Welcome to C.J. Cherryh’s Worlds.Adobe after effects cs5 classroom in a book by Guillermo Otero – Issuu

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

In this tutorial, we’ll learn how to place an image in text with Photoshopa very popular effect to create and one that also happens to be very easy to do thanks to the power of Photoshop’s clipping masksas we’re about to see! This version of the tutorial is for Photoshop CS5 and earlier. Here’s the effect we’re going for:. Download this tutorial as a print-ready Adobe after effects cs5 classroom in a book pdf free First, we need the image that we’re going to place inside of our text.

I’ll use this panoramic photo of Hawaii:. Watch the video tutorial on our YouTube channel! If we look in the Layers palette, we can see that we currently have one layer, named Background. This layer contains our image. If we look once again in the Layers palette, we see that we now have two layers. The original Background layer is on the bottom, and a copy of the Background layer, which Photoshop automatically named “Layer 1”, is sitting above it:.

Next, we need to add a new blank layer between the Background layer and “Layer 1”. Currently, “Layer 1” is the layer that’s selected in the Layers palette. We can tell which layer is selected because the selected layer is always highlighted in blue. Normally, when we add a new layer, Photoshop places the new layer directly above whichever layer is currently selected, which means that Photoshop would place the layer above “Layer 1”.

That’s not what we want. We want the new layer to be placed жмите сюда “Layer 1”. Here’s a useful trick. We now have a new blank layer named “Layer 2” sitting directly between the Background layer and “Layer 1”:.

Microsoft office professional encountered an error during installation the moment, our new layer is completely blank. Let’s fill it with white so it will appear as a white background after we’ve placed our image inside the text.

Go up to the Edit menu at the top of the screen and choose Fill. This will bring up Photoshop’s Fill dialog box. Select White for the Contents option at the top of the dialog box, then click OK to exit out of the dialog box:. Nothing will appear to have happened in the document window, since the image on “Layer 1” is blocking “Layer 2” from view, but if we look at the layer preview thumbnail for “Layer 2” in the Layers palette, we can see that sure enough, the layer is now filled with solid white:.

It’s time to add our text, but in order to adobe after effects cs5 classroom in a book pdf free the text when we add it, we’ll need to have the text appear adobe after effects cs5 classroom in a book pdf free “Layer 1”, otherwise the image on “Layer 1” will block the text from view.

To make sure we can see our text, click on “Layer 1” in the Layers palette to select it. This way, as soon as we begin typing, Photoshop will create a new type layer for us and place the type layer directly above “Layer 1”:.

You can also quickly select the Type Tool by pressing the letter T on your keyboard:. With the Type Tool selected, go up to the Options Bar at the top of the screen and choose whichever font you want to use for the effect. Generally, fonts with thick letters work best. I’m going to choose Arial Black. Don’t worry about the font size for now:.

This step isn’t absolutely necessary, but to help me see my text, I’m going to use white for my text color. The color you choose for your text doesn’t really matter since we’ll be filling the text with an image in a moment, but it still helps to be able to see the text when we’re adding it. To set the text color to white, all we need to do is set Photoshop’s Foreground color to white.

First, press the letter D on your keyboard, which will reset the Foreground and Background colors to their defaults. Black is the default color for the Foreground color and white is the default color for the Background color. To swap them so white becomes the Foreground color, press the letter X on your keyboard. If you look at the Foreground and Background color swatches near the bottom of the Tools palette, you’ll see that white is now the Foreground color the left swatch :.

With the Type Tool selected, your font chosen and white as your Foreground color, click inside your document window and add your text. When you’re done, click on the checkmark up in the Options Bar to accept the text.

You’ll probably need to resize and reposition your text at this point, and we can do both of those things using Photoshop’s Free Transform command. If you want to resize the text without distorting the look of it, hold down your Shift key and drag any of the four corner handles.

Finally, to move the text, click anywhere inside the Free Transform box and drag your mouse to move the text around inside the document window:. Now that we have our text the way we want it, we need to move the type layer below the text in the Layers palette.

Click on the text layer, then simply drag it down below “Layer 1”. You’ll see a thick black line appear between “Layer 1” and “Layer 2”:. Release your mouse button when the black line appears to drop the type layer into place between “Layer 1” and “Layer 2”:. The text will temporarily disappear inside the document window now that the image on “Layer 1” is blocking it from view. To create the illusion that the photo is inside the text, we need to use a clipping mask.

This will “clip” the of duty pc for on адрес страницы 1″ to the text on the layer directly below it.

Any areas of the photo that appear directly above the letters will remain visible in the document. The rest of the photo will disappear from view. With “Layer 1” selected in the Layers palette, go up to adobe after effects cs5 classroom in a book pdf free Layer menu at the top of the screen adobe after effects cs5 classroom in a book pdf free choose Create Clipping Mask :.

To complete my effect, I’m going to add a drop shadow to the letters. If you want to follow along, first select the type layer in the Layers palette, then click on the Layer Styles icon at the bottom of the Layers palette:. This brings up Photoshop’s Layer Style dialog box set to the Drop Shadow options in the middle column. Click OK when you’re done to apply the adobe after effects cs5 classroom in a book pdf free shadow an exit out of the Layer Style dialog box.

Here is my final “image in text” effect:. Next tutorial: How to place an image in multiple text layers at once! And there we have it! That’s how to easily place an image in text with Photoshop! Get all of our Photoshop tutorials as PDFs! Download them today! The Layers palette showing the new blank layer between the Background layer and “Layer 1”. Select White for the Contents option at the top of the Fill command’s dialog box. The preview thumbnail for “Layer 2” shows that the layer is now filled with white.

