Adobe after effects cs6 pdf tutorials free download
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You will automatically be sent an e-mail to inform you when someone has reacted to your question. After Effects CS6 manual. PDF 1. View manual Ask a question. Adobe After Effects CS6 manual. Previous page Next page. Page: 2 Contents What’s New What’s new in CS6 After Effects getting started tutorials Planning and setup Setup and installation Workflows Workspace and workflow Working with After Effects and other applications Dynamic Link adobe after effects cs6 pdf tutorials free download After Effects Workspaces, panels, and viewers General user interface items Keyboard shortcuts reference Modify keyboard shortcuts Preferences Projects and compositions Projects Timecode and time display units Composition basics Precomposing, nesting, and pre-rendering Importing footage Importing and interpreting video and audio Working with footage items Importing and interpreting footage items Preparing and importing 3D image files adobe after effects cs6 pdf tutorials free download Preparing and importing still images Layers and properties Creating layers Selecting and arranging layers Managing layers Layer properties Blending modes and layer styles Cameras, lights, and points of interest Views and previews Previewing Modifying and using views Animation and Keyframes Animation basics Keygenacronis disk director 12 free download, selecting, and deleting keyframes Page: 3 Editing, moving, and copying keyframes Assorted animation tools Keyframe interpolation Speed Tracking and stabilizing motion Animating как сообщается здесь Puppet tools Time-stretching adobe after effects cs6 pdf tutorials free download time-remapping Color Color basics Color management Drawing, painting, and paths Paint tools: Brush, Clone Stamp, and Eraser Overview of shape layers, paths, and vector graphics Creating shapes and masks Managing and animating shape paths and masks Shape attributes, paint operations, and path operations for shape layers Text Creating and editing text layers adobe after effects cs6 pdf tutorials free download Formatting characters and the Character panel Formatting paragraphs and the Paragraph panel Animating text Extruding text and shape layers CS6 Examples and resources for text animation Transparency and compositing Compositing and transparency overview and resources Alpha channels, masks, and mattes Keying Roto Brush and Refine Matte Effects and animation presets Effects and animation presets overview Effect list Audio effects Channel effects The rolling shutter repair effect CS6 Color Correction effects Distort effects Generate effects Keying effects Matte effects Obsolete effects Perspective effects Simulation effects Stylize effects Text effects Time effects Page: 4 Transition effects Utility effects Markers
Adobe after effects cs6 pdf tutorials free download
David Van Brink shows an excellent example on his omino pixel blog of why shooting in a high-definition format is useful even for standard- definition delivery, because the extra pixels give you a lot of room for synthetic fake camera work, such as zooms and pans in post-production.
Page: 22 To the top Project settings Project settings fall into three basic categories: how time is displayed in the project, how color data is treated in the project, and what sampling rate to use for audio. Of these settings, the color settings are the ones that you need to think about before you do much work in your project, because they determine how color data is interpreted as you import footage files, how color calculations are performed as you work, and how color data is converted for final output.
See Color management and Timecode and time display units. If you enable color management for your project, the colors that you see are the same colors that your audience will see when they view the movie that you create. Note: Click the color depth indicator at the bottom of the Project panel to open the Project Settings dialog box. Alt-click Windows or Option-click Mac OS to cycle through color bit depths: 8 bpc, 16 bpc, and 32 bpc.
See Color depth and high dynamic range color. Composition settings After you prepare and import footage items, you use these footage items to create layers in a composition, where you animate and apply effects. When you create a composition, specify composition settings such as resolution, frame size, and pixel aspect ratio for your final rendered output. For example, the composition frame size should be the image size in the playback medium.
See Composition settings. Later, you can use output modules in the Render Queue panel to encode and export a separate version of the composition for each format. See Output modules and output module settings. Performance, memory, and storage considerations If you work with large compositions, make sure that you configure After Effects and your computer to maximize performance.
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. Before you attempt to render a three-hour movie, make sure that you have the disk space available to store it. See Storage requirements for output files. If your source footage files are on a slow disk drive or across a slow network connection , then performance will be poor.
When possible, keep the source footage files for your project on a fast local disk drive. Planning for playback on computer monitors and mobile devices When you create a movie for playback on a personal computer—whether downloaded from the Web or played from a CD-ROM—specify composition settings, render settings, and output module settings that keep file size low.
Consider that a movie with a high data rate may not play well from an older CD-ROM drive that cannot read data from the disc fast enough. Similarly, a large movie may take a long time to download over a dial-up network connection. When rendering your final movie, choose a file type and encoder appropriate for the final media.
The corresponding decoder must be available on the system used by your intended audience; otherwise they will not be able to play the movie.
