible across the "AECS5. you'll see that it does in fact fall off completely by the time it reaches the edge of the text layer. The text is bright again. You can adjust either setting slightly to see how precise these numbers are. one-fourth) of the source. . and set Intensity to 300%. 9 Go to the last keyframe at 3: 15. As the distance from the edge of the radius-to which the calculation is "clamped" -doubles. 8 Press T to reveal the Opacity keyframes you created on this layer. This is a short distance over which the light diminished from full intensity to 0.

but that's kind of the point. Preview the result.Yes. . The result is similar to cranking up real-world lights. and you'll notice the interaction between the light as its intensity lowers across the falloff distance. this light setting mimics real-world light falloff. you can set light intensity to greater than 100%. The effect of inverse square light is much subtler. You get these types of "real-world" interactions that would have been very complex to re-create in previous versions of After Effects without having to do anything but set them up. 10 Go to 5:00. Set Intensity to 100% to add a final keyframe.

psd layers (layer 4).S is more realistic depth of field. The change to the scene is barely perceptible. which has the added benefit of looking much nicer than the previous version. hold down Ctrl (Windows) or Command (Mac OS) and select the first of the brush. 1 Twirl down Camera Options under the Camera 1 layer in the timeline. 2 Go to 0: 10.Lesson 12: Using 3D Features Adding camera depth of field Another major addition to 3D in After Effects CSS. . and toggle Depth of Field to On. The shallow depth of field is evident as you step through the scene. Note The same settings as are used by the After Effects camera for depth of field are available to apply to a regular 2D layer using the Camera Lens Blur effect. choose Layer> Camera> Set Focus Distance to Layer.0 pixels. S Set a keyframe for Focus Distance at 0: 10. 4 With both layers selected. 6 Raise Aperture to 300. All you have to do to start using the latest camera lens effects is to enable depth of field in the scene. 3 With the Camera 1 layer selected. Let's get specific about focal settings and crank them up. the first frame of the camera animation.

A hexagon or octagon setting is more like a realistic look for a camera blur. 14 Set Iris Shape to Hexagon. 7 Double-click to open the Book precomposition. square. 16 Go to 5:00. set a keyframe for the Aperture property. The bloom in the highlights is the type of effect you see with an actual defocused area of a shot. 9 Paste Null 1 in the Final Comp timeline. and set Aperture to 25. but the 3D text is definitely not. and choose Animation> Keyframe Assistant> Easy Ease for a more natural rack focus effect. 12 Choose Layer> Camera> Set Focus Distance to Layer. creating a second keyframe for that property. as a rule. where the camera comes to a rest. as its name implies. The focus is shallow enough with the high Aperture setting that even the 3D text is out of focus. combined with bright highlights. mimicking the lens characteristics of shallow depth of field. 10 With Null 1 still selected. 13 Click the Focus Distance property name to select both keyframes. 15 Still at 4:00. The effects of shallow depth of field: the box art is in focus.The previously rectangular box silhouette in the distance and the horizon line are out of focus. hold down Ctrl (Windows) or Command (Mac OS) and select Camera 1. 11 Go to 4:00. The default Fast Rectangle setting renders quickly. close to the default. 8 Select and copy Null 1 from the Book composition. . but camera apertures are not.

18 Preview the result. and you can transform a scene without any other changes. Depth of field and light falloff each can change the look of an animated scene by themselves.17 Click the Aperture property name to select both keyframes. and again choose Animation> Keyframe Assistant> Easy Ease. but in so doing they also contribute subtlety and a cinematic aesthetic. Combine them. . Not only do these new settings add realism.

and then click Save. 4 In the Import File dialog. 1 Drag the clip to the Create a New Composition icon at the bottom of the Project panel. Warp Stabilizer automatically tracks the motion of the shot. It can then smooth or remove the perceived motion of the camera by slightly rearranging those individual pixels. If you shoot footage using a handheld camera. you will create the composition. 2 Click the RAM Preview button in the Preview panel to preview the shot.mp4 file. This automatically creates a composition of the same pixel size and aspect. This file was not included on the Adobe After Effects CS5 Classroom in a Book DVD.mp4 6 Choose File> Save As. restore the default application setting for After Effects. . 8 Name the project Lesson13_Stabilize. Setting up the project As you start After Effects. you'll want to stabilize your footage to eliminate unwanted motion.S to restore default preferences. and then click Open. a moving or static shot appears smooth. When played back. because the layer itself is repositioned and rearranged to offset (and thus remove) unwanted movement. See "Restoring default preferences" on page 3. 2 Click Close to close the Welcome screen.Lesson 13: Advanced Editing Techniques Using motion stabilization Note This section replaces the "Using Motion Stabilization" section on pages 320328 in Lesson 13 of Adobe After Effects CS5 Classroom in a Book. to compensate for parallax and related motion phenomena. navigate to the AECSSS_CIB_Lessons/Lesson13/Finished Projects folder. click OK. 3 Choose File> Import> File. navigate to the Paladin_handheld. frame rate. Creating the composition and setting stabilization file.aep. After Effects opens and displays a new. Unless this look is intentional. S Select the Paladin_handheld. and duration of the source clip. untitled project. When asked whether you want to delete your preferences file. Now. 1 Press Ctrl+Alt+Shift (Windows) or Command-Option-Shift (Mac OS) while starting After Effects CSS. down to individual objects and pixels. if necessary. you will probably end up with shaky shots. so you'll want to download it as described in the beginning of this document. 7 In the Save As dialog.