 
 

Adobe after effects cs5 classroom in a book pdf free

 

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– Adobe after effects cs5 classroom in a book pdf free

 

Double-clicking any page icon or page number in the panel brings that page or spread into view. In this exercise, you will experiment with turning pages. Click the Pages panel icon to collapse the Pages panel. Click the down arrow and choose 1. In this exercise, you will experiment with the Hand tool. The Type context menu lets you insert special characters, check spelling, and perform other textrelated tasks. To display context menus, you position the pointer over a selected object or anywhere in the document window, and click with the right mouse button Windows or press Control and hold down the mouse button Mac OS.

Note what options are available. Notice the information provided about the document when no objects are selected. Click to select individual objects and see how the Info panel changes as you select them. Finding resources for using InDesign For complete and up-to-date information about using InDesign panels, tools, and other application features, use the controls in the Application bar: the Help menu, the Search box, and the CS Live button.

Review answers 1 You can choose commands from the View menu to zoom in or out of a document, or fit the page or spread to your screen. You can also use the Zoom tool in the Tools panel, and click or drag over a document to enlarge or reduce the view. In addition, you can use keyboard shortcuts to magnify or reduce the display. You can also use the Zoom Level box in the Application bar. For example, you can press V to select the Selection tool from the keyboard; press and hold the keyboard shortcut to temporarily select the tool.

You select hidden tools by positioning the pointer over a tool in the Tools panel and holding down the mouse button. When the hidden tools appear, select the tool. You can also access type-specific panels from the Type menu. Drag the tab of any other panel into the tab bar of the new, free-floating panel. A panel group can be moved and resized as one panel.

This lesson will take approximately 60 minutes. Our mission is to showcase our local talent: both in the kitchen and off the farm. Eat healthy! Eat local! Official Edible City Walking Tour Let one of our Urban Foragers show you the variety of edible plants that go unnoticed by the average urbanite. Finish the tour with a salad made from your find.

It will eventually be exported to Flash. This design, however, is flexible enough that the document works for Adobe PDF distribution as well. As you will see in this lesson, the building blocks of an InDesign CS5 document are the same, regardless of the output media. You will view all the pages in this document, and then finish one spread. When the Welcome screen appears, close it. You can scale the preview thumbnails in the Content panel by using the Thumbnail slider at the bottom of the Adobe Bridge window.

Enter 8 and click OK. This is what the page you will be working on will look like when you complete this lesson. We like food. You can now reposition the Pages panel as necessary. This is a common setup for booklets and documents displayed onscreen. Double-click the numbers 12—13 below the page icons to display this spread in the document window. For example, preflighting can ensure that a document has all the font and media files it needs for proper output to any media— print, PDF, or interactive.

In the past, preflighting was considered a post-production process. With InDesign CS5, however, Live Preflight lets you monitor documents as you create them to prevent potential printing problems from occurring.

You can create or import production rules called profiles against which to check your documents. The default profile supplied with InDesign flags issues such as missing fonts and overset text text that does not fit in its text frame. Or, doubleclick the Preflight button in the lower-left corner of the document window. Using the [Basic] preflight profile, InDesign finds one error, as indicated by the red Preflight icon in the lower-left corner of the Preflight panel.

According to the Error list in the Preflight panel, the problem is Text. To continually check your work and view details on issues, leave the Preflight panel open. Then double-click Overset Text for details.

Overset text is a common problem during layout because as paragraph styles change and objects are moved and resized, text can accidentally get cut off. In this case, you will resize the frame to fit all the text. Currently, the document is displayed in Preview mode, which displays artwork in a standard window, hiding nonprinting elements such as guides, grids, frame edges, and hidden characters.

To work on this document, you will view guides and hidden characters such as spaces and tabs. In Presentation mode, the InDesign CS5 interface is hidden entirely and the document fills the whole screen. This mode works well for presenting design ideas to clients on a laptop. You can navigate the pages of the layout using the arrow keys on your keyboard. Then, choose Normal from the Mode menu to display any layout aids you want to use.

Be sure Guides is checked in the menu. The guides do not print and do not limit the print or export area. Displaying hidden nonprinting characters such as tabs, spaces, and paragraph returns helps you precisely select and style text. Text can also be in table cells and flowing along paths. You can type text directly into a text frame or import text files from word-processing programs. When importing text files, you can add the text to existing frames or create frames to contain the text.

Then, you will style the text and adjust its placement within the frame. For rectangular text frames, you can specify the inset from each side of the box; for irregularshaped frames such as this, you can only specify one inset value.

In the Inset Spacing section, type p10 in the Inset box. Importing and flowing text In most publishing workflows, writers and editors use word processors. To complete the EAT page of the city guide, you will import a Microsoft Word file into a white text frame on page 9 using the Place command. In the Place dialog box, make sure that Show Import Options is not selected. You can drag to create a new text frame, click inside an existing frame, or click to create a new text frame within a column.

In this case, the writer provided a subhead and a paragraph for each of the three white text frames. You will thread these text frames so the text flows through them.

Click the out port in the lower-right corner of the selected frame. The pointer becomes a loaded text icon. Click in the text frame immediately below. At this point, all the text fits in the three frames. Once you apply paragraph styles, a heading and paragraph will fit perfectly in each frame.

You can select a paragraph by simply clicking in it. Applying paragraph styles Since the city guide is almost finished, all the paragraph styles you need are already created. You will first apply the Body Copy style to all the text in the three threaded text frames, and then you will apply the Location Header style to the box headings. Then, click Body Copy to format the entire story with the Body Copy style. Therefore, it can be formatted with a paragraph style.