Trish and Chris Meyer provide an article on the Artbeats website that describes some of the considerations for creating video for the Web. Because the amount of storage disk space and processor power are less for mobile phones than for personal computers, file size and data rate for movies must be even more tightly controlled.
Screen dimensions, video frame rates, and color gamuts vary greatly from one mobile device to another. Adobe Device Central contains device profiles that provide information about these characteristics. See Create compositions for playback on mobile devices. Use these tips when shooting video for mobile devices: Tight shots are better.
Light your subjects well, and keep them separated from the background; the colors and brightness values between background and subject should not be too similar. Avoid excessive zooming and rolling, which hinder temporal compression schemes. Page: 23 To the top Because stable non-shaky video is easier to compress, shoot video with a tripod to minimize the shaking of the camera. Avoid using auto-focus and auto-exposure features. When these features engage, they change the appearance of all of the pixels in an image from one frame to the next, making compression using interframe encoding schemes less efficient.
Use these tips when working in After Effects: Use a lower frame rate fps for mobile devices. Use motion-stabilization tools and noise-reduction or blur effects before rendering to final output, to aid the compressor in reducing file size. Match the color palette to the mobile devices that you are targeting. Mobile devices, in general, have a limited color gamut.
Previewing in Adobe Device Central can help determine if the colors used are optimal for an individual device or range of devices.
Consider using cuts and other fast transitions instead of zooming in and out or using fades and dissolves. Fast cuts also make compression easier. Cross-platform project considerations After Effects project files are compatible with Mac OS and Windows operating systems, but some factors—mostly regarding the locations and naming of footage files and support files—can affect the ease of working with the same project across platforms.
If the footage and the project are on different volumes, make sure that the appropriate volume is mounted before opening the project and that network volume names are the same on both systems. Use the Collect Files feature to gather copies of all the files in a project into a single folder. You can then move the folder containing the copied project to the other platform. See Collect files in one location. File-naming conventions Name your footage and project files with the appropriate filename extensions, such as.
If files will be used on the Web, be sure that filenames adhere to applicable conventions for extensions and paths. Supported file types Some file types are supported on one platform but not another. See Supported import formats and Supported output formats. Resources Ensure that all fonts, effects, codecs, and other resources are available on both systems. Such resources are often plug-ins. However, some third-party effects and other third-party plug-ins may not continue to operate, even if you have versions of these plug-ins on the target system.
In such cases, you may need to reapply some third-party effects. Installing the software Before installing Adobe After Effects software, review complete system requirements and recommendations in the Read Me file.
The Read Me file is on the installation disc, as well as being included in the Release Notes document available through the After Effects support section of the Adobe website. For assistance with installation issues, see the Creative Suite Help and Support section on the Adobe website. In addition to the full version of Adobe After Effects, you can also install additional copies on additional computers to use as After Effects render engines to assist with network rendering.
You install render engines in the same manner as the full version of the application. This means that you can import and export to all of the supported file formats using the trial version. Keylight is included, however.
If your installation of After Effects is missing some third-party components, contact your system administrator to ensure that all licensed components have been installed correctly. For more information about limitations of the trial version for After Effects CS5. For example, mocha for After Effects, some effect plug-ins, and some codecs for encoding and decoding MPEG formats are available only with the full version of Adobe After Effects software.
For more information about limitations of the trial version for After Effects CS5, see the Adobe website. After Effects CS5 and later is a bit application After Effects CS5 and later is a bit application, so it can only run on bit operating systems.
To activate the CS4 versions of these applications, you must use a separate serial number. For assistance, contact Adobe Customer Service. For more information about installing and activating the bit applications, see the Adobe website. Activate the software Activation is a simple, anonymous process. After installation, your Adobe software attempts to contact Adobe to complete the license activation process. No personal data is transmitted. A single-user retail license activation supports two computers.
For example, you can install the software on a desktop computer at work and on a laptop computer at home. For more information on product licensing and activation, see the Read Me file or go to the Adobe website. Page: 26 Workflows To the top General workflow in After Effects Basic workflow tutorial: Create a simple movie General workflow in After Effects Overview of general workflow in After Effects Whether you use Adobe After Effects to animate a simple title, create complex motion graphics, or composite realistic visual effects, you generally follow the same basic workflow, though you may repeat or skip some steps.
For example, you may repeat the cycle of modifying layer properties, animating, and previewing until everything looks right. You may skip the step of importing footage if you intend to create graphical elements entirely in After Effects. Import and organize footage After you create a project, import your footage into the project in the Project panel.
After Effects automatically interprets many common media formats, but you can also specify how you want After Effects to interpret attributes such as frame rate and pixel aspect ratio. You can view each item in a Footage panel and set its start and end times to fit your composition.
For more information, see Importing and interpreting footage items. Create, arrange, and composite layers in a composition Create one or more compositions.