the wobbliness of the handheld camera is distracting.. and choose Animation> Stabilize Motion. but in full motion. If only there were a solution . You know the effect is working by the blue banner that appears in the viewer that reads "Analyzing in background (step 1 of 2)" and remains displayed during that step in the process.This shot looks very cinematic and professional on any given still frame. 3 Select the layer in the timeline.. The immediate results are that the effect is applied and the process of analyzing and stabilizing the shot begins automatically. . This is all you need to do to get started with Warp Stabilizer.

The immediate thing you'll notice is that the shot is scaled up. it's almost as if a dolly or crane had been used to take the shot. As is implied by that wording in the blue banner. preview the result by clicking the RAM Preview button in the Preview panel. If you leave the composition in the foreground. a blue banner appears across the source layer to show that analysis is underway. stabilization is a background process.During stabilization. the number in parentheses is the exact amount of . and once the banner disappears. this step typically requires only a fraction of that required by the first. Working with the initial result The resulting shot looks remarkably smoother prior to any further adjustment. if you have other work to do in a separate After Effects composition. At first glance. you'll see the blue banner briefly replaced by an orange one that simply reads "Stabilizing". A counter in the Effect Controls panel counts down the number of frames and estimated time remaining to analyze the shot. all the result of the simple step of applying Warp Stabilizer. Why? After Effects offsets and repositions the shot in order to stabilize it. whether in the time line or in the effect controls. Look in the effect controls at the Auto-scale property. or even in a separate app. the shot is stabilized. the process continues to completion. 4 Once the orange banner disappears. and progress is displayed in the Effect Controls (here reading "6% (frame 4 of 43)" completed). This process occurs in the background. What is the difference between the before and after versions of this shot? One simple way to compare the two versions is to toggle the effect on and off. once the first step is completed. so you're free to work elsewhere in After Effects while it is in progress.

scaling applied. 3 Switch the Borders> Frame setting back to Stabilize. this process would instead reveal gaps around the edges of frame. especially considering how unlikely most viewers are to pay attention to the edges of the frame. Auto-scale. reflecting the relatively mild jitter of the camera in this shot. gaps appear around the footage as it is transformed the smoother version of the camera move. If the shot weren't scaled. It also helps to have extra footage at the top and tail of the shot. Does Synthesize Edges solve this shot? Sometimes it works well. Without scaling or synthesized edges. This number is carefully based on the content of the shot itself and in this case is a rather modest amount. however. choose Borders> Framing to Stabilize Only. the effect attempts to actually fabricate new image data where those gaps appeared previously. Note In general. To see what this would look like. and lower the Smoothness setting under Stabilization to 25%. since the effect analyzes forward and backward from the current frame. Preview the shot. Auto-scale is grayed out because no scaling is applied. Synthesize Edges works best when the motion of the shot is unidirectional and somewhat regular. and warped to create The shot isn't scaled. but those edges certainly are distracting. instead. This is an intriguing option. it must be said that the result is less than ideal. Crop. aren't they? 2 Switch the Borders> Frame setting to Stabilize. In this case. Synthesize Edges. and even a little distracting. try this: 1 In the effect controls. .