This is the advantage of showing hidden characters while formatting text. Formatting text for the character style A current design trend is to highlight a few key words in a paragraph to draw readers into the story. You can then quickly apply the character style to other selected words. Click the Fill menu and choose Dark Red. Leave the font as Chaparral Pro. Creating and applying a character style Now that you have formatted the text, you are ready to create a character style.

This new style includes the characteristics of the selected text, as indicated in the Style Settings area of the dialog box. You will now move the new character style into alphabetical position within the City Guide style group folder. The ability to group styles in this way helps you keep templates organized. Because you applied a character style instead of a paragraph style, the formatting affected only the selected text, not the entire paragraph. Graphics used in an InDesign CS5 document are placed inside frames.

You can use the Selection tool to resize the frame and to position the graphic within the frame. If necessary, scroll to view all of page 9. If you click on the page, InDesign will create a graphics frame for you and place the graphic in it at full size. In this case, however, you will create a graphics frame to contain this graphic. Align the bottom of the frame with the guide as shown. Resizing the graphics frame essentially crops the graphic.

You can use the scaling controls on the Control panel to precisely adjust the graphic size. You will learn more about that in Chapter Click the content grabber to select the graphic, then drag to position the berries within the frame as you please. In general, you move and resize objects with the Selection tool. Objects can have a fill background color and a stroke outline or frame weight and color.

You can move objects around freely, snap them to other objects, or place them with precision according to guides or values. In addition, you can resize and scale objects and specify how text wraps around them. Wrapping text around an object To see text wrap in action, you will drag an InDesign CS5 object from the pasteboard on top of a text frame.

The exact placement is not crucial. If so, Live Preflight reports the error in the lower-left corner of the document window. If the text is still overset when you are finished placing the object, you can resize the text frame. In the Text Wrap panel, click the third button from the left side. This deselects the option and lets you enter different values for each side of the object.

Close the Text Wrap panel. You will then change the stroke weight and color. When the mover pointer displays, drag the frame down and to the left as shown. In the Stroke panel, choose 2 pt from the Weight menu. You may need to scroll down to see it. In this exercise, you will create an object style from a formatted object and then apply the style to other objects on the page.

Hold down the Shift key and then click the remaining three speech bubble objects to add them to the selection. Thread text frames? Review answers 1 The Preflight panel reports errors when something in the layout does not comply with the selected preflight profile.

Preflight errors are also reported in the lower-left corner of the document window. This lesson will take approximately 90 minutes. Anyway, we got home and life returned to normal, or even better than normal, even supernormal, if there is such a word. I told Judith I was sorry about the comments I made about her parents and the Day of the Dead celebration, and she apologized for her brazen flirting with that good-for-nada bullfighter.

Then, in an effort to cement our new-found bond, Judith enrolled us in an origami class. Origami is amazing and beautiful. One day, he came across a trapped crane. He took pity on the crane and released it. A few days later, a lovely woman visited his house, and asked him to shelter for the night. Soon the two got married. One day, she said she would weave cloth for him to sell at market, but she told him never to see her weaving.

When she finished weaving, she emerged with a beautiful fabric. He brought the fabric to town, where merchants were surprised and paid gold for it. The fabric was very rare and called Tsuru-no-senba-ori thousand feathers of crane.

I learned to appreciate the art of origami, and I decided to read as much about its history as time allowed. The name origami was coined in for the words oru to fold and kami paper.

It started in the first century AD in China. I thought it started in Japan, but Judith quickly pointed out the error in my thinking. The Chinese developed some simple forms, some of which survive to this day.

Buddhist monks brought Origami to Japan in the sixth century AD. It caught on quickly throughout the culture: paper was used in architecture and in many everyday rituals. Many of the earliest designs have been lost, since there was nothing written down about origami until with the publication of the Senbaduru Orikata How to Fold One Thousand Cranes. The Kan no mado Window of Midwinter , a comprehensive collection of traditional Japanese figures, was published in Origami flourished in other parts of the world, as well.

The Moors, devoutly religious, were forbidden to create representational figures. Their paper folding was a study in geometry.

Anyway, this technique is still popular in Spain and Argentina. Modern origami owes its existence to a man named Akira Yoshizawa. He is the originator of the system of lines and arrows used in modern paper folding. As origami evolves, elaborate folding techniques produce amazing models.

In our class, Judith specialized in creature fish and sea creature origami. During the first two weeks of training, she produced a horseshoe crab, a goldfish, a strikingly beautiful seahorse, a so-so squid, and a lopsided clam, basing her patterns on Barbour, Andreozzi, and Robinson.

Origami tessellations has grown in popularity recently, but has an extensive history. Tessellations refer to the tiling of the plane where a collection of two-dimensional figures fill a plane with no gaps or overlaps. Origami tessellations are tessellations made from a flat material, most often paper, but it can be from anything that holds a crease.

The history of costuming includes tessellations done in fabric that are recorded as far back as the Egyptian Tombs. Fujimoto was an early Japanese master who published books with tessellations. Summer Vacations 3 4 Scroll through the document to view the spreads, most of which only have guides and placeholder frames.

Navigate to pages 2—3, which are the only document pages you’ll lay out in this lesson. You will also lay out a pair of master page spreads. Using these saved document parameters, called document presets, lets you create new documents quickly.

Type 4p for Bottom; leave the Top, Inside, and Outside margins at 3 picas 3p0. If you want to use a measurement unit that differs from the default, simply type the indicator for the unit you want to use, such as p for picas, pt for points, and either in or ” inch marks for inches, after the value you enter into a box.

Click inside the Bottom box and notice that InDesign automatically converts measurements expressed using other measurement units in this case, inches to the pica and point equivalents. The bleed values specify an area outside the perimeter of each page that can be printed and is used to print design elements, such as pictures or a colored background, that extend to the edge of the page.