Any footage item can be the source for one or more layers in a composition. You can arrange the layers spatially in the Composition panel or arrange them in time using the Timeline panel. You can stack layers in two dimensions or arrange them in three dimensions. You can use masks, blending modes, and keying tools to composite combine , the images of multiple layers.
You can even use shape layers, text layers, and paint tools to create your own visual elements. For more information, see Composition basics, Creating layers, Transparency, opacity, and compositing, Overview of shape layers, paths, and vector graphics, and Creating and editing text layers. Modify and animate layer properties You can modify any property of a layer, such as size, position, and opacity. You can make any combination of layer properties change over time, using keyframes and expressions.
Use motion tracking to stabilize motion or to animate one layer so that it follows the motion in another layer. For more information, see Animation basics, Expression basics, and Tracking and stabilizing motion CS5.
Add effects and modify effect properties You can add any combination of effects to alter the appearance or sound of a layer, and even generate visual elements from scratch. You can apply any of the hundreds of effects, animation presets, and layer styles. You can even create and save your own animation presets. You can animate effect properties, too, which are simply layer properties within an effect property group.
For more information, see Effects and animation presets overview. Preview Previewing compositions on your computer monitor or an external video monitor is fast and convenient, even for complex projects, especially if you use OpenGL technology to accelerate previews.
You can change the speed and quality of previews by specifying their resolution and frame rate, and by limiting the area and duration of the composition that you preview. You can use color management features to preview how your movie will look on another output device.
For more information, see Previewing and Color management. Render and export Add one or more compositions to the render queue to render them at the quality settings you choose and to create movies in the formats that you specify. For more information, see Basics of rendering and exporting. Adobe recommends Have a tutorial you would like to share? See this page on the After Effects Region of Interest blog for a collection of resources for getting started with After Effects.
Read a basic step-by-step introduction to the general workflow in an excerpt from After Effects Classroom in a Book. Basic workflow tutorial: Create a simple movie This tutorial assumes that you have already started After Effects and have not modified the empty default project. This example skips the step of importing footage and shows you instead how to create your own synthetic visual elements.
After you have rendered a final movie, you can import it into After Effects to view it and use it as you would any other footage item. Some people prefer to use the mouse and menus to interact with After Effects, whereas others prefer to use keyboard shortcuts for common tasks. For several steps in this example, two alternative commands are shown that produce the same result—the first demonstrating the discoverability of menu commands and the second demonstrating the speed and convenience of keyboard shortcuts.
Change the Duration value in the Composition Settings dialog box by entering 5. Type your name. Set an initial keyframe for the Position property: Click the triangle to the left of the layer name in the Timeline panel, click the triangle to the left of the Transform group name, and then click the stopwatch button to the left of the Position property name.
Press V. Using the Selection tool, drag your text to the bottom-left corner of the frame in the Composition panel. Move the current-time indicator to the last frame of the composition: Drag the current-time indicator in the Timeline panel to the far right of the timeline. Press End. Using the Selection tool, drag your text to the top-right corner of the frame in the Composition panel. A new keyframe is created at this time for the Position property.
Motion is interpolated between keyframe values. Preview your animation using standard preview: Click the Play button in the Preview panel. Click Play again to stop the preview. Press the spacebar. Press the spacebar again to stop the preview. Double-click the effect name. In After Effects CS5. The previous keyboard shortcuts also work. Use the Add to Render Queue command instead. In the Render Queue panel, click the underlined text to the right of Output To.
In the Output Movie To dialog box, choose a name and location for the output movie file, and then click Save. For the location, choose something easy to find, like your desktop. Click the Render button to process all items in the render queue. The Render Queue panel shows the progress of the rendering operation. A sound is generated when rendering is complete. Page: 29 Workspace and workflow Page: 32 Workflows To the top General workflow in After Effects Basic workflow tutorial: Create a simple movie General workflow in After Effects Overview of general workflow in After Effects Whether you use Adobe After Effects to animate a simple title, create complex motion graphics, or composite realistic visual effects, you generally follow the same basic workflow, though you may repeat or skip some steps.
Page: 35 Planning and setup To the top Planning your work Planning for playback on computer monitors and mobile devices Cross-platform project considerations Planning your work Correct project settings, preparation of footage, and initial composition settings can help you to avoid errors and unexpected results when rendering your final output movie.
Page: 36 To the top Project settings Project settings fall into three basic categories: how time is displayed in the project, how color data is treated in the project, and what sampling rate to use for audio.
Page: 37 To the top Because stable non-shaky video is easier to compress, shoot video with a tripod to minimize the shaking of the camera. Use Adobe Bridge to browse for project templates and animation presets; run cross-product workflow automation scripts; view and manage files and folders; organize your files by assigning keywords, labels, and ratings to them; search for files and folders; and view, edit, and add metadata.