but if you watch the shot several times in a row. The blue banner reappears as the shot is reanalyzed with more careful attention to fine detail. but not a lot lower. which scans the scene from top to bottom using a CMOS chip. like with a Corner Pin effect). from the initial settings. try raising Smoothness to 90%. Try that. as you move clockwise around the walking figure. Just below Detailed Analysis. then. automatic result. The resulting Auto-scale amount is lower. To the untrained eye. in either Auto-scale value or appearance. but its basic motion analysis does not need to be redone. With another shot. It's better. If you want to see an exaggerated version of this. There are a couple of ways to deal with this. keeping the entire image as is. 4 Since the change in Auto-scale from a less stabilized shot is minimal. but adds position. it's hard not to be distracted by the distortion that is particularly evident in those trees at the left of frame. All of these types of cameras use a rolling shutter. lOne potential solution is to change the Method setting to Perspective. which removes pixel warping. but in this case. and twirl down the Advanced settings. warping in some shots. but there's still some warping. however. This process is quick but not so quick that you don't sometimes get crazy-looking diagonal distortion as a camera pans left to right. and you'll notice that the foreground moves left to right. rotation. there is some strange distortion that is particularly visible left of frame. whereas the other methods transform the whole source layer without rearranging its contents. 3 Preview the result. the initial result might look great. the extra smoothness might lead to a drastically different result. The Subspace Warp method that is set by default actually moves pixels around within the frame. Thus. Those trees contain all kinds of fine detail. and perspective (skewing. so this is an appropriate step. and the background right to left. Fixing motion artifacts Sometimes the result of Warp Stabilizer is to make the shot look both more stabile and yet oddly distorted. because they move in different directions. and this shot is a perfect example. This will sometimes remove warping that can actually be added or enhanced by Subspace Warp. and preview the result. needs to have the foreground and background areas stabilized individually. the question is whether the trade-off of less scaling and more shot motion is preferable. however. turns out to be more or less optimal. a kind of rubbery motion. The result is not much different. Compare the start and end frames. set Rolling Shutter Ripple to Enhanced Reduction. scale. so this is a quick step to try. The initial. 2 Switch back to Subspace Warp. Now the orange banner reappears. rather than reduce. it's inconsequential. but it does require more time and will actually emphasize. create a whip-pan with one of these cameras: With the camera on a tripod. stabilizing the whole shot at once can make only one of those two planes of depth stable and can actually enhance motion in the rest of the shot. This shot. Reducing or removing that would go a lot further to make this shot work as a final. The source shot was taken with a digital SLR camera.The orange banner reappears as the shot is restabilized at a lower level. or even . the shot is restabilized. Check to enable Detailed Analysis.

5 With the layer selected in the timeline. preview the result. Now the shot really looks pretty convincingly like it was shot with stabilization in the first place. Enhanced reduction of rolling shutter ripple in Warp Stabilizer is designed to solve this specific problem. The Auto-scale value in the effect controls is something like 112. choose Animation> change Stabilization> Result to No Motion. rotate 90 degrees in less than a second or two. Locking off a shot By default Warp Stabilizer smoothes the motion of a camera instead of eliminating it. navigate to the AECS55_CIB_Lessons/Lesson13/Assets folder. You can use this setting independent of Detailed Analysis if you know there is rolling shutter ripple in a shot but you don't see a lot of fine detail. The only true disadvantage to this initial result is the amount of automatic scaling required. 1 Switch the Borders> Framing menu selection to Stabilize. 4 Preview the comp. The bob and weave from the original shot are no longer so evident. since there is so much moving organic matter in this shot. and you'll see the difficulty clearly. frame rate. and then click Open. The camera drifts and was clearly handheld. and 6 Preview the result. Stabilize Motion. . There is a separate No Motion option if a locked shot-one in which there is no camera motionis required. Synthesize Edges You might not think Warp Stabilizer would have much luck synthesizing edges to fill in the gaps in the background of this image. This automatically creates a composition of the same pixel size and aspect. This one takes a bit longer to process.just handheld. However.9%. which is significant enough to degrade the overall quality of the image. Select the flowers. there is an alternative. 4 Preview the result again. and duration of the source clip. There's not even an option to reduce the amount of lock-off and scale the shot less. 2 In the Import File dialog. 1 Choose File> Import> File.mov file. Let's give it a try. 2 Once the Stabilizing banner disappears and the shot is completed. 3 Drag the clip to the Create a New Composition icon at the bottom of the Project panel. Synthesize Edges.

. 7 Advance one second (1:00) more. but the real question is whether anyone will notice the difference. imperceptible offset like this. the question is whether anyone will really focus on this part of frame once the shot has been scaled to cover the gap. You can set Additional Scale quite a bit lower either by keyframing a gentle offset to the shot's position over time or simply by trimming in the In and Out points. The filled-in area along the top of the shot clearly appears more distorted than the source. but they are modest compared with a Stabilize Only setting. particularly when compared with more dramatic scaling of the image as a whole. 3 Set Additional Scale to 107% to remove the remaining black gaps throughout the shot. 6 Advance one second (1:00) forward. but not all. There are black borders here and there. you can cut the amount of necessary scaling nearly in half. of the gap at the upper left. 4 Lower Additional Scale to 104%. the gaps are more prominent near the beginning and end of the shot where there aren't enough surrounding frames to draw from. Warp Stabilizer is doing a pretty goodjob of filling in those gaps with information from surrounding frames. where available.Enabling Synthesize Edges fills in some. The areas of the image filled in by Synthesize Edges are not perfect replacements for the original image data. With a simple. 5 Set a Position keyframe at the beginning of the composition. and reset to the original position values. and adjust the Y position to close the gap along the top of frame.

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