The bleed area is trimmed and discarded after the printing process. That is, the first page of the document is to the right of the spine.

You can begin a document on a verso page by entering an even value for example, 2, 4, 8, and so on in the Start Page box. The value you enter in this box is assigned to the first page in the document. InDesign creates a new document using all of the specifications from the document preset, including the page size, margins, columns, and number of pages. The Pages panel is divided into two sections. The top section displays icons for the master pages.

A master page is like a background template that you can apply to many pages in a document. The lower section displays icons for document pages. Switching between open InDesign documents As you work, you may want to switch between your new document and the supplied finished document for reference. If both documents are open, you can bring one or the other to the front. A list of currently open InDesign documents is displayed at the bottom.

That document now appears in front. Working with master pages Before you add graphics and text frames to a document, you may want to set up the master pages, which serve as backgrounds for your document pages. Any object that you add to a master page automatically appears on the document pages to which the master page has been applied. By creating multiple master pages, you allow for variation while ensuring consistent design.

Adding guides to the master page Guides are nonprinting lines that help you lay out a document precisely. Guides placed on a master page appear on any document pages to which that master is applied. Dragging guides from rulers You can drag guides from the horizontal top and vertical side rulers to provide additional alignment assistance on individual pages. Pressing Alt Windows or Option Mac OS while dragging a horizontal guide changes it to a vertical guide and changes a vertical guide to a horizontal guide.

In this lesson, you will place footers below the bottom margin of the page where there are no column guides. To position the footers accurately, you will add a horizontal guide and two vertical guides. If the A-Master spread is not visible in the top section of the Pages panel, you may need to scroll within the top section of the panel to view it. If you want, you can drag the horizontal divider bar between the master page icons and document page icons downward to view the master page icons without having to scroll.

Also notice that the dimmed X and Y values in the Control panel indicate the position of the pointer. Drag a ruler guide down to approximately 62 picas. Pressing Ctrl Windows or Command Mac OS when you create a guide causes the guide to extend across both pages of the spread, as well as the pasteboard on either side.

You can use either panel to make many common modifications, such as changing position, size, scale, and angle of rotation. A selected guide is displayed with a different color than guides that are not selected. When the guide is selected, the Y value is no longer dimmed in the Control or Transform panel.

Select the value in the Y box in the Control panel and type 62p to replace the current value. Press Enter or Return to apply the value to the selected guide. Watch the X value in the Control panel as you drag. The guide snaps to the column guide at that location. If necessary, zoom in and use the scroll bars or Hand tool. On the left master page, click where the two ruler guides intersect below the second column and drag to create a text frame, as shown.

The letter A appears in your text frame. Or you can choose this same command from the Type menu. Make sure that all of the text you just entered is visible. If necessary, enlarge the text frame by dragging the lowerright corner until the text is visible. To change the attributes of a portion of text within the frame, use the Type tool to highlight the text. Make sure that you change the font size, not the leading.

To avoid modifying your defaults, be certain that an object is selected before making changes in a panel. The Control panel should display an X value of 12p0. This provides a visual distinction between master items and objects created on document pages, whose bounding boxes are displayed with solid lines. If necessary, increase the magnification and scroll as needed to view the text frame on the bottom of the right master page.

Hold down the Alt key Windows or Option key Mac OS , and drag the text frame to the right master page so that it snaps to the guides, mirroring the left master page as shown below.

The text is now right-aligned within the footer frame on the right master page. Left footer and right footer 19 Close or dock the Character panel. Renaming the master page When documents contain several master pages, you may want to assign a descriptive name to each master page to make them easier to identify. Confirm that the A-Master page is still selected. Creating an additional master page You can create multiple master pages within a document. You can build them independently, or base one master page on another master page.

If you base a master page on another master, any change made to the parent master is automatically applied to the child master. For instance, the Grid – Footer master page is useful for most of the pages in the magazine and can be used as the basis for another set of master pages that share key layout elements, such as margins and the current page number character.

To accommodate different layouts, you will create a separate master page spread that contains placeholder frames for text and graphics. The new master will be based on the Grid – Footer master. Summer Vacations 3 C D A.

A-Grid – Footer master C. Document pages based on A-Grid – Footer B. B-Placeholder master D. Notice that the letter A is displayed on the B-Placeholder master page icons at the top of the Pages panel.

This letter indicates that the A-Grid – Footer master serves as the foundation for the B-Placeholder master. If you were to change the A-Grid – Footer master, the changes would also be reflected in the B-Placeholder master. You may also notice that you cannot easily select objects, such as the footers, from other master pages.

Adding a placeholder frame for text The first placeholder frame contains the title of an article in a rotated text frame. In the pasteboard area to the left of the page, drag to create a text frame that is slightly wider than the page and approximately as tall as one of the grid blocks.

The text frame is selected. Drag the lower-center handle of the text frame until the frame is just large enough to contain the text. If the text disappears, drag the frame handle down again to make the frame larger.

Keep the text frame selected. Then drag the center handle on the bottom edge of the frame to extend the frame to the bottom margin of the page. Be careful to click the small square resizing handle and not the larger square to its left.

Adding placeholder frames for graphics You have now created the placeholder text frame for the title of your article. Similar to the text frame you created, these frames act as placeholders on document pages, helping you to maintain a consistent design.

Although the Rectangle tool and the Rectangle Frame tool are more or less interchangeable, the Rectangle Frame tool, which includes a nonprinting X, is commonly used to create placeholders for graphics. For some smaller documents, you may not need to create master pages and placeholder frames. Creating a guide before you draw makes it easier to position the graphics frames. The current location Y value is displayed as you drag. Release the mouse when 34p0 is displayed. To make sure that the guide is at the pica location, select the Selection tool and click the guide to select it the guide changes color.