In After Effects, you can animate an entire Photoshop image or any of its layers. You can even animate individual properties of Photoshop images, such as the properties of a layer style. If you use After Effects to create movies, you can use Photoshop to refine the individual frames of those movies. Comparative advantages for specific tasks The strengths of After Effects are in its animation and automation features.
This means that After Effects excels at tasks that can be automated from one frame to another. For example, you can use the motion tracking features of After Effects to track the motion of a microphone boom, and then automatically apply that same motion to a stroke made with the Clone Stamp tool. In this manner, you can remove the microphone from every frame of a shot, without having to paint the microphone out by hand on each frame. In contrast, Photoshop has excellent tools for painting and drawing.
Deciding which application to use for painting depends on the task. Paint strokes in Photoshop directly affect the pixels of the layer. Paint strokes in After Effects are elements of an effect, each of which can be turned on or off or modified at any time. If the purpose of applying a paint stroke is to permanently modify a still image, use the Photoshop paint tools.
If you are applying several paint strokes by hand to get rid of dust, consider using the Photoshop paint tools. The animation and video features in Photoshop Extended include simple keyframe-based animation. After Effects uses a similar interface, though the breadth and flexibility of its animation features are far greater.
Photoshop, however, can manipulate complete 3D models and output two-dimensional composites and cross-sections of these 3D models from any angle. When the camera moves around such a layer, it views the 3D object from various angles. To see a video tutorial about using 3D object layers from Photoshop in After Effects, see the Adobe website. After Effects can also automatically create 3D layers to mimic the planes created by the Photoshop Vanishing Point feature.
Page: 39 To the top To see video tutorials about using Vanishing Point data from Photoshop in After Effects, see the Adobe website: Working with Vanishing Point in Photoshop and After Effects Using Vanishing Point to map a 3D environment Exchanging still images After Effects can import and export still images in many formats, but you will usually want to use the native Photoshop PSD format when transferring individual frames or still image sequences between After Effects and Photoshop.
When importing or exporting a PSD file, After Effects can preserve individual layers, masks, layer styles, and most other attributes. When you import a PSD file into After Effects, you can choose whether to import it as a flattened image or as a composition with its layers separate and intact.
It is often a good idea to prepare a still image in Photoshop before importing it into After Effects. Examples of such preparation include correcting color, scaling, and cropping. It is often better for you to do something once to the source image in Photoshop than to have After Effects perform the same operation many times per second as it renders each frame for previews or final output.
When you open a movie in Photoshop, a video layer is created that refers to the source footage file. When you save a PSD file with a video layer, you save the edits that you made to the video layer, not edits to the source footage itself. You can also render a movie directly from Photoshop. For example, you can create a QuickTime movie from Photoshop that can then be imported into After Effects.
If relevant for your final output, it is better to ensure that the colors in your image are broadcast-safe in Photoshop before you import the image into After Effects. After Effects performs color management according to color profiles embedded in documents, including imported PSD files.
You can then use After Effects to edit and refine the video. If you use After Effects to edit and composite video, you can then use Flash to publish that video. Flash and After Effects use separate terms for some concepts that they share in common, including the following: A composition in After Effects is like a movie clip in Flash Professional.
The composition frame in the Composition panel is like the Stage in Flash Professional. In this chapter, Richard and Marcus explain Flash in terms that an After Effects user can understand. For a Flash animation, you can optimize the video output for animation. For a Flash application, Flash renders video of the application as it runs, allowing the user to manipulate it. This lets you capture the branches or states of your application that you want to include in the video file.
Importing and publishing video in Flash When you import an FLV or F4V file into Flash, you can use various techniques, such as scripting or Flash components, to control the visual interface that surrounds your video. For example, you might include playback controls or other graphics. Composite graphics, animation, and video Flash and After Effects each include many capabilities that allow you to perform complex compositing of video and graphics. Which application you choose to use will depend on your personal preferences and the type of final output you want to create.
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Convert Illustrator layers into shape layers. Format text layers. Add text with formatting and effects. Paint, clone, and rotoscope layers. Paint animated brush strokes. Intro to the Clone Stamp. Isolate elements with the Roto Brush. Refine edges of a Roto Brush selection. Remove unwanted elements with Content-Aware Fill. Portable adobe after effects replace.me access tutorial pdf download Adobe photoshop cs4 portable download link dreamweaver cs6 replace.me file full tutorial autocad bahasa indonesia pdf free download adobe illustrator cs4. and PDF files after you import them into After Effects CS6. Furthermore, with the new 3D extrusion support, you can extrude artwork. For example, you can extrude and stylize logos in After Effects CS6. Resources: Vector art footage-to-shape conversion.