Then type 34p in the Y box in the Control panel, and then press Enter or Return. In the Control panel, the X Location value should be 11p0. Drag a horizontal ruler guide down to the pica location on the right master page. Type the new name, and drag the folder to the location you want to use. If you have limited storage space on your computer, you can copy each lesson folder individually as you need it, and delete it afterward if desired. About copying the sample movies and projects You will create and render one or more QuickTime movies in some lessons in this book.

You cannot play movies from the DVD. Some lessons build on projects created in preceding lessons; some stand alone. All of these lessons build on each other in terms of concepts and skills, so the best way to learn from this book is to proceed through the lessons in sequential order. The organization of the lessons is also design-oriented rather than feature-oriented.

Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products. Search results will show you not only content from Adobe, but also from the community.

With Adobe Community Help, you can:. This companion application lets you search and browse Adobe and community content, plus you can comment on and rate any article just like you would in the browser. You can download the application from www. Adobe content is updated based on community feedback and contributions.

You can contribute in several ways: Add comments to content or forums, including links to web content; publish your own content using Community Publishing; or contribute Cookbook Recipes. Find out how to contribute: www. Adobe Design Center: www. Adobe Developer Connection: www. Resources for educators: www. Adobe BrowserLab is for web designers and developers who need to preview and test their web pages on multiple browsers and operating systems.

Unlike collaborating via email and attending time-consuming in-person meetings, Acrobat. Adobe Story is for creative professionals, producers, and writers working on or with scripts. SiteCatalyst NetAverages is for web and mobile professionals who want to optimize their projects for wider audiences.

NetAverages provides intelligence on how users are accessing the web, which helps reduce guesswork early in the creative process. The data is derived from visitor activity to participating Omniture SiteCatalyst customer sites. Unlike other web intelligence solutions, NetAverages innovatively displays data using Flash, creating an engaging experience that is robust yet easy to follow. Set up access by signing up online, and get complimentary access to CS Live services for a limited time.

Note that this option does not give you access to the services from within your products. This lesson will take about an hour to complete. When you are done, quit QuickTime Player. You may delete this sample movie from your hard disk if you have limited storage space.

You can do this with a simple keyboard shortcut. The main window of the program is called the application window. Panels are organized in this window in an arrangement called a workspace. The default workspace contains groups of panels as well as panels that stand alone, as shown below. Application window B. Tools panel C. Project panel D. Composition panel E. Timeline panel F. Time graph G. Grouped panels Info and Audio H.

Preview panel I. When you drag a panel by its tab to relocate it, the area where you can drop it—called a drop zone—becomes highlighted. The drop zone determines where and how the panel is inserted into the workspace. Dragging a panel to a drop zone either docks it or groups it.

If you drop a panel along the edge of another panel, group, or window, it will dock next to the existing group, resizing all groups to accommodate the new panel. If you drop a panel in the middle of another panel or group, or along the tab area of a panel, it will be added to the existing group and be placed at the top of the stack.

Grouping a panel does not resize other groups. To do so, select the panel and then choose Undock Panel or Undock Frame from the panel menu. Or, drag the panel or group outside the application window.

You can use Adobe Bridge to search for, manage, preview, and import footage. Shift-click to select the dancers. Then click Open. You can import footage items at any time. Choose Composition from the Import As menu, and then click Open. The footage items appear in the Project panel. Notice that a thumbnail preview appears at the top of the Project panel. To save time and minimize the size and complexity of a project, import a footage item once, and then use it multiple times in a composition.

Compositions include one or more layers, arranged in the Composition panel and in the Timeline panel. The New Composition From Selection dialog box appears. In this example, all of the footage is sized identically, so you can accept the default settings. When you add a footage item to a composition, the footage becomes the source for a new layer. A composition can have any number of layers, and you can also include a composition as a layer in another composition, which is called nesting.

Some of the assets are longer than others, but you want them all to appear only as long as the dancers are on the screen. About layers Layers are the components you use to build a composition. Without layers, a composition consists only of an empty frame. In general, the layer order in the Timeline panel corresponds to the stacking order in the Composition panel. Some of these tools—the Selection tool and the Hand tool, for example—will be familiar to you if you use other Adobe applications, such as Photoshop.

Others will be new. Selection B. Hand C. Zoom D. Rotation E. Camera tools F. Pan Behind G. Mask and Shape tools H. Pen tools I. Type tools J. Brush K. Clone Stamp L. Eraser M. Roto Brush N. Puppet tools. A small triangle in the lower-right corner of the button indicates that one or more additional tools are hidden behind it. Click and hold the button to display the hidden tools, and then select the tool you want to use.

Then press Enter or Return again to accept the new name. Notice that layer handles appear around the layer in the Composition panel. To return to the Composition panel, click the Composition tab. Dragging to change values is sometimes called scrubbing. The left and right values are x and y coordinates, respectively. Center the blur at approximately , It simulates the result of modifying the exposure setting in f-stops of the camera that captured the image.

This will make everything brighter in the layer to simulate an overexposed image. Transforming layer properties The dancers look smashing, so you can turn your attention to the kaleidoscope waveforms that are part of the background. This keyboard shortcut displays only the Position property, which is the only property you want to change for this exercise. Leave the y coordinate at You will move this layer to the right.

Now you can see the three waveforms—left, center, and right—in the Composition panel, hanging like a beaded light curtain.

To contrast the left and right waveforms with the center waveform, you will reduce their opacity. It all looks great, but how about some movement? For this exercise, you will animate the Position property of a text layer using keyframes, and then use an animation preset so that the letters appear to rain down on the screen.

About the Timeline panel Use the Timeline panel to animate layer properties and set In and Out points for a layer. In and Out points are the points at which a layer begins and ends in the composition.

Many of the Timeline panel controls are organized in columns of related functions. Composition name B. Current time C. Layer switches. Time navigator start and end brackets B. Work area start and end brackets C. Time ruler D. Timeline panel menu E. Composition marker bin F. Time zoom slider G.

Composition button. Before delving too deeply into animation, it will help to understand at least some of these controls. The duration of a composition, a layer, or a footage item is represented visually in the time graph. On the time ruler, the current-time indicator marks the frame you are viewing or editing, and the frame appears in the Composition panel.

When you work on a composition, you may want to render only a portion of it by specifying a segment of the composition time ruler as a work area. Two layers—Title Here and Background—appear in the Timeline panel.

The Title Here layer contains placeholder text that was created in Photoshop. At the top of the Composition panel is the Composition Navigator bar, which displays the relationship between the main composition bgwtext 2 and the current composition bgwtext , which is nested within the main composition. You can nest multiple compositions within each other; the Composition Navigator bar displays the entire composition path. Before you can replace the text, you need to make the layer editable.

A T icon appears next to the layer name in the Timeline panel, indicating that it is now an editable text layer. The layer is also selected in the Composition panel, ready for you to edit. Then type AQUO. About timecode and duration The primary concept related to time is duration, or length.

Then type bubble in the search box. Easing into and out of animations keeps the motion from appearing to be too sudden or robotic. A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume.

Values between keyframes are interpolated. When you use keyframes to create a change over time, you must use at least two keyframes—one for the state at the beginning of the change, and one for the state at the end of the change.

The blue lines at the top, bottom, and sides of the Composition panel indicate titlesafe and action-safe zones. This is known as overscan. The amount of overscan is not consistent between television sets, so you should keep important parts of a video image, such as action or titles, within margins called safe zones.

Keep your text inside the inner blue guides to ensure that it is in the title-safe zone, and keep important scene elements inside the outer blue guides to ensure that they are in the action-safe zone. All three methods are accessible through the Preview panel, which appears on the right side of the application window in the Standard workspace. Using standard preview Standard preview commonly called a spacebar preview plays the composition from the current-time indicator to the end of the composition.

Standard previews usually play more slowly than real time. The number of frames played depends on the amount of RAM available to the application. In the Timeline panel, RAM preview plays either the span of time you specify as the work area, or from the beginning of the time ruler. Before you preview, check which frames are designated as the work area. A green progress bar indicates which frames are cached to RAM. When all of the frames in the work area are cached, the RAM preview plays back in real time.

It provides fast screen previewing of a composition without degrading resolution, which makes it a desirable preview option for many situations. When OpenGL does not support a feature, it simply creates a preview without using that feature.

For example, if your layers contain shadows and your OpenGL hardware does not support shadows, the preview will not contain shadows. Complex compositions can require a large amount of memory to render, and the rendered movies can take a large amount of disk space to store.

Customizing workspaces In the course of this project, you may have resized or repositioned some panels, or opened new ones.

You can also change workspaces using the Workspace menu at the top of the window. The Paint and Brushes panels open. The Composition panel is replaced by the Layer panel, for easy access to the tools and controls you need to paint in your compositions. Saving a custom workspace You can save any workspace, at any time, as a custom workspace. You can click Default to restore the default brightness setting. You can narrow the results to view only Adobe Help and support documents. Checking for updates Adobe periodically provides updates to software.

You can easily obtain these updates through Adobe Application Manager, as long as you have an active Internet connection. Adobe Application Manager automatically checks for updates available for your Adobe software.

Click Done to accept the new settings. Compositions include one or more layers—video, audio, still images—arranged in the Composition panel and in the Timeline panel. A standard preview plays your composition from the current-time indicator to the end of the composition, usually more slowly than real time. A RAM preview allocates enough RAM to play the preview with audio as fast as the system allows, up to the frame rate of the composition.

You can use them to create great-looking animations quickly and easily. You will animate the travel show ID so that it fades to become a watermark that can appear in the lower-right corner of the screen during other TV programs.

In this exercise, you will jump to Adobe Bridge to import the still image that will serve as the background of your composition.

If you receive a message about adding an extension to Adobe Bridge, click OK. Adobe Bridge opens, displaying a collection of panels, menus, and buttons.

Click the arrows to open nested folders. You can also double-click folder thumbnail icons in the Content panel. The Content panel updates interactively. In Lesson 1, you created the composition based on footage items that were selected in the Project panel. You can also create an empty composition, and then add your footage items to it.

This preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition to NTSC standards. Importing the foreground element Your background is now in place. You should now see both the background image and the logo in the Composition panel and in the Timeline panel.

The composition opens in its own Timeline and Composition panels. Leave all other options in the Character panel at their defaults. Leave all other options in the Paragraph panel at their defaults. Show Grid to make the nonprinting grid visible to help you position objects. Then click the triangle next to Stylize to expand the category. The text appears, letter by letter, until the words travel Europe are fully onscreen at Precomposing is a way to nest layers within a composition.

Precomposing moves the layers to a new composition. This new composition takes the place of the selected layers. When you want to change the order in which layer components are rendered, precomposing is a quick way to create intermediate levels of nesting in an existing hierarchy.

Then click OK. This new, precomposed layer contains the three layers that you selected in step 1. Press the spacebar to stop playback at any time. Adding transparency Many TV stations display logos semi-transparently in the corner of the frame to emphasize the brand. Click the stopwatch icon to set an Opacity keyframe at this location. When you place your composition in the render queue, it becomes a render item that uses the render settings assigned to it.

You will prepare this animation for two formats so that it can be used for broadcast purposes as well as on a website. The Render Queue panel opens automatically. The SWF format is a widely used vector graphics and animation format for the web—a compact, binary format that can contain audio and vector objects. Before exporting to SWF, you need to adjust the composition a bit for online display. So you need to reposition and resize the layers for the new output medium, including moving the logo to the top of the composition.

Leave all other settings at their defaults, and then click OK. Nested layers are rasterized. Precomposing moves the layers to a new composition, which takes the place of the selected layers. This lesson will take approximately 2 hours to complete. You can animate text layers by manually creating keyframes in the Timeline panel, using animation presets, or using expressions.

You can even animate individual characters or words in a text layer. Importing the footage You need to import two footage items to begin this lesson. Arrange the layers so that compass. You can create and edit text directly on the screen in the Composition panel, and quickly change the font, style, size, and color of the text.

You can add horizontal or vertical text anywhere in a composition. The Tools, Character, and Paragraph panels contain a wide range of text controls. Use point text to enter a single word or a line of characters; use paragraph text to enter and format text as one or more paragraphs.

As with layers imported from Illustrator, text layers are continuously rasterized, so when you scale the layer or resize the text, it retains crisp, resolution-independent edges. The text you enter appears in a new text layer. The small line through the I-beam marks the position of the text baseline. Then press Enter on the numeric keypad to exit text-editing mode and to select the text layer in the Composition panel.

Or, you can select the layer name to exit text-editing mode. Using the Character panel The Character panel provides options for formatting characters. If no text is highlighted and no text layers are selected, the changes you make in the Character panel become the new defaults for the next text entry. If a type layer is selected, the text in the Composition panel takes on the newly selected font.

Using the Paragraph panel Use the Paragraph panel to set options that apply to an entire paragraph, such as alignment, indentation, and leading. For point text, each line is a separate paragraph. You can use the Paragraph panel to set formatting options for a single paragraph, multiple paragraphs, or all paragraphs in a text layer.

This aligns horizontal text to the center of the layer, not to the center of the composition. Now you can position the text layer using a grid. Press Shift after you start dragging to constrain the movement and help you position the text.

After applying an animation preset, you can customize it and save it to use again in other projects. To help you choose the right animation preset for your projects, you can preview them in Adobe Bridge.

Adobe Bridge plays a sample of the animation in the Preview panel. Nothing appears to change in the composition. Previewing a range of frames Now, preview the animation. The letters appear to evaporate into the background. It looks great—but you want the letters to fade in and remain onscreen, not disappear. So you will customize the preset to suit your needs. Customizing an animation preset After you apply an animation preset to a layer, all of its properties and keyframes are listed in the Timeline panel.

The letters now fade into rather than disappear from the composition. Previewing the scale animation Now, preview the change. The scale animation ends shortly before The movie title fades in and then scales to a smaller size. Adding Easy Ease The beginning and end of the scale animation are rather abrupt.

In nature, nothing comes to an absolute stop. Instead, objects ease into and out of starting and stopping points. The keyframe becomes a leftpointing icon.

The keyframe becomes a right-pointing icon. Animating using parenting The next task is to make it appear as if the virtual camera is zooming away from the composition. The text scale animation you just applied gets you halfway there, but you need to animate the scale of the compass as well. Road Trip. This sets the Road Trip text layer as the parent of the compass layer, which in turn becomes the child layer.

As the child layer, the compass layer inherits the Scale keyframes of its parent layer Road Trip. Not only is this a quick way to animate the compass, but it also ensures that the compass scales at the same rate and by the same amount as the text layer. Road Trip because Road Trip is now the second layer.

Alternatively, you can select the compass layer in the Timeline panel and press P to reveal its Position property. Then enter , EPUB The open industry format known for its reflowable content and usability on supported mobile devices.

This eBook requires no passwords or activation to read. We customize your eBook by discreetly watermarking it with your name, making it uniquely yours. 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 efficiently and deliver in the widest possible range of media types.

Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students. Classroom in a Book offers what no other book or training program does—an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts. Simply register your product at www. Download the sample pages includes Chapter 4 and Index.

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Participation is optional. Pearson collects name, contact information and other information specified on the entry form for the contest or drawing to conduct the contest or drawing. Pearson may collect additional personal information from the winners of a contest or drawing in order to award the prize and for tax reporting purposes, as required by law. For in-depth information about color management, refer to After Effects Help. After your monitor is calibrated, the profiling utility lets you save a color profile.

The profile describes the color behavior of the monitor—what 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 and produce more consistent output.

Make sure your monitor is displaying millions of colors or 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. 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.

Color tab. 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. Answers 1 The gamma values between a computer monitor and a broadcast monitor vary greatly.

What may look good on a computer screen may appear too bright and washed out on a broadcast monitor. In Lesson 12, students also work with 3D elements, adding them to a video using the 3D Camera Tracker. These 3D image files contain red, green, blue, and alpha RGBA channels, as well as auxiliary channels with optional information, such as z depth, object IDs, texture coordinates, and more.

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. That data is incorporated into camera layers that After Effects creates in the Timeline panel. 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.

Name—Specifies 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. Choose distinctive names for multiple cameras to make it easier to distinguish them. Preset—Specifies 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. The default preset is 50mm. You can also create a custom camera by specifying new values for any of the settings. Zoom—Specifies the distance from the position of the camera to the image plane. Angle Of View—Specifies the width of the scene captured in the image. A wider angle of view creates the same effect as a wide-angle lens.

Using these variables, you can manipulate the depth of field to create more realistic camera-focusing effects. The depth of field is the distance range within which the image is in focus. Images outside the distance range are blurred. If you need to change the values and want the values to remain locked, then use the Camera Settings dialog box instead of the Timeline panel.

Aperture—Specifies 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-Stop—Represents 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 Level—Controls the amount of depth-of-field blur in an image. Lower values reduce the blur. Film Size—Specifies 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 Length—Specifies the distance from the film plane to the camera 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. Units—Specifies the units of measurement in which the camera setting values are expressed.

Measure Film Size—Specifies the dimensions used to depict the film size. 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. Answers 1 The Material Options properties determine how 3D layers interact with lights and shadows. If you want the effect to perform more precise tracking, you can save time by selecting Detailed Analysis in the Effect Controls panel before After Effects completes its initial analysis.

Attaching content to track points Invite students to explore the track points and the planes they can attach to before they settle on the plane that is parallel to the record. Note that there are several subtle possibilities for the plane over the record, and ask students to identify the plane that most closely mirrors the flat plane of the record on the desk. As you right-click or Control-click to create the camera, the selected plane may shift. Advise students to be alert in case they need to abandon the context menu and reset the plane before trying again.

As students work through the lesson, point out that you must select the 3D Camera Tracker effect for the layer either in the Timeline panel or the Effect Controls panel before the track points are available. Note that the 3D Camera Tracker effect for the initial layer is different from the 3D Tracker Camera layer that also exists in the Timeline panel.

As you drag from the center, horizontal arrows appear to indicate that you can resize the target. In addition to affecting how easily you can see the target, the target size also controls the default size of text and solid layers you create using the context menu.

Working with more complicated footage The project in this lesson intentionally contains only stationary objects; the camera is the only thing that moves in the original footage. To help solve the camera, delete inaccurate or unwanted track points: 1 Select the track points you want to delete.

The camera is solved again. You can delete additional points while the 3D Camera Tracker effect is working, even while the semi-transparent banner appears.

Shot Type—Specifies whether the footage was captured with a fixed horizontal angle of view, variable zoom, or a specific horizontal angle of view. When Render Track Points is enabled, the points are displayed in the image so you can see them when you preview.

Horizontal Angle of View—Specifies the horizontal angle of view the solver should use. Render Track Points—Controls whether the track points are rendered as part of the effect. Track Point Size—Changes the size of the track points.

Target Size—Changes the size of the red orientation target indicators. Advanced section: Solve Method—Provides hints about the scene to help in solving the camera. You can have it try to automatically detect the scene type, or specify the scene as typical movement those not purely rotational or mostly flat , mostly flat planar , or purely rotational tripod or nodal pan.

Average Error—Displays the average distance in pixels between the original 2D source points and a reprojection of the 3D solved points onto the 2D plane of the source footage.

You can use this value to tell if deleting points, changing the solve method, or making other changes is lowering this value, and thus improving the track.

Detailed Analysis—When enabled, makes the next analysis phase do extra work to find elements to track. The resulting data stored in the project as part of the effect is much larger and slower with this option enabled. The value is based only on the available track points, not on the ones that were removed. Auto-delete Points Across Time—With this option enabled, when you delete track points in the Composition panel, corresponding track points i.

For example, you can delete track points on a person running through the scene, whose motion should not be considered for the determination of how the camera was moving in the shot. Working with null objects Null objects can be very useful in a variety of projects. Students worked with a null object in lesson 11 when they shifted the 0,0 point for the composition before exporting it for Cinema 4D. You may want to discuss other possible uses of null objects with students, and ask them to describe both advantages and possible disadvantages to using them.

Answers 1 You use a null object to move the Photoshop layer because you cannot easily attach a Photoshop layer directly to the plane. However, you can attach a null object to the plane, and then use parenting to ensure the text layer travels with the plane. Lesson Advanced Editing Techniques Lesson 13 covers some of the advanced editing techniques available in After Effects. However, it only touches on support for HDR color. Here is some additional information to supplement the lesson.

Not only does bit mode mean more colors and more accuracy than the 8-bit or 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. 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.

However, bit images, which retain the original non-clipped values, behave much more like natural light, even through several color corrections. 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. What is happening in bit HDR mode? Monitors display brightness at 1. The real world contains brightness values far beyond what your monitor can display. You can capture a little bit of that reality in After Effects. The search region defines the area within the tracker looks for the feature. Lesson Rendering and Outputting Lesson 14 covers the topics of rendering and outputting. Following is some additional information about DV output. 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 are also a common way to combine high-quality video and audio content with menudriven 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, and to deliver the same file to multiple media.

The project you edited in After Effects does not actually contain the material from which it was pieced together. Rather, it references your source files. Before export, make sure that the project is ready to output at the quality you require. For example, replace any offline files with high-resolution files suitable for final export. 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. 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. 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.

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. Several audio-only formats and a variety of still-image and sequence formats are also supported by both applications.

 
 

Adobe After Effects CS5 Tutorials – replace.me

 
 
In this tutorial, we’ll learn how to place an image in text with Photoshop, a very popular effect to create and one that also happens to be very easy to do thanks to the power of Photoshop’s clipping masks, as we’re about to see!. This version of the tutorial is for Photoshop CS5 and earlier. If you’re using Photoshop CC or CS6, see the fully revised and updated version of this . Adobe Creative Cloud for education provides educational institutions with industry-leading creative tools and centralized software management and deployment. Adobe tools empower students to think creatively and communicate expressively, so they can turn their classroom ideas into college and career opportunities. And we offer special. All classifieds – Veux-Veux-Pas, free classified ads Website. Come and visit our site, already thousands of classified ads await you What are you waiting for? It’s easy to use, no lengthy sign-ups, and % free! If you have many products or ads, create your own online store (e-commerce shop) and conveniently group all your classified ads in your shop! Webmasters, .